In telling the story of his metaphorical search for his father, who died in World War I, Camus returns to the “land of oblivion where each one is the first man” and must find his own answers. Published thirty-five years after its discovery amid the wreckage of the car accident that killed the Nobel Prize–winning novelist, this graphic interpretation of The First Man is the brilliant consummation of the life and work of one of the twenty century’s greatest authors.
Vivid and memorable. The figure of Cormery’s domineering grandmother, taking a rawhide switch to the troublemaking boy or up to her elbow in a toilet recovering a two-franc piece, is a synecdoche for the country’s intransigence and desperation. In an indelible chapter recalling a hunting trip in the countryside, Mr. Ferrandez’s panels open up to reveal the land in all its harshness and sun-bleached beauty. — Wall Street Journal
Fragments by Camus are tenderly knitted together by translator Bloom and cartoonist Fernandez. — Publishers Weekly
The First Man is perhaps the most honest book Camus ever wrote, and the most sensual. Camus is writing at the depth of his powers. It is a work of genius. — The New Yorker [On Albert Camus’s THE FIRST MAN]
A masterpiece. One of the most extraordinary evocations of childhood that exists in any language. — The Boston Globe [On Albert Camus’s THE FIRST MAN]
Serves as a kind of magical Rosetta stone to Camus’s entire career, illuminating both his life and his work with stunning candor and passion. — Michiko Kakutani, The New York Times [On Albert Camus’s THE FIRST MAN]
Ferrandez excels with the pale vistas and brilliant light of Algeria, almost a character in the story. An expressive and attractive version of Camus’s challenging parable. — Library Journal [On Jacques Ferrandez’s THE STRANGER: THE GRAPHIC NOVEL]
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