There are times when the line between tragedy, irony, absurdity and cruelty is so fine that it is almost impossible to appreciate it. It happened on the afternoon of January 4, 1960 in the Route Nationale 5 of France, near the town of Villeblevinin Burgundy, when a luxury car left the road and crashed into a plane tree. The impact was so violent that it immediately killed one of its occupants, the famous writer Albert Camus. That’s the tragic part of the story. The ironic (or cruel, who knows) thing is that this absurd death silenced a writer who had stood out precisely for its depth when analyzing the meaninglessness of the human condition. A fateful change of plans They say that Albert Camus he didn’t like them cars or speed. True or not, the reality is that his initial idea to return to Paris after spending the Christmas holidays in Lourmarin was to take a train. Even came to buy the ticket, which according to some versions he had in his pocket at the time of his death. If he finally chose to travel by road it was because Michel Gallimardhis friend and editor, convinced him to return with him and his family aboard his brand new Facel Vegaa French luxury car brand that fell in love, inter aliato Pablo Picasso, Ava Gardner or James Dean. That change of itinerary (now we know) was a blunder. On the afternoon of January 4, 1960, while driving through Burgundy, Gallimard’s Facel Vega FV3B suffered a puncture that caused it to lurch, according to a reconstruction published at the time by the magazine L’Automobile and rescued in 1961 by Atlantic. What exactly happened? The left rear tire is believed to have burst. The tire slid on the asphalt. The right front wheel went into a ditch. And the car went to the side. The Facel Vega ended up hitting a tree. The impact was so strong that the vehicle spun and suffered a second collision against another of the plane trees that flanked the road. The scene, which the drivers of National Route Number 5 soon approached, gives an idea of the violence of the accident: the engine and gearbox were thrown and the chassis ended up twisted. As for the people who were traveling on board, they all suffered the impact, but not to the same extent. Gallimard’s wife and daughter were bleeding after being thrown from the back of the car, although they were well enough to call the family pet. The driver was unconscious, so he had to be taken to the hospital, where despite all attempts to save his life (he was even transferred from Villeneuve-la-Guyard to Paris) he died days later. The worst off was Camus, who was traveling as a passenger in the right front seat. After the first crash and lurch, the Facel Vega was bounced and hit a second log, which hit the door located right next to the writer. It is believed that he died instantly. When the reporters began to arrive at the scene, after learning that this was not just another accident, but the accident that had deprived French literature of one of its great promises, they found a destroyed dashboard that left two figures to remember: the clock, whose hands marked 1:54; and a speedometer stuck at 145 km/hwhich raises the question to what extent speed played a key role in the tire blowout. “Unforeseen and absurd” Although Camus was only 46 years old (he had turned two months earlier) he was already a celebrity inside and outside France, both for the scope of his literary work and his prestige as an intellectual, activist and philosopher. As if that weren’t enough a few years earlier, in 1957had become the second youngest writer to win the Nobel Prize in Literature. This great fame explains why French public radio interrupted its musical programming to break the news, which ended up reaching media outlets around the world. The Korean newspaper The Chosun Daily dedicated multiple pages and in Spain the news was picked up by, among others, the newspaper ABCwhose correspondent I remembered that the blow had been so violent that the car was broken into three pieces. The chronicle the firm Federico García-Requena, correspondent in Paris, who chose a headline that went beyond simply informative: “The death, unforeseen and absurd, of Albert Camus.” The term ‘unforeseen’ is obvious, but to understand the term ‘absurd’ (beyond the fact that all deaths on the asphalt are absurd) it is necessary to know more about Camus’ philosophical legacy. If he explored something in his work, both from narrative fiction (‘The Stranger’) and from the philosophical essay (‘The Myth of Sisyphus’), it is the absurdity, the absolute meaninglessness of human existence. Although for the writer of Algerian origin, assuming that maxim is not equivalent to adopting a defeatist attitude. On the contrary: “This essay considers the absurdity, taken until now as a conclusion, as a starting point“, ‘The Myth of Sisyphus’ startsperhaps the work in which he deepens his vision of existence the most. “All that can be said is that this world, in itself, is not reasonable. But what is absurd is the confrontation of that irrational and that unbridled desire for clarity whose call resonates in the depths of man,” Camus exposes on the following pages. “The absurd is born from this confrontation between the human call and the unreasonable silence of the world. This is what must not be forgotten. This is what must be clung to, since the entire consequence of a life can be born from it.” Faced with this suffocating reality, Camus reminds us that embracing the absurd is not equivalent to resignation. On the contrary. “This rebellion gives life its value. Extended throughout an entire existence, it restores its greatness. For a man without blinders there is no more beautiful spectacle than that of intelligence in struggle with a reality that surpasses it. The spectacle of human pride … Read more
