Camus at Stockholm: The Acceptance of the Nobel Prize

TRANSLATED BY JUSTIN O’BRIEN

UPON receiving the distinction with which your free academy has seen fit to honor me, I measured the extent to which that reward exceeded my personal deserts, and this only increased my gratitude. Every man and, even more understandably, every artist, wants recognition. I want it too. But it was not possible for me to learn of your decision without comparing its repercussions with whatever merits I really have. How could a man still almost young, possessed only of his doubts and of a work still in progress, accustomed to living in the isolation of work or the seclusion of friendship — how could he have failed to feel a sort of panic upon learning of a choice that suddenly focused a harsh spotlight on him alone and reduced to himself? And in what spirit could he receive that honor at a moment when other European writers, often the greatest among them, are reduced to silence, and at a time when his native land is experiencing prolonged suffering?

I felt that shock and that perplexity. I could recover my peace of mind, in short, only by adapting myself to an overgenerous fate. And inasmuch as I could not measure up to it through my own merits, I could think of no other help than what has always comforted me throughout life, even in the most adverse circumstances: the idea I entertain of my art and of the writer’s role. Please allow me to express my gratitude and friendship by telling you, as simply as I can, just what that idea is.

I cannot live as a person without my art. And yet I have never set that art above everything else. It is essential to me, on the contrary, because it excludes no one and allows me to live, just as I am, on a footing with all. To me art is not a solitary delight. It is a means of stirring the greatest number of men by providing them with a privileged image of our common joys and woes. Hence it forces the artist not to isolate himself; it subjects him to the humblest and most universal truth. And the man who, as often happens, chose the path of art because he was aware of his difference soon learns that he can nourish his art, and his difference, solely by admitting his resemblance to all. The artist fashions himself in that ceaseless oscillation from himself to others, midway between the beauty he cannot do without and the community from which he cannot tear himself. This is why true artists scorn nothing. They force themselves to understand instead of judging. And if they are to take sides in this world, they can do so only with a society in which, according to Nietzsche’s profound words, the judge will yield to the creator, whether he be a worker or an intellectual.

By the same token, the writer’s function is not without arduous duties. By definition, he cannot serve today those who make history; he must serve those who are subject to it. Otherwise he is alone and deprived of his art. All the armies of tyranny with their millions of men cannot people his solitude — even, and especially, if he is willing to fall into step with them. But the silence of an unknown prisoner subjected to humiliations at the other end of the world is enough to tear the writer from exile, at least whenever he manages, amid the privileges of freedom, not to forget that silence but to give it voice by means of art.

No one of us is great enough for such a vocation. Yet in all the circumstances of his life, unknown or momentarily famous, bound by tyranny or temporarily free to express himself, the writer can recapture the feeling of a living community that will justify him. But only if he accepts as completely as possible the two trusts that constitute the nobility of his calling: the service of truth and the service of freedom. Because his vocation is to unite the greatest possible number of men, it cannot countenance falsehood and slavery, which breed solitudes wherever they prevail. Whatever our personal frailties may be, the nobility of our calling will always be rooted in two commitments difficult to observe: refusal to lie about what we know and resistance to oppression.

For more than twenty years of absolutely insane history, lost hopelessly like all those of my age in the convulsions of the epoch, I derived comfort from the vague impression that writing was an honor today because the act itself obligated a man, obligated him to more than just writing. It obligated me in particular, such as I was, with whatever strength I possessed, to bear — along with all the others living the same history — the tribulation and hope we shared. Those men born at the beginning of World War I, who had reached the age of twenty just as Hitler was seizing power and the first revolutionary trials were taking place, who then had to complete their education by facing up to war in Spain, World War II, the regime of concentration camps, a Europe of torture and prisons, must today bring their children and their works to maturity in a world threatened with nuclear destruction. No one, I suppose, can expect them to be optimistic. I even go so far as to feel that, without ceasing to struggle against those who through an excess of despair insisted upon their right to dishonor and hurled themselves into the current nihilisms, we must understand their error. Nonetheless, most of us in my country and in Europe rejected that nihilism and strove to find some form of legitimacy. We had to fashion for ourselves an art of living in times of catastrophe in order to be reborn before fighting openly against the death instinct at work in our history.

Probably every generation sees itself as charged with remaking the world. Mine, however, knows that it will not remake the world. But its task is perhaps even greater, for it consists in keeping the world from destroying itself. As the heir of a corrupt history that blends blighted revolutions, misguided techniques, dead gods, and worn-out ideologies, in which second-rate powers can destroy everything today but are unable to win anyone over and in which intelligence has stooped to becoming the servant of hatred and oppression, that generation, starting from nothing but its own negations, has had to re-establish both within and without itself a little of what constitutes the dignity of life and death. Faced with a world threatened with disintegration, in which our grand inquisitors may set up once and for all the kingdoms of death, that generation knows that, in a sort of mad race against time, it ought to reestablish among nations a peace not based on slavery, to reconcile labor and culture again, and to reconstruct with all men an Ark of the Covenant. Perhaps it can never accomplish that vast undertaking, but most certainly throughout the world it has already accepted the double challenge of truth and liberty and, on occasion, has shown that it can lay down its life without hatred. That generation deserves to be acclaimed and encouraged wherever it happens to be, and especially wherever it is sacrificing itself. And to it, confident of your wholehearted agreement, I should like to transfer the honor you have just done me.

At the same time, after having extolled the nobility of the writer’s calling, I should have taken the writer down a peg, showing him as he is, with no other rights than those he shares with his fellow fighters: vulnerable but stubborn, unjust and eager for justice, constructing his work without shame or pride within sight of all, constantly torn between pain and beauty, and devoted to extracting from his dual nature the creations he obstinately strives to raise up in the destructive fluctuation of history. Who, after that, could expect of him ready-made solutions and fine moral codes? Truth is mysterious, elusive, ever to be won anew. Liberty is dangerous, as hard to get along with as it is exciting. We must progress toward those two objectives, painfully but resolutely, sure in advance that we shall weaken and flinch on such a long road. Consequently, what writer would dare, with a clear conscience, to become a preacher of virtue? As for me, I must say once more that I am far from all that. I have never been able to forget the sunlight, the delight in life, the freedom in which I grew up. But although that nostalgia explains many of my mistakes and shortcomings, it doubtless helped me to understand my calling, and it still helps me to stand implicitly beside all those silent men who, throughout the world, endure the fife that has been made for them only because they remember or fleetingly re-experience free moments of happiness.

Reduced in this way to what I am in reality, to my limits and to my liabilities, as well as to my difficult faith, I feel freer to show you in conclusion the extent and generosity of the distinction you have just granted me, freer likewise to tell you that I should like to receive it as a tribute paid to all those who, sharing the same fight, have received no reward, but on the contrary have known only woe and persecution. It remains for me then to thank you from the bottom of my heart and to make you publicly, as a personal token of gratitude, the same age-old promise of allegiance that every true artist, every day, makes to himself, in silence.