Abstract
apparent, praising the Americans buoyantly, undiscriminatingly, and appropriating various techniques developed in the American novel. After absorbing what they needed or wanted, the French novelists rightly moved in their own directions; but then they began to attack some of the very elements that had presumably excited them, and to offer the major American revolution in sensibility and in style only the passing tribute of an oracular pronouncement. Jean-Paul Sartre, for example, as late as 1945 pronounced enthusiastically and unequivocally upon the technical achievements of the American novelists, their sincerity, and their influence upon the French.' But in Qu'est-ce que la litterature (1948), he approached the American writers like a collectivistic ideologue in the cold war. Albert Camus, in L'Etranger (1942), used finely some of Hemingway's techniques ;2 but by the time he formulated his aesthetic and
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