In countless stories, you will find different characters who are known for their peculiar emotional behavior. The two characters, Meursault, from Albert Camus’ novel, The Stranger, and Patrick Bateman, from Bret Easton Ellis’ film, American Psycho, are prime examples of characters who resist or don’t meet social expectations and behavior and exhibit emotional detachment. While the two stories and character’s lives are vastly different, there are notable similarities between the two characters that I felt should be explored. 

A key quality Meursault and Bateman share is their emotional detachment from society. It is apparent in Meursault’s life through his inability to conform to societal expectations. When his mother passes away he shows little to no grief or sorrow. Another occasion is after he murders the Arab man he shows no fear, passion, or emotions at all. Bateman is similar in the ways he shows no remorse or emotional response to his actions. After his many murders, he dismembers the body and returns to work as if nothing had even occurred. He differs in the way he presents more sadistic and disturbed tendencies and behaviors, whereas Meursault, while emotionally detached and indifferent, doesn’t express the same level of violence and sadism. 

A big difference between the two is their social presentation. Bateman presents himself as a charming and well-mannered individual to his peers and coworkers, concealing the side of him that would not be socially acceptable. Meursault on the other hand doesn’t hide his beliefs and indifference. He doesn’t pretend to feel emotions that he doesn’t, such as when he is faced with situations like his mother’s death and his relationship with Marie.

They both experience feelings of isolation due to their emotional detachment. They result from different specific factors, with Meursault’s stemming from his inability to meet the emotional level expected of him, and Bateman’s coming from his psychopathic and violent behavior. However, both of their isolation stems from their actions and behavior, setting them apart from societal norms and making them outsiders in their stories.

In Albert Camus’ The Stranger the main character Meursault often displays little to no emotion throughout the story. Whether it is barely exhibiting any signs of mourning at his own mother’s funeral, or killing a man without a second thought, Meursault defies societal expectations for what emotions he should be feeling and when. Although some may say that Meursault’s lack of emotional response comes from his ability to live in the moment more than the rest of society, one could also argue that Meursault’s extreme control over his emotions comes from his feelings of lacking control over his life and death in general. After experiencing a loss as devastating as the loss of a mother, one may find themselves face to face with their own mortality. Everybody dies, no matter what you do it is the one fact of life that cannot be escaped. Upon his mothers death, Meursault found himself unsatisfied with the lack of control he has over his life, realizing death comes for us all. Instead of having an existential crisis, Meursault chose to find control in other aspects of his life, such as harboring extreme control over his emotions. That is why in moments like his mothers funeral Meursault shows no emotion, seeing that if he cannot control death he will at least control his reaction to it. 

We see this again when Meursault takes the life of the Arab man on the beach. Instead of feeling regret after the killing, he carries on. He forces all emotional attachment to that moment out of his mind. By turning off his feelings towards death and killing, Meursault avoids the cognitive dissonance and remorse that comes with taking away someone’s life. This avoidance of cognitive dissonance can also be seen at his mother’s funeral because Meursault expresses how he dismissed his mother in the last few years of her life all the way up until her death. By removing any emotion from death and the notion of losing a person forever, Meursault can avoid the pain of realizing he will never have the chance to recommit to his mother in her lifetime. Overall by shutting off his emotions Meursault regains control over his life because distressing notions like that of death will on longer have any effect on him, allowing him to live an undisturbed life, without fear and stress over his impending death, or the deaths of others.

After watching Trust (1990) directed by Hal Hartley, I discovered the similarities between the two leading characters Maria and Matthew as well as their opposite traits that balance their on-film dynamic.

Both of the young characters find themselves in the middle of a life-crisis. Maria, being a pregnant high school dropout whose father just passed away, finds no support from her family or boyfriend. Matthew recently quit his job from frustration and lives under the roof of his abusive father, with no other known family members or friends to provide him with support him. During these low times, Maria and Matthew discover each other, and are able to provide comfort and emotional aid to one another. Both characters also have one remaining parent, which is the same gender as themselves. These remaining parents are extremely harsh on their kids, which Maria and Matthew both recognize. Maria tells Matthew to leave his cruel father after spending a night in his home, and Matthew also begs Maria to escape her torturous mother after he spends a night in Maria’s house. Overall both have sympathy for each other and provide a support system for their similar back rounds.

