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Create Dangerously: The Power and Responsibility of the Artist Paperback – Oct. 29 2019

by Albert Camus (Author), Sandra Smith (Translator)

4.6 311 ratings

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A call to arms for artists, in particular those who came from an immigrant background, like he did. • “To create today means to create dangerously. Every publication is a deliberate act, and that act makes us vulnerable to the passions of a century that forgives nothing.”

In 1957, Nobel Prize-winning philosopher Albert Camus gave a speech entitled "Create Dangerously." Camus understood the necessity of those making art as a part of civil society. A bold cry for artistic freedom and responsibility, his words today remain as timely as ever. In this new translation, Camus's message, available as a stand-alone little book for the first time, will resonate with a new generation of writers and artists.

Print length

64 pages
Language

English
Publisher

Vintage
Publication date

Oct. 29 2019
Dimensions

11.07 x 0.58 x 15.85 cm
ISBN-10

1984897381
ISBN-13

978-1984897381
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Product description

About the Author

Born in Algeria in 1913, Albert Camus published The Stranger—now one of the most widely read novels of this century—in 1942. Celebrated in intellectual circles, Camus was awarded the Nobel Prize in Literature in 1957. On January 4, 1960, he was killed in a car accident.

Excerpt. © Reprinted by permission. All rights reserved.

I

The most important honest response possible is this: it does, in fact, sometimes happen that art is a deceitful luxury. As we well know, we can, anywhere and forever, admire the constellations from the rear deck of the galley while the slaves in the hold keep rowing, growing more and more exhausted; we can always hear the worldly conversations taking place in the seats of the amphitheater while the lion’s teeth tear into his victim. And it is very difficult to object about something in art that has known such great success in the past. Except for this: things have changed somewhat, and, in particular, the number of slaves and martyrs throughout the world has increased tremendously. In the face of such misery, art—if it wishes to continue to be a luxury—must today accept that it is also deceitful.

What would art speak of, in fact? If it were to conform to what the majority of our society asks of it, art would be merely entertaining, without substance. If artists were to blindly reject society, and choose to isolate themselves in their dreams, they would express nothing but negativity. We would thus have only the works of entertainers or experts in the theory of form, which, in both cases, would result in art being cut off from the reality of life. For nearly a century now, we have been living in a society that is not even the society of money (money and gold can arouse human passions); rather, it is a society full of the abstract symbols of money. Consumer society can be defined as a society in which objects disappear and are replaced by symbols. When the ruling class no longer measures its wealth in acres of land or gold bars, but rather by how many digits ideally correspond to a certain number of financial transactions, then that society immediately links itself to a certain kind of trickery at the very heart of its experience and its world. A society based on symbols is, in its essence, an artificial society in which the physical truth of humankind becomes a hoax.

We would then not be at all surprised to learn that such a society had chosen a type of morality based on formal principles, which it then turns into its religion; and such a society would inscribe the words freedom and equality on both its prisons and its hallowed financial institutions. However, these words cannot be prostituted with impunity. The value that is most vilified today is most certainly the value of freedom. Thinking people—I’ve always thought that there are two kinds of intelligence, intelligent intelligence and stupid intelligence—hold as a doctrine that freedom is nothing more than an obstacle on the path to true progress. But such solemn stupidities could only be put forward because for one hundred years, consumer society made an exclusive and unilateral use of freedom, considering it a right rather than an obligation and not fearing to use the principle of freedom to justify actual oppression—and as often as possible. From that point onward, is it truly surprising that such a society wished art to be not an instrument of liberation, but rather an exercise of little importance, simple entertainment? And so, all those high-society people who felt heartbroken over money or had emotional transactions were satisfied, for decades, with novelists who wrote about their world and produced the most useless kind of art imaginable. Oscar Wilde, thinking about himself before he went to prison, spoke of this kind of art, saying that the greatest of all vices was superficiality.

Product details

Publisher ‏ : ‎ Vintage (Oct. 29 2019)
Language ‏ : ‎ English
Paperback ‏ : ‎ 64 pages
ISBN-10 ‏ : ‎ 1984897381
ISBN-13 ‏ : ‎ 978-1984897381
Item weight ‏ : ‎ 59 g
Dimensions ‏ : ‎ 11.07 x 0.58 x 15.85 cm

Best Sellers Rank: #371,651 in Books (See Top 100 in Books)
- #91 in French Literary History & Criticism
- #1,460 in Literary Essays (Books)
- #1,525 in Author Biographies (Books)

Customer Reviews:
4.6 311 ratings

About the author

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Sandra Smith

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Sandra Smith was born and raised in New York City. As an undergraduate, she spent one year studying at the Sorbonne and fell in love with Paris. Immediately after finishing her BA, she was accepted to do a Master's Degree at New York University, in conjunction with the Sorbonne, and so lived in Paris for another year. After completing her MA, she moved to Cambridge, where she began teaching 20th Century French Literature, Modern French Drama and Translation at the University. Soon afterwards, she was accepted to study for a PhD at Clare College, researching the Surrealist Theatre in France between the two World Wars. Sandra Smith taught French Literature and Language at Robinson College, University of Cambridge for many years and has been a guest lecturer and professor at Columbia University, Harvard and Sarah Lawrence College. She currently lives in Minneapolis and teaches for NYU.

Literary/Translation Prizes for 'Suite française':

Winner of the Pen Book of the Month Club Translation Prize (USA) 2006

Winner of the French-American Florence Gould Foundation Translation Prize (USA) 2007

The Quill Award, USA, shortlisted for Book of the Year 2006, General Fiction category. (The only book in translation shortlisted.)

