La femme adultere camus summary
 6 However, Janine’s choice and calculation have produced a life of disappointment and unfulfilled promise: “Non, rien ne se passait comme elle l’avait cru.” Marcel had given up his law studies to become a businessman, and had soon ceased to take her to the beach, being more interested in his “petit commerce de tissus” (14).Janine ultimately concluded that his true passion lay in making money.Janine’s reflections on her life with her husband Marcel are offered as the couple are in the bus transporting them into the desert.The physical discomfort of the trip and the cold that has penetrated Janine’s body articulate the greater desolation that has begun to inhabit her; it is becoming clear to her that this journey encapsulates what she now perceives as the failure of her adult life, a failure she attributes to her marriage to Marcel.9 The familiar urban space soon to be departed in “Abyss, ” therefore, represents a space of repression and restriction, and particularly in sexual terms.The south-western desert city of Phoenix, the first stop in the two-stage spatial transposition from Howard and Frances’ New England to the desert, represents a space of potential freedom: “I feel so free now” (232), gushes Howard to Frances as they meet in his Phoenix hotel room on their first night there.
Ford’s story, however, being a novella, is much longer and thematically more expansive, although no less determined to transport its protagonists to their fate.
As a young woman she had seen the essential choice to be made in her life as one between “la vie libre et le mariage.”  Albert Camus, L’exil et le royaume (Paris: Gallimard,...
She chose the latter as insurance against growing old alone, discounting aspects of Marcel that displeased her, aware that “elle aimait être aimée.” But her need for love satisfied more than the fulfilment of an emotional yearning; Marcel’s initial attentions, and the manner in which he made her feel that “elle existait pour lui, ” supplied nothing less than the metaphysical foundation that “la faisait exister réellement” (13).
As the evening of their first encounter develops (at the awards banquet run by the company they both work for), a self-serving narrative about institutional and societal repression of sexual freedom is jointly authored, the initial function of which is to allow them to circle around each other in their game of sexual seduction without stepping outside the limits of propriety.
If Frances and Howard carefully guide their conversation to the sentiment that marriage “shouldn’t be a prison cell” (225), they are nonetheless aware of the institutional function of the Weiboldt Company for which they both work: from their first complicit conversation at the banquet to their eventual clandestine motel meetings near their respective home towns, their employer’s code of conduct and their fear of exposure have them cast themselves as victims of a restrictive and coercive public moral code.
Vous recevrez un email à chaque nouvelle parution d'un numéro de cette revue. Yet, for all that might appear divergent in their thematic concerns and cultural contexts, a comparative analysis reveals that the structures and narrative dynamics of Camus’ and Ford’s stories originate to an important degree in their recourse to similar literary motifs, formal properties and, ultimately, themes.