Nonetheless, Maria and Matthew have several contrasting traits that balance their relationship. For example, Matthew is very intellectual and has more life experience, while Maria is less educated and quite naive. This provides several teaching moments between the two and allows their bond to grow. Furthermore, Matthew has shown he can be cold and closed-off towards strangers when in public, for example when engaging with Peg, Maria’s sister, in a bar, he told her to “shut up” and said other rude phrases. On the other hand, Maria is very kind, open, and respectful towards others when in public. This can be seen when she has a deep conversation with the married woman on the bench. Both characters have several examples of similar traits and opposite ones, which develop throughout the film to express their understanding and support for one another.

Throughout the story The Stranger, our stranger constantly shows signs of indifference and just going along with his life. Seeming to not care about what actually happened but still having an input in his decisions and outcomes. Immediately I was reminded of The Smiths, a band at the forefront of the post-punk, existential, brit-rock era 30-40 years ago throughout the 80s and 90s. With lead singer Morrissey and his poem like lyrics, incorporating many dark themes into their discography. Many times referencing death and ends while also incorporating romantic and even funny or satirical themes. However as I researched and my understanding of both grew, I realized a few key differances.

While both the stranger and Morrissey have a base philosophy of nothing matters, the stranger sees that in a much more true existentialist way, an opportunity to live. Throughout the book we see the Stranger displaying signs of “nothing matters in life” as well as it being an “opportunity to live”. One of these times is when Marie asks if he would marry her. He doesn’t say yes or no, rather he repeatedly responds with “it doesn’t matter”(41). Showing how truly indifferent he is, to things most people would consider meaningful or turning points in their lives. However, he displays his own ways of “living”, in ways most people wouldn’t. He spends entire days looking over his balcony just watching his busy street. It wouldn’t be much to most people however to him he is connecting with his community and building relationships no matter how big or small. His existentialism comes off as cold indifference of nothing matters, however a deeper understanding shows he merely lives in the moment doing what he wants because life is so absurd.

I used to think Morrissey was the same way, this misunderstood existentialist who once I really paid attention to and understood, would turn out to be living in the moment and living life to his own fullest, however I was wrong. Morrissey and his songs see life in a much more Nihilist way, as if it were a place of giving up. We can see this in one of The Smiths more popular songs titled Heaven knows I’m Miserable Now, where he sang about events that most people would consider happy, one such instance is finding a job. He evens goes to state that he was “happy in the haze of the drunken hour”, however he always followed it up with “but heaven knows I’m miserable now”, implying he never was truly happy, or if he ever felt happiness, deep down it wasn’t true to the point that only heaven knew he was lying to himself. This gives off a much more Nihilist way of thinking, highlighting the differences between himself and the stranger. This theme of hopelessness and loneliness to the point of nothing mattered persisted throughout The Smiths entire career and even stayed with Morrissey during his solo career after The Smiths. In the beginning, he gained popularity because of his poetic way of writing and singing, however it bothered many once they took a closer listen, even so, it drew others. Whether he was a nihilist or not, he sure sounded like one, and between him and the stranger, I understood the similarities and differences between existentialism and nihilism.

Marie. A simple girl hopelessly in love with a man who would not love her back. Harley Quinn. A villain with dense backstory, and another girl who is stuck being in love with a man who will not love her the way she does him.

Marie and Harley Quinn are from two entirely different universes, and it is incredibly easy to draw parallels between the two women. Marie throws herself into constant trysts with Meursault, resulting in him using her for her body to satisfy his urges. He has never seen her for the women she truly is. Harley, on the other hand, is in a similar situation. Harley constantly begs Joker for attention and validation, but only receives it at his discretion.

