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我身上有个不可战胜的夏天
《我身上有个不可战胜的夏天》是加缪的一部散文集。
该书创作跨度近20 年（1935-1953），是加缪从青年到思想成熟期的全纪录。本书精选了加缪的14 篇散文，在这些篇章中，加缪写出了生命的璀璨与腐朽，展现了自身思辨的独特性。
这部作品最深刻的价值，在于它展现了存在主义最本真的形态：不是书斋里的概念游戏，而是赤脚踏过滚烫沙砾时的痛感与快感。在这部作品里，加缪也确立了自己终生的写作母题——用对阳光的贪婪吮吸反抗永恒的黑暗，在直面荒诞中拥抱生命的热烈。
这种思想后来在《西西弗神话》中升华为"应当想象西西弗是幸福的"的著名论断，但其根源正是本书中那个在贫民窟阳台上凝望大海的穷青年对生命既清醒又沉醉的双重凝视。
该书创作跨度近20 年（1935-1953），是加缪从青年到思想成熟期的全纪录。本书精选了加缪的14 篇散文，在这些篇章中，加缪写出了生命的璀璨与腐朽，展现了自身思辨的独特性。
这部作品最深刻的价值，在于它展现了存在主义最本真的形态：不是书斋里的概念游戏，而是赤脚踏过滚烫沙砾时的痛感与快感。在这部作品里，加缪也确立了自己终生的写作母题——用对阳光的贪婪吮吸反抗永恒的黑暗，在直面荒诞中拥抱生命的热烈。
这种思想后来在《西西弗神话》中升华为"应当想象西西弗是幸福的"的著名论断，但其根源正是本书中那个在贫民窟阳台上凝望大海的穷青年对生命既清醒又沉醉的双重凝视。
160 pages, ebook
Published July 19, 2025
About the author
Albert Camus
1,014 books39.6k followersWorks, such as the novels
The Stranger
(1942) and
The Plague
(1947), of Algerian-born French writer and philosopher Albert Camus concern the absurdity of the human condition; he won the Nobel Prize of 1957 for literature.
Origin and his experiences of this representative of non-metropolitan literature in the 1930s dominated influences in his thought and work.
He also adapted plays of Pedro Calderón de la Barca, Lope de Vega, Dino Buzzati, and Requiem for a Nun of William Faulkner. One may trace his enjoyment of the theater back to his membership in l'Equipe, an Algerian group, whose "collective creation" Révolte dans les Asturies (1934) was banned for political reasons.
Of semi-proletarian parents, early attached to intellectual circles of strongly revolutionary tendencies, with a deep interest, he came at the age of 25 years in 1938; only chance prevented him from pursuing a university career in that field. The man and the times met: Camus joined the resistance movement during the occupation and after the liberation served as a columnist for the newspaper Combat.
The essay Le Mythe de Sisyphe (The Myth of Sisyphus), 1942, expounds notion of acceptance of the absurd of Camus with "the total absence of hope, which has nothing to do with despair, a continual refusal, which must not be confused with renouncement - and a conscious dissatisfaction."
Meursault, central character of L'Étranger (The Stranger), 1942, illustrates much of this essay: man as the nauseated victim of the absurd orthodoxy of habit, later - when the young killer faces execution - tempted by despair, hope, and salvation.
Besides his fiction and essays, Camus very actively produced plays in the theater (e.g., Caligula, 1944).
The time demanded his response, chiefly in his activities, but in 1947, Camus retired from political journalism.
Doctor Rieux of La Peste (The Plague), 1947, who tirelessly attends the plague-stricken citizens of Oran, enacts the revolt against a world of the absurd and of injustice, and confirms words: "We refuse to despair of mankind. Without having the unreasonable ambition to save men, we still want to serve them."
People also well know La Chute (The Fall), work of Camus in 1956.
Camus authored L'Exil et le royaume (Exile and the Kingdom) in 1957. His austere search for moral order found its aesthetic correlative in the classicism of his art. He styled of great purity, intense concentration, and rationality.
Camus died at the age of 46 years in a car accident near Sens in le Grand Fossard in the small town of Villeblevin.
Chinese 阿尔贝·加缪
Origin and his experiences of this representative of non-metropolitan literature in the 1930s dominated influences in his thought and work.
He also adapted plays of Pedro Calderón de la Barca, Lope de Vega, Dino Buzzati, and Requiem for a Nun of William Faulkner. One may trace his enjoyment of the theater back to his membership in l'Equipe, an Algerian group, whose "collective creation" Révolte dans les Asturies (1934) was banned for political reasons.
