 As often in the book, the reader must be prepared to follow an abstract dance of concepts, as “rebellion,” “revolution,” “history,” “nihilism,” and other substantives stand on their own, without reference to human agents. The going gets even muddier as we near the end and the text verges on incoherence. How then is it possible that Foley judges The Rebel philosophically as Camus’s “most important book” (Foley 55)?