[...] his work, solely as a literary accomplishment, is not major enough to bear the weight of admiration that readers want to give it. One wants Camus to be a truly great writer, not just a very good one. But he is not. It might be useful here to compare Camus with George Orwell and James Baldwin, two other husbandly writers who essay to combine the role of artist with civic conscience. Both Orwell and Baldwin are better writers in their essays than they are in their fiction. This disparity is not to be found in Camus, a far more important writer. But what is true is that Camus' art is always in the service of certain intellectual conceptions which are more fully stated in the essays. Camus' fiction is illustrative, philosophical. It is not so much about its characters--Meursault, Caligula, Jan, Clamence, Dr. Rieux--as it is about the problems of innocence and guilty, responsibility and nihilistic indifference. The three novels, the stories, and the plays have a thin, somewhat skeletal quality which makes them a good deal less than absolutely first-rate, judged by the standards of art. Unlike Kafka, whose most illustrative and symbolic fictions are at the same time autonomous acts of the imagination, Camus' fiction continually betrays its source in an intellectual concern.

[...] Camus is at its best when he disburdens himself of the baggage of existentialist culture (Nietzsche, Kierkegaard, Dostoevsky, Heidegger, Kafka) and speaks in his own person. This happens in the great essay against capital punishment, "Reflections on the Guillotine," and in the casual writings, like the essay-portraits of Algiers, Oran, and other Mediterranean places.

The celebrated philosophical essays (The Myth of Sisyphus, The Rebel) are the work of an extraordinarily talented and literate epigone.