The Minotaur or The Stop In Oran (The Minotaur, or Stopping in Oran) Albert Camus
Contents
The Minotaur or The Stop In Oran
Chapter I, The Street
Chapter II, The Desert in Oran
Chapter III, Sports
Chapter IV, Monuments
Chapter V, Ariadne’s Stone
The Minotaur or The Stop In Oran
for PIERRE GALINDO
There are no more deserts. There are no more islands. Yet there is a need for them. In order to understand the world, one has to turn away from it on occasion; in order to serve men better, one has to hold them at a distance for a time. But where can one find the solitude necessary to vigor, the deep breath in which the mind collects itself and courage gauges its strength? There remain big cities. Simply, certain conditions are required.
The cities Europe offers us are too full of the din of the past. A practiced ear can make out the flapping of wings, a fluttering of souls. The giddy whirl of centuries, of revolutions, of fame can be felt there. There one cannot forget that the Occident was forged in a series of uproars. All that does not make for enough silence.
Paris is often a desert for the heart, but at certain moments from the heights of Pere-Lachaise there blows a revolutionary wind that suddenly fills that desert with flags and fallen glories. So it is with certain Spanish towns, with Florence or with Prague. Salzburg would be peaceful without Mozart. But from time to time there rings out over the Salzach the great proud cry of Don Juan as he plunges toward hell.
Vienna seems more silent; she is a youngster among cities. Her stones are no older than three centuries and their youth is ignorant of melancholy. But Vienna stands at a crossroads of history. Around her echoes the clash of empires. Certain evenings when the sky is suffused with blood, the stone horses on the Ring monuments seem to take wing. In that fleeting moment when everything is reminiscent of power and history, can he distinctly heard, under the charge of the Polish squadrons, the crashing fall of the Ottoman Empire. That does not make for enough silence either.
To be sure, it is just that solitude amid others that men come looking for in European cities. At least, men with a purpose in life. There they can choose their company, take it or leave it. How many minds have been tempered in the trip between their hotel room and the old stones of the Ile Saint Louis! It is true that others have died there of isolation. As for the first, at any rate, there they found their reasons for growing and asserting themselves.
They were alone and they weren’t alone. Centuries of history and beauty, the ardent testimony of a thousand lives of the past accompanied them along the Seine and spoke to them both of traditions and of conquests. But their youth urged them to invite such company. There comes a time, there come periods, when it is unwelcome. “It’s between us two!” exclaims Rasti-gnac, facing the vast mustiness of Paris. Two, yes, but that is still too many!
The desert itself has assumed significance; it has been glutted with poetry. For all the world’s sorrows it is a hallowed spot. But at certain moments the heart wants nothing so much as spots devoid of poetry. Descartes, planning to meditate, chose his desert: the most mercantile city of his era. There he found his solitude and the occasion for perhaps the greatest of our virile poems: “The first [precept] was never to accept anything as true unless I knew it to be obviously so.” It is possible to have less ambition and the same nostalgia. But during the last three centuries Amsterdam has spawned museums. In order to flee poetry and yet recapture the peace of stones, other deserts are needed, other spots without soul and without reprieve. Oran is one of these.
Chapter I, The Street
I have often heard the people of Oran complain: “There is no interesting circle.” No, indeed! You wouldn’t want one! A few right-thinking people tried to introduce the customs of another world into this desert, faithful to the principle that it is impossible to advance art or ideas without grouping together.[1] The result is such that the only instructive circles remain those of poker-players, boxing enthusiasts, bowlers, and the local associations. There at least the unsophisticated prevails. After all, there exists a certain nobility that does not lend itself to the lofty. It is sterile by nature. And those who want to find it leave the “circles” and go out into the street.