Of semi-proletarian parents, early attached to intellectual circles of strongly revolutionary tendencies, with a deep interest, he came at the age of 25 years in 1938; only chance prevented him from pursuing a university career in that field. The man and the times met: Camus joined the resistance movement during the occupation and after the liberation served as a columnist for the newspaper Combat.
The essay Le Mythe de Sisyphe (The Myth of Sisyphus), 1942, expounds notion of acceptance of the absurd of Camus with "the total absence of hope, which has nothing to do with despair, a continual refusal, which must not be confused with renouncement - and a conscious dissatisfaction."
Meursault, central character of L'Étranger (The Stranger), 1942, illustrates much of this essay: man as the nauseated victim of the absurd orthodoxy of habit, later - when the young killer faces execution - tempted by despair, hope, and salvation.
Besides his fiction and essays, Camus very actively produced plays in the theater (e.g., Caligula, 1944).
The time demanded his response, chiefly in his activities, but in 1947, Camus retired from political journalism.
Doctor Rieux of La Peste (The Plague), 1947, who tirelessly attends the plague-stricken citizens of Oran, enacts the revolt against a world of the absurd and of injustice, and confirms words: "We refuse to despair of mankind. Without having the unreasonable ambition to save men, we still want to serve them."
People also well know La Chute (The Fall), work of Camus in 1956.
Camus authored L'Exil et le royaume (Exile and the Kingdom) in 1957. His austere search for moral order found its aesthetic correlative in the classicism of his art. He styled of great purity, intense concentration, and rationality.
Camus died at the age of 46 years in a car accident near Sens in le Grand Fossard in the small town of Villeblevin.
Chinese 阿尔贝·加缪
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Displaying 1 - 3 of 3 reviews
July 2, 2026
一直喜欢加缪的小说，第一次读他的散文。“反与正”每一篇都好，无论主题、切入点和精准的文笔，是诺贝尔的实至名归。更让我着迷的，是他可以把这个物质世界炼化成凡人肉眼看不到的能量世界，然后让读者在里面游弋穿梭。加缪思维庞大，极度敏感，很有悟性，当我感受到他笔下似乎属于另一种文化的体悟，或者我体认出完全不同背景的他，我就知道，我们连接上了。
”夏天篇”有不少我感兴趣的旅游和本地文化。他在蒂巴萨体会到他“身上有一个不可战胜的夏天”，就是指他还保有10几年前在这里感受到的自身的活力，”每天都在崭新的活力中重新开始”的乐观。最后一片“亲近大海”写得特别好 - ”身处多么美满的幸福，我也始终觉得危在旦夕，生活在远洋海上。”
”一种风景观赏过久，总有餍足的时候，同样，不待看够了之前，就应尽早离开。高山、天空、海洋，如同人的面孔，发现一片荒芜，还是一片辉煌，取决审视良久还是一眼看透。因此，任何面孔，如果想要具有表现力，就必须接受某种更新的处理。”
印象中第一次读有关非洲生活的书，除了三毛。我在工作最欣赏的一位同事也是出生在阿尔及利亚，成长在法国，聪明能干又有格局。也许，这是一个很有意思的国度。用加缪的原话，这个地方有“诡黠的影响力和魅力”，不一定指多好，但是很有自己的特色。他说阿尔及利亚的法国人都是混血，年轻人特别是阿拉伯人，长得特别漂亮。
”夏天篇”有不少我感兴趣的旅游和本地文化。他在蒂巴萨体会到他“身上有一个不可战胜的夏天”，就是指他还保有10几年前在这里感受到的自身的活力，”每天都在崭新的活力中重新开始”的乐观。最后一片“亲近大海”写得特别好 - ”身处多么美满的幸福，我也始终觉得危在旦夕，生活在远洋海上。”
”一种风景观赏过久，总有餍足的时候，同样，不待看够了之前，就应尽早离开。高山、天空、海洋，如同人的面孔，发现一片荒芜，还是一片辉煌，取决审视良久还是一眼看透。因此，任何面孔，如果想要具有表现力，就必须接受某种更新的处理。”
印象中第一次读有关非洲生活的书，除了三毛。我在工作最欣赏的一位同事也是出生在阿尔及利亚，成长在法国，聪明能干又有格局。也许，这是一个很有意思的国度。用加缪的原话，这个地方有“诡黠的影响力和魅力”，不一定指多好，但是很有自己的特色。他说阿尔及利亚的法国人都是混血，年轻人特别是阿拉伯人，长得特别漂亮。
November 9, 2025
生命短暂，浪费光阴是种罪过。人们说我勤奋。但若在忙碌中迷失，勤勉何尝不是另一种虚度呢？
December 27, 2025
Camus couldn't stand travelling alone/solo trip. 翻译好差，9-12章关于加缪自己的内容就还好。
Displaying 1 - 3 of 3 reviews