- 'n Behandeling hiervan kan gevind word in J.J. Degenaar, Die Wêreld van Albert Camus (Johannesburg, APB, 1966).
- Albert Camus, The Myth of Sisyphus. Tr. by J. O'Brien, (London, Hamilton, 1961), p. 78.
- Ibid., p. 80 en 81.
- Camus maak in hierdie verband 'n interessante opmerking i.v.m. die verskyning van so baie slegte romans. “From the moment when thought won over style, the mob invaded the novel” (Ibid., p.82, Voetnota 1). Skrywers sowel as lesers—ook in Suid-Afrika? -laat hulle mislei deur denkkonstruksies wat as romans deurgaan. Die nou poort van die woordkuns is die vleesgeworde woord waarin perseptualiteit voorop staan.
- Ibid., pp. 82–83.
- Ibid., p. 84.
- Ibid., p. 85.
- Ibid., p.104.
- Albert Camus, The Rebel Tr. by A. Bower (Middlesex, Peregrine, 1962), p. 221.
- Ibid., p. 228.
- Albert Camus, “Create Dangerously”, Resistance, Rebellion and Death Tr. by J. O'Brien, (London, Hamilton, 1961), p. 186.
- Albert Camus, The Rebel, p.239. Omdat die kuns vryheid verteenwoordig, sal die tiranniese mentaliteit noodwendig teen kuns wees.
- Ibid., pp. 241–242.
- Ibid., p.240.
- Albert Camus, “The Artist and his Time”, opgeneem in: The Myth of Sisyphus, p.168.
- Albert Camus, “Create Dangerously”, Resistance, Rebellion and Death, p.188.
- Opgeneem in Resistance, Rebellion and Death, p. 171.
- Albert Camus, “Create Dangerously”, Resistance, Rebellion and Death, p. 189.
- Ibid., p.191.
- Albert Camus, “Speech of Acceptance upon the Award of the Nobel Prize for Literature” (1951), Resistance, Rebellion and Death, p.198.
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