Style and Technique (Masterplots II: Short Story Series, Revised Edition)
The style of the story is taut, concise, stripped of inessentials. One sees in this the influence of Ernest Hemingway, whom Camus admired very much. All that is there is there for a reason; accepting that truth, all the reader has to do is relate the making of the story to its meaning. The reader has already seen how the title, with its ambiguity, sets the stage for various reversals, displacements, and contradictions. From the beginning to the end of the story, for example, the two main characters shift roles unexpectedly or do, or have done to them, unexpected things. Daru is a host to the Arab but is a guest in the Arab’s homeland, making the Arab Daru’s host. Received by Daru as a prisoner, the Arab is set free, made his own host; received in hostility, he is accepted in hospitality and amity. Though he is a gracious host, Daru is treated as, at the very least, an unwelcome guest and, at the end of the story, is condemned to a solitude that is absolute.
The description of solitude and isolation at the beginning of the story prepares the reader for the theme of alienation. Daru is alone at the top of a mountain whose ascent is steep and rocky. The difficulty in scaling the heights (reminiscent, incidentally, of the plight of Sisyphus) defines the difficulty of communication. Daru is far from society. He has no vehicle for transportation and has no significant contact with his family, colleagues, or friends. His only acquaintance (except with his...
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