The streets of Oran are doomed to dust, pebbles, and heat. If it rains, there is a deluge and a sea of mud. But rain or shine, the shops have the same extravagant and absurd look. All the bad taste of Europe and the Orient has managed to converge in them. One finds, helter-skelter, marble greyhounds, ballerinas with swans, versions of Diana the huntress in green galalith, discus-throwers and reapers, everything that is used for birthday and wedding gifts, the whole race of painful figurines constantly called forth by a commercial and playful genie on our mantelpieces. But such perseverance in bad taste takes on a baroque aspect that makes one forgive all.
Here, presented in a casket of dust, are the contents of a show window: frightful plaster models of deformed feet, a group of Rembrandt drawings “sacrificed at 150 francs each,” practical jokes, tricolored wallets, an eighteenth-century pastel, a mechanical donkey made of plush, bottles of Provence water for preserving green olives, and a wretched wooden virgin with an indecent smile. (So that no one can go away ignorant, the “management” has propped at its base a card saying: “Wooden Virgin.”) There can be found in Oran:
1) Cafes with filter-glazed counters sprinkled with the legs and wings of flies, the proprietor always smiling despite his always empty cafe. A small black coffee used to cost twelve sous and a large one eighteen.
2) Photographers’ studios where there has been no progress in technique since the invention of sensitized paper. They exhibit a strange fauna impossible to encounter in the streets, from the pseudo-sailor leaning on a console table to the marriageable girl, badly dressed and arms dangling, standing in front of a sylvan background. It is possible to assume that these are not portraits from life: they are creations.
3) An edifying abundance of funeral establishments. It is not that people die more in Oran than elsewhere, but I fancy merely that more is made of it.
The attractive naivete of this nation of merchants is displayed even in their advertising. I read, in the handbill of an Oran movie theater, the advertisement for a third-rate film. I note the adjectives “sumptuous,” splendid, extraordinary, amazing, staggering, and “tremendous.” At the end the management informs the public of the considerable sacrifices it has undertaken to be able to present this startling “realization.” Nevertheless, the price of tickets will not be increased.
It would be wrong to assume that this is merely a manifestation of that love of exaggeration characteristic of the south. Rather, the authors of this marvelous handbill are revealing their sense of psychology. It is essential to overcome the indifference and profound apathy felt in this country the moment there is any question of choosing between two shows, two careers, and, often, even two women. People make up their minds only when forced to do so. And advertising is well aware of this. It will assume American proportions, having the same reasons, both here and there, for getting desperate.
The streets of Oran inform us as to the two essential pleasures of the local youth: getting one’s shoes shined and displaying those same shoes on the boulevard. In order to have a clear idea of the first of these delights, one has to entrust one’s shoes, at ten o’clock on a Sunday morning, to the shoe-shiners in Boulevard Gal-lieni. Perched on high armchairs, one can enjoy that peculiar satisfaction produced, even upon a rank outsider, by the sight of men in love with their job, as the shoe-shiners of Oran obviously are. Everything is worked over in detail. Several brushes, three kinds of cloths, the polish mixed with gasoline.
One might think the operation is finished when a perfect shine comes to life under the soft brush. But the same insistent hand covers the glossy surface again with polish, rubs it, dulls it, makes the cream penetrate the heart of the leather, and then brings forth, under the same brush, a double and really definitive gloss sprung from the depths of the leather. The wonders achieved in this way are then exhibited to the connoisseurs. In order to appreciate such pleasures of the boulevard, you ought to see the masquerade of youth taking place every evening on the main arteries of the city.
Between the ages of sixteen and twenty the young people of Oran “Society” borrow their models of elegance from American films and put on their fancy dress before going out to dinner. With wavy, oiled hair protruding from under a felt hat slanted over the left ear and peaked over the right eye, the neck encircled by a collar big enough to accommodate the straggling hair, the microscopic knot of the necktie kept in place by a regulation pin, with thigh-length coat and waist close to the hips, with light-colored and noticeably short trousers, with dazzlingly shiny triple-soled shoes, every evening those youths make the sidewalks ring with their metal-tipped soles. In all things they are bent on imitating the bearing, forthrightness, and superiority of Mr. Clark Gable.
