<aside> 💬 This is a table of matching quotes and analysis from each text that correlate to corresponding ideas within each text.

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Key Features of Each text to be analysed:

1. Meusault at court → where social norms intervene with his indifferent attitude.
2. Harun Killing the French Imperialist → both symbolic of Daouds greater purpose and indicates that the protagonists within each of the texts have become very similar (”the murder’s double”)
3. Daoud placing the audience to be literally sitting “in a bar” talking to Harun himself. Thereby integrating the audience into the conversation.
4. Harun’s relationship with Meriem in comparison to Meursault’s relationship with Marie

                    *or* 

The Ghost’s “eternal cigarette, connecting him to heaven by the fine coil of smoke twisting and rising above him” | Both Texts forefront the attitude that the intricacies of death “dont matter” as the ghosts “eternal cigarette” functions as a metaphorical rejection of death. | | “I opened myself to the Gentle indifference of the world” → location of solace within the absurd through the total suppression of Meursaults epistemological doubt by a now rampant existentialist conscious. or ”it was as if that great rush of anger had washed me clean, emptied me of hope, and gazing up at the dark sky spangaled with its signs and stars, for the first tim , the first, I laid my heart open to the benign indifference for the universe”. → Anger here relates to revolt (consciousce comes to light with revole - camus. Man must live in a perpetual state of metaphysical revole) Through metaphyscial revolt, that conscious may come to light | “the French language fascinated me like a puzzle, and beyond it layy the solution to the dissonance of my world” → The similie of the French language as “a puzzle” elucidates language as the key to his brothers death and the “dissonance of my world”, it also forefront his otherness, his text is in French, not Harun’s mother toungue, the mouth-piece of the narrative, his own form alientes him and is didactic in illustrating the orientialisation of the native arab idenitiy in not only Camus’ The stranger, but also in his own text. or When talking about couples and lovers, “what is it that makes them forget they were born alone and will die separate?”. | Themes of Universality, indifference and opening of the mind.

In the final quote, Daoud confronts the “gentle indifference of the world” by challenging “lovers” who “forget” the truth of existence that “they were born alone andwill die separate”.

Observe here: the pessimism of Daoud vs Acceptance of Meursault | | “If something is going to happen to me, I want to be there.” → Non-sequitur distinction made between the personal “me” and “I” pronouns indicative of a desire to reclaim a sense of choice where society’s interpretation of Meursault has in effect stripped him of this freedom and split his sense of individuality to the extent where the Meursault collectively prosecuted as guilty and the Meursault individually defended as innocent are distinctly separate beings. Use of apostrophe employed where a speaker addresses a person who is dead or not present. Detachment from the self, suggests subject-object relationship. meta-existence | “I was looking for traces of my brother in the book, and what i found there instead was my own reflection, I discovered I was practically the murderer’s double”. In many ways, Harun dies that day too (when musa dies); from then on he ceases to be Harun and instead is forced to grow up as a proy for Musa due to his mother’s inconsiderable, often times curel, grief. or ”i knew for sure i was looking at a reflection, but i had no idea of what!” → Extensions on the above quote about reflections, doesn’t know himself. | As both texts underscore moments of Self-introspection and internal reflection, the textual conversation elucdates the identity stuggle that comes through the path of absurdism. | | The Chaplain Says to Meursault in a moment of climax “do you really live thinking that when you die, nothing remains?”. → foregrounds the harsh juxtaposition between “living” and “dying” for Camus to narrate how our humanity is anesthetized by the theological predispositions of society; the promise of the afterlife, and the eschatological dichotomy of ‘heaven’ and ‘hell’ that brainwash individual ethics | Recognising this quote, Harun Explains “The Koran... A dispute betewen heaven and creature”. → by extending a tetual narrative on the overbearing regime of religion, Daoud employs the master-slave binairy relationship to reveal the insitution of “heaven”, as a metoyn for wider religious values, to undermine our sense of individuality within “the creature”. | This shared rejection of orthodox relegion that is reflected in both quotes is the catalyst for the central resonance between the two texts. Indeed, Daoud aligns with Camus to critique the constraints of Islamic religion which creates a void of meaning. | | “to feel it so like myself, indeed, so brotherly, made me realise that i’d been happy, and that i was happy still. For all to be accomplished, for me to feel less lonely, all that remained to hope was that on the day of my execution thre should be a huge crowd of spectators and that they should greet me with howls of exerceraction.” → Described the indifference of the universe as “like myself, so brotherly” reinforces the absurd as only entering into existence through interactions between the meaningless of the universe and man’s diametrically opposed search regardless (a kind of symbiotic relatinoship). | “i was looking for traces of my brother in the book, and what i found there instead was my own reflection, I discovered I was practically the murderer’s double”.

