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The Meursault Investigation by Kamel Daoud
The Meursault Investigation by Kamel Daoud (2013) Original French title: Meursault, contre-enquête.
Preamble: I downloaded a sample of the English translation on my kindle. All the translations of this post are by John Cullen who translated The Meursault Investigation into English.
The Meursault Investigation by Kamel Daoud is a story based on The Stranger by Albert Camus, told from the side of the victim’s family. The narrator is the victim’s younger brother and Daoud’s novel relates both the murder seen from the Arabs’ side and the consequences of this event on the younger brother’s life.
From the first sentence, the reader knows that The Meursault Investigation is constructed as a mirror to The Stranger. Indeed, it opens with Aujourd’hui, M’ma est toujours vivante. (Mama’s still alive today), a counterpart to Camus’s Aujourd’hui Maman est morte. (Maman died today) In a sense, the book is like a negative in photography.
In the first pages, the narrator mulls over the fact that the Arab killed in L’Etranger has no name. His first mission is to give him his name back, he says he was named Moussa. Our narrator is in a café, drinking wine and telling his story to a stranger. French is the language because this story needed to be told with the language of the colonizer. The pace of the story is in short chapters and often they end with a direct address to the reader, as if he were in the café, listening a storyteller. It’s like Scheherazade leaving cliffhangers to have her audience back the next day. You don’t see it in English, but in French, it’s said with the “tu” form and not “vous”. For me, it’s also a way to remind us that the narrator doesn’t use his native language for this story, that his native language is Arabic were the “vous” form isn’t used in spoken language.
Daoud never mentions Camus in his novel but he’s everywhere. He’s paraphrased in chapters, a mirroring text to the original, a text in reverse, the same way Arabic is written from right to left when French is written from left to right.
As I said, Camus is never mentioned directly and L’Etranger is a first-person narrative. This allows a confusion between the writer and the character, something that is very clear in this paragraph:
| Comme tous les autres, tu as dû lire cette histoire telle que l’a racontée l’homme qui l’a écrite. Il écrit si bien que ses mots paraissent comme des pierres taillées par l’exactitude même. C’était quelqu’un de très sévère avec les nuances, ton héros, il les obligeait presque à être des mathématiques. D’infinis calculs à base de pierres et de minéraux. As-tu vu sa façon d’écrire ? Il semble utiliser l’art du poème pour parler d’un coup de feu ! Son monde est propre, ciselé par la clarté matinale, précis, net, tracé à coup d’arômes et d’horizons. La seule ombre est celle des « Arabes », objets flous et incongrus, venus « d’autrefois », comme des fantômes et avec, pour toute langue, un son de flûte. Je me dis qu’il devait en avoir marre de tourner en rond dans un pays qui ne voulait de lui ni mort ni vivant. Le meurtre qu’il a commis semble celui d’un amant déçu par une terre qu’il ne peut posséder. Comme il a dû souffrir, le pauvre ! Etre l’enfant d’un lieu qui ne vous a pas donné naissance. | I’m sure you’re like everyone else, you’ve read the tale as told by the man who wrote it. He writes so well that his words are like precious stones, jewels cut with the utmost precision. A man very strict about shades of meaning, you hero was; he practically required them to be mathematical. Endless calculations, based on gems and minerals. Have you seen the way he writes? He’s writing about a gunshot, and he makes it sound like poetry! His world is clean, clear, exact, honed by morning sunlight, enhanced with fragrances and horizons. The only shadow is cast by “the Arabs,” blurred, incongruous objects left over from “days gone by”, like ghost, with no language except the sound of a flute. I tell myself he must have been fed up with wandering around in circles in a country that wanted nothing to do with him, whether dead or alive. The murder he committed seems like the act of a disappointed lover unable to possess the land he loves. How he must have suffered, poor man! The be the child of a place that never gave you birth… |
Where does the assimilation between Camus and Meursault begin and end? The man who wrote it can be both Camus writing a novel and Meursault writing his journal. They were both born in Algeria. L’Etranger was written in 1942, before the War of Independence but I imagine that the tensions between the French colonizer and the locals were already palpable. Camus and Meursault were strangers to the land they were born to.
