ROBERT SIEGEL, HOST:
The most talked about novel written in French recently it is not by a Frenchman, but by an Algerian. His name is Kamel Daoud, and we're going to hear from him in this part of the program. His novel is called "The Meursault Investigation." It's a response to the most famous novel ever written by a French Algerian, a mainstay of the 20th century canon "The Stranger" by Albert Camus.
ALICE KAPLAN: Algerian writers, whether or not they agreed with Camus, they've always loved this novel, and it's really part of the literary patrimony of Algeria.
SIEGEL: That's Alice Kaplan, a Camus scholar at Yale. Kaplan says "The Stranger" has been endlessly debated since it was published more than 70 years ago. What do we make of its alienated impassive protagonist and narrator, a Frenchman named Meursault? What do we make of Meursault's senseless murder of an Arab who has no name? Of the death sentence Meursault receives, imposed largely because he didn't cry at his mother's funeral? The death of Meursault's mother provides one of the most famous opening lines in 20th century literature - the opening lines of "The Stranger."
KAMEL DAOUD: (Speaking French).
SIEGEL: "Today, Ma died, or maybe yesterday. I don't know."
Kamel Daoud's novel is called "The Meursault Investigation." It's told from the point of view of an Algerian named Harun. He is the younger brother of the Arab man Meursault killed. Meursault was a European who killed an Arab. Harun is an Arab who we learn killed a European. Harun's first line...
DAOUD: (Speaking French).
SIEGEL: "Mama's still alive today." That's Kamul Daoud, the novelist, by the way. He edits a French language newspaper in Algeria, and his novel has now been translated into English. Again, Alice Kaplan.
KAPLAN: Really, all he's doing is changing point of view, but it's an incredibly powerful move to change that point of view. I think he's given new life to "The Stranger" as he's created his own fictional universe. It's very much about contemporary Algeria.
SIEGEL: Kamel Daoud was in Avignon in France when we spoke in July. You'll hear him in translation. He sees his novel as complimenting and continuing Camus's novel.
DAOUD: (Through interpreter) My novel takes off from "The Stranger," but it also uses "The Stranger" as a pretext for questioning myself to find out who I am in the world today.
SIEGEL: Is it a rebuttal?
DAOUD: (Through interpreter) I contradict him, but I also vindicate his position. You have to know the status of Camus in Algeria is extremely complex. He's at once both French and Algerian. He's both claimed by some people and rejected by others. And he's also someone who evokes an extremely painful moment in Algerian history.
SIEGEL: In the 1950s and '60s, Algerians fought for their independence from France and the French left supported them. Camus broke with the left. Again, Alice Kaplan.
KAPLAN: He doesn't believe in their cause. He can only see Algeria as part of France.
SIEGEL: Could he see Algerian Muslims as part of France, as citizens with full rights?
KAPLAN: That's what he wanted. That's what he wanted. And he thought it could happen with France. He was very idealistic and his ideas were - they weren't realistic by the late '50s.
SIEGEL: So for Algerians who fought a bloody war for independence, Camus's status has been controversial.
DAOUD: (Through interpreter) But what is most fascinating for me is not Camus as an Algerian or a Frenchman, but it's Camus as a philosopher who really questioned his century. What is remarkable for me is that Camus also asks himself those very questions that I ask myself today.
SIEGEL: Albert Camus was in the French resistance against Nazism. Later, he rejected communism. He wrote about life as absurd, defying neat philosophical systems. Kamel Daoud was born into revolutionary secular Algeria. In the 1990s, the regime fought a civil war against Islamists. Daoud says Camus's insistence on the absurd is liberating.
DAOUD: (Through interpreter) It is the fundamental question about freedom, about what is freedom. I am born alone, and I die alone. This gives me the right to interrogate the world and to put world into question the way I choose. For me fundamentally, the absurd - Camus's absurd - gave me back my feeling of dignity. I will try to summarize this very simply. I have noticed that people who function within a closed philosophical system are the ones that practice the absurd, and those people are the ones who end up killing others.
On the other hand, the man who understands that the world is absurd, he's in a position to make sense of the world, to find meaning. It is because I know that the world is absurd that I'm not going to kill you. But if I somehow figure out that the world has meaning, I can kill you in the name of that meaning. It's called the Nazism, Jihadism, Islamism and the extreme right.
SIEGEL: I'm glad that you won't kill me.
DAOUD: (Through interpreter) I hope it's reciprocal.
SIEGEL: I assured him it was. In "The Meursault Investigation," Harun, Daoud's central character, is interrogated by a colonel of the newly independent Algerian regime. And the colonel says, this Frenchman, you should have killed him with us during the war, not last week.
DAOUD: (Through interpreter) That's exactly what's absurd about the situation because to kill is to kill. According to the situation, it's called legitimate defense or murder or war or conquest or civilization - it depends. You take a man who kills another, and if you add a woman, you call it an honor killing. If you add a flag, you call it war. And if you remove both, you can call it a crime. The fundamental question of our time is what prevents us from killing. What is most important is how we define what is sacred about life.
SIEGEL: And I'm just - I'm just curious. You describe yourself now as a liberal individualist in contemporary Algeria. Does that make you a stranger, an outsider, a foreigner?
DAOUD: (Through interpreter) Yes, because today I am a child of a culture that is collectivist and unanimist. The individual doesn't exist as such - only the collectivist exists. There was the famous slogan after what happened in Paris earlier this year, I Am Charlie. And in Algeria, they came up with an anti-slogan which was We Are Muhammad. It was not I am Charlie, but we are Muhammad. And this for me illustrates perfectly the impossibility of respect for the individual in Algeria today. It is an us and not an I.
SIEGEL: It sounds like a difficult place to be a writer.
DAOUD: (Through interpreter) Yes, but the place that's the hardest to write in is the one that's the most interesting to be a writer because if I am in a place that's too beautiful, then I'd rather live than write.
SIEGEL: Well, Kamel Daoud, thank you very much.
DAOUD: (Speaking French).
SIEGEL: Kamel Daoud was in Avignon in France when we spoke. He was at a festival where a play based on his novel, "The Meursault Investigation," was being staged. You can hear more from our series about artists in Muslim societies today at npr.org.
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