When looking at Marie’s relationship with Meursault, Marie is constantly looking for his attention, receiving little to none back. When she asks him to marry her, he emotionlessly replies that he doesn’t care and that, if she wants to, he is fine with doing so because it’s whatever to him. While he is technically agreeing to the marriage, he shows no emotion when doing so, lifelessly giving his consent to marriage. Whereas, when Marie is asking for his hand, she is obviously very excited and is undeniably looking for his excitement in return. She is genuine and he does not reciprocate that.

Similarly, Harley Quinn is constantly on the lookout for the Joker’s attention. All of her actions are done with his approval as the goal, and does whatever is asked of her. However, when looking for validation from him for her actions, she only receives it when he wants to give it to her. Using the 2016 film Suicide Squad as an example, there is a pivotal scene that elaborates on Harley Quinn’s awakening from her former persona as psychiatrist Dr. Harleen Quinzel. In this scene, she is willing to live, die, and fall hundreds of feet into a chemical pool for him. She makes it clear her life is no longer hers, but now the Joker’s. Furthermore, he only pays attention to her when it is convenient to him, not so different from the relationship between Marie and Meursault.

When comparing these characters, one can see that Marie and Harley are not too unalike from the other. They are both constantly looking for validation and attention from their partner, willing to extend themselves to lengths that aren’t reciprocated. Both women are in a toxic relationship but are blind to how it is impacting them, chasing after love they will never catch.

Existentialism serves as a key factor of Albert Camus’ works, “The Stranger” and “The Myth of Sisyphus.” These two pieces share the exploration of existentialism, the absurdity of life and how it operates, and the significance of individualism and freedom.

Both works vividly delve into the concept of the absurdity of life. In “The Stranger,” Meursault’s detachment from societal norms and indifference to life’s events show existentialism that existence doesn’t have purpose and meaning, revealing the absurdity of it. At the same time, “The Myth of Sisyphus” portrays Sisyphus’s eternal punishment as a metaphor for the futile nature of human existence. Sisyphus, by embracing his punishment and finding meaning through rebellion against the absurdity, exemplifies the central existentialist theme of being absurd.

These works emphasize individualism and personal freedom. Existentialism is displayed in both “The Stranger” through Meursault’s choices and in “The Myth of Sisyphus” through Sisyphus’s relentless defiance against meaninglessness. Both works challenge societal norms, emphasizing that individuals must confront the absurdity of existence and choose their paths in life. This shows that “The Stranger” and “The Myth of Sisyphus” mirror each other in their exploration of existentialism, revealing Albert Camus’ consistent existentialist perspective and giving insights into the human condition and the pursuit of meaning in an absurd world.

In the novel, The Stranger, by Albert Camus, the protagonist Meursault is an existentialist. In his life this means he does not form deep connections or think very profoundly about anything because in his mind, nothing matters. It will all come to an end one day so why waste time putting effort into life?

I find this interesting because to me and I think it’s fair to say, to most, this seems like a very negative thing. It sounds sort of depressing to live a life caring about nothing, including what happens to yourself or others. However, what I wonder about this point of view is if nothing matters and it will all come to an end eventually, why not do the opposite. Why not live your life to the absolute fullest, trying your very best to stay as happy and free in a more positive life. I guess this is me questioning or maybe critiquing existentialism because with this definition of it, I can’t help but think, what if you took the same values and used them to live life in the exact opposite way. Is that a thing? I just found it interesting because this was my first real reading where existentialism was the main idea of the text. It is definitely not the kind of book I would choose to pick up but none the less I enjoyed The Stranger a lot and found the morals behind it very interesting and new to me.

People have made the claim that in Albert Camus’ novel, The Stranger, the French-Agerian author attempts to inflate patriarchal views. Camus’ novel stars the stoic young Meursault, a calm and unemotional man who is referenced multiple times throughout the book as reasonable and understanding. Many of the female characters in Camus’ novel are made to represent the exact opposite of Meursault’s coolness. Female characters such as Marie are introduced to the reader as emotional and dependent. For example, early on in the story, Marie becomes romantically involved with Meursault and even asks if he would be open to the idea of marriage with her. While Meursault is not against marriage he makes it obvious that in his mind things like marriage and romance are not priorities, and he is often troubled with ‘much deeper thoughts’ than love. Instances like these cause readers to deem Camus’ interpretation of women throughout the novel as sexist, showing them only as needy, dependent, and shallow thinkers who solely concern themselves with lust and romance. However, this may not have been Camus’ intention at all. Instead, it could be that this way of writing the story is the product of patriarchal views in the subconscious of Camus’ mind that were present all around him in the way his novel was written. 

