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"OklahomaCamus's L'étranger and American Neo-Realism." Books Abroad 38.3 (1964): 233-238. Web. 15 Nov 2010. <http://www.jstor.org/stable/40118832>. Lehan, in this essay, draws a comparison between The Stranger, by Camus, and Neo-realism. He seems to conclude that American Neo-Realism is clearly presented in The Stranger which can be clearly justified by its similarity to novels by Hemmingway. Lehan clearly focuses on Hemmingway and the fact that The Stranger shares many of the techniques and styles that are in it. As Lehan describes, they are “inseparable” as they share both “symbol and style.” Also, Lehan further emphasizes the relationship between The Stranger and NeoRealism as he explains that in The Stranger, man tries “to impose meaning on the world.” In the end, Leha draws a correlation to Neo-Realism as this is where “absurdity begins” and the four additional shots fired by Meursault symbolized his “commitment to the absurd.” This parallel structure of The Stranger and novels of Hemingway beget similar theme, according to Lehan, which further reinforces his argument. In the end, Lehan explains that just as in Hemmingway novels, the main character of The Stranger, Meursault, is merely and innocent character that represents a person in the real world. Ultimately Lehan’s case is justifiable in that he compares the The Stranger to actual American Neo-Realist novels, specifically the ones of Hemingway, and draws connections between the two.