Morality in Camus’ “The Guest”

Camus, in “Revolution and  Repression in Algeria (1958), writes on the burden of his writing: his words could unknowingly serve as justification to radical commentary or to radical action, especially in the “drama of Algeria” (Camus wrote specifically on the struggle Algeria endured seeking independence from French colonialism). Camus denounces the elitism of ideology and separates himself from those who think “one’s brother must die rather than one’s principles.”

In “The Guest”, a man only referred to as “The Arab”, is arrested and brought to Daru, a local educator, by the Corsican policeman, Balducci. Balducci has been ordered and orders Daru to deliver The Arab to the police. Daru refuses, it is beyond his scope of duty (as a teacher) he says but, Balducci insists that in times of war, one’s duty is one’s country takes on new forms. This painfully reminds me of our current country’s dilemma with equipping teachers with firearms to protect children from school shootings. Is it truly the duty of a teacher to do this, even in the most dire of times? Daru still refuses, though he agrees to sign Balducci’s papers, which passes the responsibility of the prisoner onto Daru. Continue reading “Morality in Camus’ “The Guest””

Dialectics and Radical Acceptance in Achebe’s “Dead Man’s Path” and “Modern Africa as the Crossroads of Culture”

Achebe writes “Dead Man’s Path” to illustrate the folly of foreign intrusion: whether that is the white against black, the new against the old, or rather a clash in cultures. The protagonist, Michael Obi is a young, unimpressive man who has large ideas to beautify and renew the local, traditional school. He held rule over the teachers and buildings; his wife, Nancy, was concerned with her version of authority: she held dominion over the wives of the teachers and the beauty of the place (flowers, fauna, etc.,).

The conflict arises when an elderly Ani village-woman crosses the modernized campus. After denigrating the woman and casting her away, Obi obstructs the path with thick wooden beams and barbed wire to prevent further crossings. The villagers’ priest warns him and tells him to clear the path of the shrine to the burial grounds. Obi laughs and rejects the old man three times, though the priest only spoke twice, and held himself in silence for the third time: “I have no more words to say.” Obi could not let the white Supervisor see such silly rituals upon inspection, and so disregarded the omen.

The next day, Continue reading “Dialectics and Radical Acceptance in Achebe’s “Dead Man’s Path” and “Modern Africa as the Crossroads of Culture””

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