In the 1940s, when this novel was published, France was amidst World War II. Men were off at war, fighting for their country and their lives, and leading what was deemed the noble battle for freedom, while women were left home to tend to their families, their homes, and oftentimes small jobs in factories and other facilities that were just beginning to let women work due to the circumstances of the war. Society in France was far from what it is today, and this style of living may have greatly affected Camus when writing The Stranger.

Because of these circumstances, The Stranger’s interpretation of women can be seen in a different light. Things that we often deem sexist today may have been seen as progressive in the past, especially in the climate of World War II. For example, Camus’ display of women as sexually determined and complex, romantically inclined beyond just the interest of their partners, and as independent thinkers who carry out their desires despite the strong societal influences of the time telling them to do otherwise, can display how Camus shows sides of women that were not always seen as present or favorable at the time. Although many of the things Camus portrays women as may be deemed sexist today, by reading further into the time period and circumstance we can see how Camus’s display of women may have never been aimed to be sexist or make a statement about women at all. Although this may not be my full opinion of his writing or motives, it is important to take into account the circumstances of the time when evaluating his representation of women in his literature.

“Hey there, little stranger
You’re right, I don’t even know your name
Such a mysterious creature
I’ve stumbled upon  my way”

This line taken from Little Stranger by Dawid Podsiadło which symbolizes the meeting of a stranger and the impact the interaction has on an individual. The song has undertones of sadness and regret however matches The Strangers theme of betrayal and unapologetic acceptance of character as the narrators in the end both come to the conclusion of their actions and accept it. However what makes it interesting is even in these lines of text, the other person the narrator is talking to is not given a name nor an identity but seen as a creature which correlates to the way The Stranger identified Muslims as a whole.

“The walls are crushing the windows open and I fall
Flying through all the mistakes I have done
I see it clearly all of the disappointed faces
I see the damage I’ve caused in their own spaces”

These lines focus on the overall damage they have caused to other people and the mass levels of disappointment caused by the Narrator. Just as Meursault was able to identify those who hated him and considered him a villain just off understanding his actions. “The walls are crushing” perhaps alluding to the confined spaces of prison in which the narrator and Meursault were forced to endure and ponder their actions and reflect on their overall life which could be the transition to the next line. “Flying through all the mistakes I have done” which could allude to the self reflection in prison both characters endure as they ponder their actions.

“I was a liar, I was not worth of being trusted
I was a mugger mugged closest people stole their hearts and
Now I know, that’s why I am alone
Hey little stranger, thank God you’re finally home”

These lines symbolize the narrator’s acceptance of his situation as he begins to self accept his own faults such as Meursault did. The line “I was a liar, I was not worth of being trusted” is an example of how in the end both characters begin to accept the idea of the loss of freedom as they come to terms with everything they have caused. Even transitioning to the lines “Now I know, that’s why I am alone” alluding to the idea of being in captivity or having no one such as Meursault did in prison before he was sentenced to death. These lines choose to transition the narrator’s crime and punishment even leading to the eventually transitioning to the final lines.

“I think you’ve got me in a place you wanted to
You were meeting me, I was not meeting you
It’s time to act only one thing left for me
I need to wake up from my flawless dream,

Hey there, little stranger
I think I get it now”

After hearing this song you come to realize in the end the Narrator realizes there is only one fate left for him in this case being death. Meursault even in the end chose to accept his death with the chilling lines “I had only to wish that there be a large crowd of spectators the day of my execution and that they greet me with cries of hate”. This line connects to the final line of the song in which the Narrator finally accepts the fate given to him, understanding that by accepting the judgment given to the world he can finally accept his life in death and finally move on to a happier place. 