Let’s stop a bit and contemplate this paragraph.
Daoud perfectly nailed Camus’s style. That’s how I felt when I reread L’Etranger. I was dazzled by his words, his perfect way to describe the landscape and the Mediterranean light. Short sentences chiseled with precision. I have a reservation about the translation. When I read the French and the passage about Camus’s style, Daoud only uses the word pierre, not pierre précieuse. And John Cullen translated it with precious stone, and then jewels which takes the Anglophone reader to another path than the one I took. Perhaps Daoud told him that was his intention. That’s not the way I see it. When I read Daoud, I see carved stones, not gem stones. I see the rectilinear lines of buildings at the sea front in Algiers. I see light stones from a quarry, shaped into perfect geometrical stones to build buildings, to set up the inevitable ending of L’Etranger. I don’t see Camus as a jeweler, I see Camus as an architect and a builder.
Daoud also writes Il semble utiliser l’art du poème pour parler d’un coup de feu ! and not Il parle d’un coup de feu et on dirait de la poésie ! which would be He’s writing about a gunshot, and he makes it sound like poetry! In French, the use of art du poème is not natural and I wonder if it’s a way to show that the narrator is not a native French speaker and that he comes from a literary tradition where poetry holds a major place.
The end of the paragraph refers to the awkward place of French colonizers in Algeria. Some came to Algeria from Alsace and Lorraine after the 1870 debacle and the annexing of these regions to Germany. Part of the French living in Algeria were born there; they were not only people sent in Algeria for a few years as a military, a civil servant or an expat for a company. From an individual point of view, it was their country, in the sense of the place you were born. But of course, it was not their land because their presence was based on a conquest that took thirty years and they were living on stolen land, on a lie. Daoud’s words explain that for Algeria, Meursault was a stranger. For the French community, he was an outsider. This is why it’s difficult to clearly choose between the two titles used in English for L’Etranger, which covers both meanings in French.
I won’t tell more about the plot and how far the mirroring goes because it would spoil your reading. Suffice to say that it shows a narrator living in poverty and probably saved by the school system. (Like Camus and in the background, like Meursault) It shows Algeria after the independence, after the terrible decade of the 1990s and how a man who doesn’t comply to religious duties and drinks alcohol can feel as an outsider in his own country. The narrator might have something in common with Meursault after all.
The Meursault Investigation assumes that Camus never named the Arab who was killed because as an Arab, he was a non-entity. I don’t agree with this. I’m sure that a lot of scholars more qualified than me have written essays about it. As a common reader, when I closed L’Etranger recently, I thought this was a universal story and that the Algerian setting was incidental. Maybe Camus missed his place of birth in 1942, in the middle of the horrible WWII. To me, L’Etranger is closer to a Greek tragedy, something set up from the start, a literary machinery that corralled the character into the path designed by a writer who wanted to point out the absurdity of life, the narrowmindedness of his society and show his vision of life through a novel. I don’t read anything into the Algiers setting, sorry.
I think The Meursault Investigation is a brilliant book that left me puzzled. Its construction is skillfully done, Daoud knows Camus’s work inside out. There are obviouns references to L’Etranger but to other works by Camus like Caligula or The Myth of Sisyphus. I don’t fully agree with his interpretation of L’Etranger but Daoud wrote a compelling story and also used Camus’ novel as a stepladder to criticize his own country. I really recommend (re)reading L’Etranger before diving into The Meursault Investigation. It’s only 120 pages long and it will enhance your reading of Daoud’s novel.
Other reviews:
- Stu’s at Winston’s Dad
- Tony’s at Tony’s Reading List
- The Guardian (but there are spoilers)
- The New York Times (spoilers too but fascinating about today’s Algeria)
- Richard’s review of L’Etranger
- Richard’s review of Meursault, contre-enquête
- Frances’ review
- Tony Messenger’s review of L’Etranger
- Tony Messenger’s review of Meursault, contre-enquête
Book Around the Corner 