riends, society, and even from religion. He lives in a world without meaning. His actions and words make him a stranger to all. His alienation proves Camus’ idea of the absurd.

Alienation from Family: The novel begins with alienation. Meursault gets a telegram from Marengo. It says his mother has died. He says, 

“Mother died today. Or, maybe, yesterday; I can’t be sure.”

From the first line, he shows detachment. At the old age home, the coffin is sealed. The Caretaker asks to open it. Meursault refuses. He smokes and drinks coffee. He does not cry. At the funeral, Thomas Pérez (His Mom’s Friend) nearly faints under the hot sun. Meursault only feels the heat. Later, he says, 

“Mother now was buried, and tomorrow I’d be going back to work as usual.”

His alienation is clear. Society later calls him heartless.

Alienation from Love: Alienation also comes in his relationship with Marie Cardona. The day after the funeral, he swims with her at the beach. They go to the cinema and see a comedy. They sleep together. Meursault says, 

“Marie came that evening and asked me if I’d marry her.” 

Meursault answers coldly, 

“I said I didn’t mind; if she was keen on it, we’d get married.”

Marie is full of life and hope. But Meursault is indifferent. He cannot feel love. His detachment hurts Marie. His alienation in love makes him different from others.

Alienation from Morality: Meursault’s neighbors also show his alienation. Salamano curses and beats his sick dog. But when the dog runs away, he cries. Meursault listens silently. He shows no judgment, no advice. Raymond Sintès is another neighbor. He is violent with his mistress. He asks Meursault to write a letter. Meursault agrees without feeling. When Raymond fights with the Arab, the police come. An officer slaps Raymond. Raymond asks Meursault to testify. He agrees. In all this, Meursault shows no moral view. He is cut off from human values.

Alienation in the Murder and Trial: The murder shows alienation more strongly. At Masson’s beach house, Meursault, Marie, and Raymond meet the Arabs. One is the brother of Raymond’s mistress. After a fight, Raymond is injured. Later, Meursault walks alone. The heat of the sun blinds him. The Arab holds a knife. Meursault fires. Then he fires four more shots. At the trial, the crime is forgotten. The focus is on his indifference. The Director and the Caretaker testify about the funeral. Marie speaks about the cinema. The Prosecutor calls him a monster. He says a man who cannot cry at his mother’s death is dangerous. When asked why he killed, Meursault says, 

“It was because of the sun.”

Meursault is alienated not just for murder, but for being different.

Existential Hero and Anti-Hero: At the end, Meursault accepts alienation. In prison, he feels lonely. He misses the sea, Marie, and cigarettes. But slowly, he accepts reality. When the Chaplain asks him to believe in God, he shouts, 

“I didn’t believe in God.” 

He says life has no afterlife, only death. In anger, he declares the truth of existence. At last, he finds peace in accepting meaninglessness. He looks at the night sky and feels close to the world. He accepts death calmly. His alienation turns into existential freedom.

In “The Outsider”, Albert Camus makes alienation the center of the story. Meursault is cut off from family, love, neighbors, society, and religion. At first, this makes him a stranger. But in the end, it gives him truth and freedom. Alienation makes him both condemned and liberated.