Analysis: In many ways, Harun dies that day too (when musa dies); from then on he ceases to be Harun and instead is forced to grow up as a proy for Musa due to his mother’s inconsiderable, often times curel, grief. _ | Daoud Adapts the metaphorical “brotherly” universe that Meursault discribes in the Starnger, one he states as “feeling it so like myself”, to a literal relationship explored within his text. This metaphorical brotherly connection translated to one where Harun’s own universe revolves about his physical brother and the identity he inhabits. For Camus’s quote, the Recognition of happiness in this moment as not tethered to the fleeting hedonistic relationship or a romanticsed setting of singular moments, but eternal through a perpetual metaphysical revolt. For such a powerful denouncement there is no physical change in cercumstance, but in mere perception. In his final moments he accepts his role as “The Stranger”, in so far as he only participates in this role so long as society continues to uphold a misconstrued perception of him. | | “have you no hope at all? And do you really live with the though that when you die, you die, and nothing remains?” “yes, I said” → The absurd reply of “yes” is enhance in the interpretation of these quetsion as the rhetorical statements conveying an implication that such an indifferent belief system could surely not be enough to “really live”. Ironic as our reading of The Meursault Investigation is indicative of Meursault’s literary afterlife contrary to this perspective that “when you die nothing remains”. | “The last day of a man’s life doesnt exist outside of storybooks, there’s nnon hope, nothing but soap bubbles bursting”. Daoud acknowledges that predestination and fate do not exist and collapst in the world both he and Camus have created. He further engages in a metatextual narrative, acknowleding the world “outside of storybooks” where his phyilosophy is extenteded and not exclusively within the text. (life imitates art) | The line “and we’d keep on playing” in the second quote parrallels with ‘The Stranger’ and Camus declaration on how “nothing remains” after death.

In Daoud’s Quote, He accentuates this world “outside of the storybooks” with the vivid imagery of “soap bubbles bristing”, coupled with the plosive plosive alliteration to construct a surreal domain in which religion and cultural institutions function, but inevitably burst in the face of human existence. He acknowledges that “there is no hope”, a reflection of absurdist philoosphy which frames the notions of religion and fate as conscious distractions of our mundane existence and the transience of morality. | | “I had been right, I was still right, i was always right. I had lived my lfie one way and I could just as well have lived it another. I had done this and i hadn’t done that. I hadn’t done this thing but i had dont another.. An so?” The impossible absurdity of “always being right” withdraws all meaning from the fundamental notinos of “right” and “wrong”, leaving them as hollow terms under the existentialist consideration that the only truth is subjectively formed one. Man’s munity against an unjust deity Meursault is schizoid typic character. | “The crime forever compromises both love and the possibility of loving” engages in the Satrian principle that our existence is defined not by what we are, (like our passions and love) but our capcaity to do so (e.g our capacity to love and have passion). This defines existence in binaries- of reality and capacity, religion and non-religion, love and the capacity to love. | Daoud answers and implies the effects of the murder and implactions of choosing to freely live ones life the way they choose. He pickes up the broken pieces and forced to deal with the consequences of Meursaults absolutism philosophy. | | “mother had died today, or maybe it was yesterday, I cant be sure.” → immediate disregard and apathy towards death functions as the ultimate metaphor for Meursault’s indifferent worldview - the foundation for absurdism. Appears as an equivocation (ambiguous language to conceal the truth or to avoid omitting one’s self), however this uncertainty is basede on the philosophical belief that one can never know truth to the extent that he cannot even know the truth of he day his mother died. | “mama’s still alive today” thereby, Daoud constructs Harun to be in direct relationship with Meursault and places the narrative in the literary space. | The reader is presented with two motehrs who are either “dead” or “still alive” to engage the audience with a harsh jutxaposition between “life” and “death” to narrate how our humanity is sedated by social values which define meaning between these two parameters (life and death are the parameters for human existence).

| | “he didnt understand me, and he was sort of holdinng it against me” → how the majority vs minority (normal person vs outsider) relationship is founded upon judegment and the marginalisation of the individual belief as inferior to the collective. | “I never-felt Arab. Arab-ness is like Negro-ness, which only exists in the white man’s eyes.”. White man’s quantifier of the unknow, it minimises the complex human identity with abritrary words. To some extent, the word arab is representative of religion, it is an oversimplification of the world and dissmissive of the complexities of existence. | - Challenges perspectives and implores us to re-evaluate perspectives founded on the terms of white elitish colonialists

• Alientation from society and even from the self
• The collective and the individual are at odds with eachother | | “I realized then that a man who had lived only one day could easily live for a hundred years in prison. He would haveenough memories to keep him from being bored” → Relationship to McDonnell lecture on how man is the sum of all his experiences. Man is everything that we are currently not but could be. Relation to hedonism and the pursuit of pleasure as a binary against the traditionally sexually/sensual suppression of the individual. Further, this idea of “bored” relating back to ennui and anomie (more sophisticated analysis). The potent and refined nature of life and experiences | “I stood behind her, a child facing the immensity of both the crime and the horizon” | - The body can be imprisoned by the mind cannot (perhaps the mind can be imprisoned through langauge - extra reading) | | “throughout this whole absurd life i’d lived, a dark wind had been rising towards me from somewhere deep in my future, across years that were still to come, and as it passed, this wind levelled to whatever was offered to me at the time, in years no more real than the ones i was living” → Time as fluid, the future is as real as the present. “dark wind” and “deep future” suggests the unknown, rlated back to emphasis on the environemnetal and setting as shaping the individual → we are the products of our environment. | “that’s the best proof of our absurd existence, my dear friend: Nobody’s granted a final day, just an accidental interruption in their life”

”the last day of a man’s life doesn’t exist, outsider of storybooks, there’s no hope, nothing but soap bubbles bursting”

”on fridays the sky looks like sagging sails” - siblant alliteration, just imagerry. Potential continuation of the metaphor of wind, seen in ‘The Stranger’ Quote | Notion that time is merely based on perspectives and that is a construct, in the first quote stating “years no more real than the ones I was living” and in the second stating that “nobody is granted a final day”, simultaneously conveying both existentialist perspective and their perception about the feigne appearence of time. |