AmericCamus 1959: Albert Camus en Amérique maccarthyste par Alek Baylee Toumi

Abstract

Reviewed by: AmericCamus 1959: Albert Camus en Amérique maccarthyste par Alek Baylee Toumi E. Nicole Meyer Toumi, Alek Baylee. AmericCamus 1959: Albert Camus en Amérique maccarthyste. L'Harmattan, 2020. ISBN 978-2-343-20398-0. Pp. 102. Given Toumi's five previous plays featuring Jean-Paul Sartre, Simone de Beauvoir, and Albert Camus, the latter being the topic of the author's research, the reader understands this play is imaginary, albeit containing factual links to Camus. Toumi sets up the play's action through three constructs. First, several quotes orient our reading of the play. This highlights Camus's appreciation of humour as well as his distaste for contemporary intellectual society "où le réflexe a remplacé la réflexion, où l'on pense à coup de slogan et où la méchanceté essaie de se faire passer trop souvent pour l'intelligence" (7). Second, the cast list includes well-known scholar, Germaine [End Page 266] Brée, and Camus, as well as Gerry and Judy, two former colleagues of the author. Inconsistencies appear. For instance, Toumi mentions that Brée arrives in 1960 to the University of Wisconsin-Madison, his alma mater. However, the action of the play occurs there in November 1959. Third, the "présentateur" sets up the premise of the return of La peste "Trumpism" as a parallel to McCarthyism of the era represented in the play. Toumi argues that Camus's joy, sense of humor, and passion for life remain the ultimate form of pacifist Resistance. Constructed in four "Tableaux," the first and by far the longest, is composed of four scenes, the others each of two. The first Tableau shares Camus arrival, banal exchanges, and quotidian details (sandwich, shower, unseasonably warm weather). Certain recognizable details add veracity—the location of a now defunct train station, the Italian deli where Brée buys her bread. Within a few pages, the character Camus and Brée chat. Camus critiques mediocre, mean intellectuals. An interesting, albeit wide ranging discussion ensues; topics include Algeria, Spanish fascism, his Nobel Prize, and various authors they have read. The rapid jumps in subjects might appear more an exercise in namedropping to some. Clever wordplay will appeal to others. Central themes include Camus's passion for writing, family (especially his former and now current partner, Maria), and his love for Algeria despite his prediction that in becoming an "Algérie arabe, d'exclusions et de haines" (42), it will autodestruct. Lacking transition, scene 4 commences with Camus singing Georges Brassens's songs to Brée, who criticizes American conservatism and their lack of appreciation. The second Tableau brings both to campus. Scène 2 introduces Gerry and Judy who dine with the duo that evening. They barely speak—Gerry tells several "Frenchie jokes," while Judy comes off as silly. Of all of the named characters, she is the only one still living, and in November 1959, was a high school freshman. One wonders why these characters are named at all. The last two Tableaux leave politics aside and are the most successful. A conversation with students and professors in the penultimate is followed by a job interview in which Camus hides his identity. Toumi's affinity for Camus, and their mutual love of Algiers and Algeria come through well, helping the reader to understand an era of the past, as well as its link to our current times. E. Nicole Meyer Augusta University (GA) Copyright © 2021 American Association of Teachers of French