Leaning over him, D’Arrast with his bare hand wiped the blood and dust from his shoulder, while the little man, his face against the ground, panted. He heard nothing and did not stir. His mouth opened avidly as if each breath were his last. [209] D’Arrast grasped him around the waist and raised him up as easily as if he had been a child. Holding him upright in a tight clasp with his full height leaning over him, D’Arrast spoke into his face as if to breathe his own strength into him. After a moment, the cook, bloody and caked with earth, detached himself with a haggard expression on his face. He staggered toward the stone, which the others were raising a little. But he stopped, looked at the stone with a vacant stare, and shook his head. Then he let his arms fall at his sides and turned toward D’Arrast. Huge tears flowed silently down his ravaged face. He wanted to speak, he was speaking, but his mouth hardly formed the syllables. “I promised,” he was saying. And then: “Oh, Captain! Oh, Captain!” and the tears drowned his voice. His brother suddenly appeared behind him, threw his arms around him, and the cook, weeping, collapsed against him, defeated, with his head thrown back.
D’Arrast looked at him, not knowing what to say. He turned toward the crowd in the distance, now shouting again. Suddenly he tore the cork mat from the hands holding it and walked toward the stone. He gestured to the others to hold it up and then he loaded it almost effortlessly. His head [210] pressed down under the weight of the stone, his shoulders hunched, and breathing rather hard, he looked down at his feet as he listened to the cook’s sobs. Then with vigorous tread he started off on his own, without flagging covered the space separating him from the crowd at the end of the street, and energetically forced his way through the first rows, which stood aside as he approached. In the hubbub of bells and firecrackers he entered the square between two solid masses of onlookers, suddenly silent and gaping at him in amazement. He advanced with the same impetuous pace, and the crowd opened a path for him to the church. Despite the weight which was beginning to crush his head and neck, he saw the church and the shrine, which seemed to be waiting for him at the door. He had already gone beyond the center of the square in that direction when brutally, without knowing why, he veered off to the left and turned away from the church, forcing the pilgrims to face him. Behind him, he heard someone running. In front of him mouths opened on all sides. He didn’t understand what they were shouting, although he seemed to recognize the one Portuguese word that was being constantly hurled at him. Suddenly [211] Socrates appeared before him, rolling startled eyes, speaking incoherently and pointing out the way to the church behind him. “To the church! To the church!” was what Socrates and the crowd were shouting at him. Yet D’Arrast continued in the direction in which he was launched. And Socrates stood aside, his arms raised in the air comically, while the crowd gradually fell silent. When D’Arrast entered the first street, which he had already taken with the cook and therefore knew it led to the river section, the square had become but a confused murmur behind him.
The stone weighed painfully on his head now and he needed all the strength of his long arms to lighten it. His shoulders were already stiffening when he reached the first streets on the slippery slope. He stopped and listened. He was alone. He settled the stone firmly on its cork base and went down with a cautious but still steady tread toward the huts. When he reached them, his breath was beginning to fail, his arms were trembling under the stone. He hastened his pace, finally reached the little square where the cook’s but stood, ran to it, kicked the door open, and brusquely hurled the stone onto the still glowing fire in the center of [212] the room. And there, straightening up until he was suddenly enormous, drinking in with desperate gulps the familiar smell of poverty and ashes, he felt rising within him a surge of obscure and panting joy that he was powerless to name.
When the inhabitants of the hut arrived, they found D’Arrast standing with his shoulders against the back wall and eyes closed. In the center of the room, in the place of the hearth, the stone was half buried in ashes and earth. They stood in the doorway without advancing and looked at D’Arrast in silence as if questioning him. But he didn’t speak. Whereupon the brother led the cook up to the stone, where he dropped on the ground. The brother sat down too, beckoning to the others. The old woman joined him, then the girl of the night before, but no one looked at D’Arrast. They were squatting in a silent circle around the stone. No sound but the murmur of the river reached them through the heavy air. Standing in the darkness, D’Arrast listened without seeing anything, and the sound of the waters filled him with a tumultuous happiness. With eyes closed, he joyfully acclaimed his own strength; he acclaimed, once again, a fresh beginning in life. At that moment, a firecracker [213] went off that seemed very close. The brother moved a little away from the cook and, half turning toward D’Arrast but without looking at him, pointed to the empty place and said: “Sit down with us.”
ABOUT THE AUTHOR
ALBERT CAMUS was born in Mondovi, Algeria, in 1913; his death on January 4, 1960, cut short the career of the most important literary figure of the Western world. Camus spent the early years of his life in North Africa, where he began writing and doing work in the theater before he was twenty, and then journalism took him to metropolitan France. From 1935 to 1938 he ran the theatrical company L’Equipe, and during the war he was one of the leading writers of the French Resistance and editor of the underground newspaper Combat. In occupied France in 1942 he published the philosophical essay The Myth of Sisyphus and the novel The Stranger. Among his other major writings are the essay The Rebel, his plays, and three works of fiction: The Plague, The Fall, and Exile and the Kingdom. A collection of his essays, Resistance, Rebellion and Death, was published posthumously in 1961. (All the above titles are available in Modern Library or Vintage Editions.)
When Albert Camus was awarded the Nobel Prize for Literature in 1957, the official citation accompanying this highest honor said that he was selected because of “his important literary production, which with clear-sighted earnestness illuminates the problems of the human conscience in our times.”