“Feet don’t fail me now
Take me to the finish line
Oh, my heart it breaks every step that I take
But I’m hoping that the gates, they’ll tell me that you’re mine
Walking through the city streets
Is it by mistake or design?
I feel so alone on the Friday nights
Can you make it feel like home if I tell you you’re mine?”

This reads the opening verse of Lana Del Rey’s song Born to Die which is apart of her album Born to Die – The Paradise Edition, first released on January 27, 2012. This song reflects longing undertones and perpetuates a very similar idea as The Stranger which is the mindset of moving forward in life believing everything will come to an end in the grand scheme of things. However, there is a slight difference in the perspective of the song and that of the novel.

For instance, The Stranger, taking on a very masculine focused perspective, discussed love as if it is truly worthless and meaningless as it scarcely touched on the deeper characteristics, needs, and wants of female characters. Though Meursault maintains the values (or lack of) which endows that life is absurd and nothing matters, Marie appears to hold out the diminishing hope that Meursault could one day love her the way she loved him, adding some sense of meaning to this value.

After reading The Stranger, one may be read the title of this song and assume its relation is to the perspective of Meursault and his carelessness for life and everything in it, but under further analysis, it is revealed that it more accurately reflects the perspective of Marie and her experience in loving someone like Meursault. This very assumption in fact indicates an individual’s personal bias after reading the story which, heavily centered on Meursault, forgets Marie’s emotions and in itself solely focuses on her physical characteristics rather than her emotional ones. It is safe to say that her emotions include questioning her relationship with Mersault, specifically after he became locked up in prison.

In the story, when Meursault first becomes locked up, Marie visits often, discussing marriage and the future with him, but as the days progress, she visits less and less, most likely giving up on their relationship or slowly finding herself in a better situation without his presence. Lyrics which display this include “Sometimes love is not enough and the road gets tough, I don’t know why… the road is long, we carry on, try to have fun in the meantime”. In relation to the story, these lyrics would be set in the “meantime”, referring to the time period when Meursault was in prison and Marie, attempting to carry on with her life, waits for them to be reunited once more. “Sometime love is not enough” represents the harder days she may experience during this period which is spent holding onto the positive idea of Meursault that she has created in her head, that he loves her and is a fun person to be surrounded by, and longs for his presence.

However, like Born to Die, The Stranger progresses and Marie’s desires shift as she accepts the fate of the vanishment of her own idea of Meursault and a more accurate picture is painted. This can be perceived in the lyrics which read “Choose your last words, this is the last time, ‘Cause you and I, we were born to die”. Marie has advanced from her love, finally moving out of the existentialist hole that Meursault has dug, accepting that their values and needs did not align and there is more to the world and life than someone like Meursault.

Albert Camus’ unique novel, The Stranger, explores existentialism and the disconnectedness and absurdity of human existence. The protagonist, Meursault, is an interesting character whose actions are often perplexing and detached from societal norms. Meursault should’ve plead insanity in his murder trial as his unconventional behavior and emotional detachment align with symptoms of mental instability.

One of the key reasons behind the insanity defense for Meursault is his evident emotional detachment. The novel portrays him as an individual seemingly disconnected from his emotions, unable to grasp the traditional expectations of empathy and sympathy. Meursault’s nonchalance during his mother’s funeral, a crucial event, renders him a potential candidate for an insanity plea. His inability to mourn conventionally challenges the established norms surrounding human emotion, hinting at an underlying mental instability.

Additionally, Meursault’s existential turmoil further supports the possibility of an insanity defense. His overwhelming struggle to find meaning in life, with an intense awareness of life’s absurdity, plays a significant role in his actions. Meursault exhibits a sense of detachment from societal constructs such as morality, religion, and social interactions. By using the defense of insanity, Meursault would have been able to demonstrate that his unusual behaviors were a part of his profound existential crisis, rather than deliberate malice.

You would think that any lawyer would suspect Meursault’s mental instability and even consider the possibility of pleading insane, which one might find quite strange but maybe that’s why its called The Stranger.