Define Absurdism
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Absurdism: A Note on the Philosophical School
To exist is to be burdened with questions that resist answers. From the earliest myths to the latest scientific models, humanity has struggled to make sense of its place in an indifferent universe. At the heart of this struggle lies a deep, persistent tension between our desire for meaning and the silent vastness that greets our inquiries. This tension is not merely existential—it is absurd. It is from this point of fracture that Absurdism, a profound and unsettling philosophical current, emerges. Absurdism is not a formal system but a way of seeing, born in the crucible of 20th-century disillusionment. Its roots can be traced through the existential undercurrents of Søren Kierkegaard, the stoic resignations of ancient philosophers, and the modernist literature of Kafka and Dostoevsky. But it is in the work of Albert Camus—writer, thinker, and reluctant philosopher—that Absurdism comes into its own. In his essay The Myth of Sisyphus, Camus articulates the core dilemma: the human yearning for clarity and unity confronts a world that offers neither. The result is absurd—not because life is inherently meaningless, but because meaning itself seems inaccessible. This book seeks to explore Absurdism not as a morbid curiosity, but as a vital and enduring lens through which to view the human condition. In doing so, it considers the Absurd not as a nihilistic dead-end, but as a confrontation that demands a response. What does one do in the face of the Absurd? Camus insists we must rebel—not by clinging to false hope or despairing into silence, but by affirming life, by living with defiance and without appeal. In the pages that follow, you will find a journey through the historical context that gave rise to Absurdist thought, an examination of its key texts and figures, and a critical look at its resonance in art, literature, and contemporary life. Though Absurdism shares terrain with existentialism and nihilism, it remains distinct in its ethical orientation and its insistence on lucidity. It neither comforts nor condemns. It challenges us to live without illusion—a stance both liberating and exacting. Absurdism is not a solution, nor does it seek one. Rather, it offers a discipline of attention, a kind of honesty, and perhaps even a form of freedom. To see clearly the tension between our longing and the world's silence is not to retreat, but to continue forward with eyes open. In a time when certainty often comes too cheaply and meaning is marketed in empty packages, Absurdism asks us to consider a different path: one of courage, presence, and revolt. This book is intended for the curious reader who has sensed, perhaps faintly or perhaps with urgency, the disquieting gap between their questions and the answers they have been offered. It does not promise solace, but it does offer companionship—for in wrestling with the Absurd, we are not alone. And in naming it, we begin to understand how to live with it. Welcome to the Absurd.
The Myth of Sisyphus And Other Essays
One of the most influential works of this century, The Myth of Sisyphus and Other Essays is a crucial exposition of existentialist thought. Influenced by works such as Don Juan and the novels of Kafka, these essays begin with a meditation on suicide; the question of living or not living in a universe devoid of order or meaning. With lyric eloquence, Albert Camus brilliantly posits a way out of despair, reaffirming the value of personal existence, and the possibility of life lived with dignity and authenticity.
Edward Albee and Absurdism
In Edward Albee and Absurdism—the inaugural volume in the new book series, New Perspectives in Edward Albee Studies—Michael Y. Bennett has assembled an outstanding team of Edward Albee scholars to address Albee’s affiliation with Martin Esslin’s label, “Theatre of the Absurd,” examining whether or not this label is appropriate. From scholarly essays and lengthy review-essays to an important interview with the noted playwright and director, Emily Mann, the aim of this collection is to, at last, directly (and indirectly) confront Esslin’s label in regards to Albee’s plays in order to create a scholarly atmosphere that allows future Albee scholars to move on to new and, frankly, more relevant lines of inquiry. Contributors are: Michael Y. Bennett, Linda Ben-Zvi, David A. Crespy, Colin Enriquez, Lincoln Konkle, David Marcia, Dena Marks, Brenda Murphy, Tony Jason Stafford, and Kevin J Wetmore Jr.