Jewish Quarterly Wingate Literary Prize for Fiction 2006. Shortlisted.

British Book Awards: Border's Book of the Year 2006. Shortlisted.

The Oxford Weidenfeld Prize for French Translation. Shortlisted.

Independent Newspaper Foreign Fiction Prize: only open to living authors, so ineligible, but awarded a 'Special Commendation' by the panel 19 January 2007.

Literary/Translation Prizes for Other Works:

'But You Did Not Come Back' by Marceline Loridan-Ivens, National Jewish Book Award, 2017: Winner

'The Prodigal Child' by Irène Némirovsky, Jewish Book Award, 2022: Finalist

'Inseparable' by Simone de Beauvoir, French-American Florence Gould Foundation Translation Prize 2022: Finalist

Top reviews from other countries

Swastik Karmakar

Nice book📕 😄😄😄😄

Reviewed in India on October 29, 2023

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Nisha Kumar

Good product for even better price, just slightly disappointed by the delivery

Reviewed in India on July 25, 2023

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This tiny volume contains three texts from Albert Camus translated by Justin O'Brien, namely:
1. Create Dangerously
2. Defence of Intelligence
3. Bread and Freedom

Nothing more to say about the book, it's got a good font size and production, all for the cheap price of 50 rupees.

Just my book was slightly dirty at the top, but that's the seller's fault.

Diogenes

A Bit Dated Now

Reviewed in the United Kingdom on October 22, 2023

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In these three lectures, Camus deals with matters of politics and art. It’s not his most compelling material, but it’s an interesting enough short read. A bit dated now.

Mac McAleer

Three post-war speeches

Reviewed in the United Kingdom on January 10, 2020

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This is a member of the Penguin Moderns series, which are true pocket-sized books. It has 54 small pages and is a book of speeches by Albert Camus (1). All the speeches were delivered between the end of the Second World War and his death in 1960.

The speech “Create Dangerously” is the longest speech in the book and the one I had the most difficulty with. It is simply written and accessible, but I could not understand what the overall theme of it was, nor what the conclusion was. Perhaps my problem is that this is a speech of its time and place. It was delivered a few days after Camus received the Nobel Prize for Literature and twelve years after the end of the Second World War. It may have made more sense at the time to a sophisticated post-Nobel audience in a continent divided into the West and East and in the middle of a cold war. Camus uses the word “art” a lot but mostly he is concerned with art as expressed by the writer in the writer’s writing. He states “To create today is to create dangerously. Any publication is an act, and that act exposes one to the passions of an age that forgives nothing.” (page 3). He thinks that art and artists should not be comfortable: “The freedom of art is not worth much when its only purpose is to assure the artist’s comfort.” (page 31).

The speech “Defence of Intelligence” was a speech given in March 1945, when the Second World War in Europe was almost, but not quite, finished. France had suffered four years of horror and anguish. The French were left with a hatred that Camus said they had to overcome.

The speech “Bread and Freedom” was given in 1953, eight years after the end of the Second World War. Camus says that the worker knows that bread depends, in part, on his freedom. “The society of money and exploitation has never been charged, so far as I know, with assuring the triumph of freedom and justice.” (page 42). “. . . bourgeois society talks about freedom without practising it . . . “ (page 45). The workers’ revolution of 1917 marked the dawn of real freedom but the world’s greatest hope hardened into the world’s most efficient dictatorship. “If someone takes away your bread, he suppresses your freedom at the same time. But if someone takes away your freedom, you may be sure that your bread is threated.” (pages 49/50).

__________________________________________________________________________________________________________
(1) There are three speeches: Defence of Intelligence, 1945, given to L’Amitié Française (6 pages);
Bread and Freedom, 1953, given at the Labour Exchange of Saint-Étienne (15 pages);
Create Dangerously, 1957, given at University of Uppsala a few days after Camus received the Nobel Prize for Literature (33 pages).

4 people found this helpful

Richard_92

like artists and writers

Reviewed in the United Kingdom on March 24, 2018

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This short work consists of three speeches: Create Dangerously, delivered in 1957 at the University of Uppsala, a few days after Camus was awarded the Nobel Prize in Literature; Bread and Freedom to the Labour Exchange of Saint-Etienne in 1953; and Defence of Intelligence at a meeting organised by L’Amitie Francaise in 1945.

Albert Camus was a French philosopher, author and journalist, famous for his novel The Stranger which reflected some of his absurdism views. He has had several novels published as well as short stories, nonfiction books, plays and essays.

This collection of speeches that discuss art, liberty and responsibility in post-war Europe are exquisitely articulated and provokes plenty of thinking and debating. Having read this during a week where Professor Stephen Hawking passed away, makes me wonder that this is perhaps the philosophical equivalent of Hawking’s A Brief History in Time, but in relation to art and the creator’s motive, obligation and constraints.

Camus discusses what is in the mind of creators, like artists and writers, and their approach to conveying their work, the reason for why they create, and the position it sits in terms of liberty. He moves on from this point in another essay where he speaks about the true meaning of freedom, and the concept that we are, and are not free.

To be honest I struggled with this collection of speeches from Camus. My eyes glazed over plenty sentences which seemed to go on forever, and talk endlessly about a certain meaning or concept. This would be gold dust to an Arts student at a university, but for a reader that is picking it up as a passing interest, it was a difficult read.

7 people found this helpful

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