 He begins doing so with an implicit reference to Sartre’s novel, Nausea, which echoes the protagonist Antoine Roquentin’s discovery of absurdity. Camus had earlier written that this novel’s theories of absurdity and its images are not in balance. The descriptive and the philosophical aspects of the novel “don’t add up to a work of art: the passage from one to the other is too rapid, too unmotivated, to evoke in the reader the deep conviction that makes art of the novel” (Camus 1968, 200). But in this 1938 review Camus praises Sartre’s descriptions of absurdity, the sense of anguish and nausea that arises as the ordinary structures imposed on existence collapse in Antoine Roquentin’s life. As Camus now presents his own version of the experience, “the stage sets collapse. Rising, streetcar, four hours in the office or the factory, meal, streetcar, four hours of work, meal, sleep, and Monday Tuesday Wednesday Thursday Friday Saturday and Sunday according to the same rhythm …” (MS, 12–3). As this continues, one slowly becomes fully conscious and senses the absurd.