In Albert Camus’s The Plague, a classical masterpiece, a deadly outbreak begins with rats and spreads to humans, decimating half of Oran’s population but sparing the least likely: Joseph Grand. Readers meet Joseph early in the novel, just about the same time news breaks about rats supposedly having an epidemic, and can easily predict that he will be among the casualties should the infection spread to humans since he borders rats in many aspects besides being weak. Grime hangs over his filthy residence and stale life as he is poor, elderly, ailing, unappreciated, disrespected, and, lately, deserted by his wife. Joseph ultimately contracts the infection, but he survives, marking a heroic turning point in his life.
Joseph Grand compares to a mouse in his possession of the attribute of insignificance. He has a shy, mouse-like gait, wears oversized clothes, no teeth in the upper jaw, tall and thin, and exudes “a faint odor of smoke and basement room” (22). Moreover, words always elude him while speaking, and it has cost him dearly. For example, he has been stuck in the same temporary clerical position in which he earns a pittance since he forgot his terms of employment and cannot muster the courage to write a protesting letter or explore other relevant steps. Similarly, his irrational obsession over the choice of words has pushed him to the point of verbal paralysis, stalling his literary dreams. The perfectionist wannabe author has been stuck with a one-sentence book for years and keeps postponing writing a letter to his estranged wife. Now that old-age is catching up with Joseph – a weakling and a long time constricted aorta patient – only a near-death experience could rejuvenate his ambitions.
Joseph’s flaws notwithstanding, he is labeled as the plague-stricken Oran’s would-be hero, and he lives up to the expectation. He exceeds his oddities and eccentricities by becoming one of the first to volunteer wholeheartedly to fight the pandemic. Earlier in the book, the narrator remarks that Joseph is the insignificant type the pandemic skips to pounce on the robust (22). However, he still catches the disease, proving that he was still conspicuous enough to attract the attention of the pneumonic plague. Interestingly, Joseph reacts instinctively by isolating himself upon showing the symptoms of the disease, once again doing his meager best to protect the city’s residents. He eventually escapes death by a whisker, making him the first survivor in Oran – a small contribution but still heroic.
Joseph’s survival of the plague marks the turning point of the mortality trends in the city and the rebirth of a man. The trial period enhances his appreciation of life, rekindling his will to pursue his literary ambitions. He finally discovers traits he hardly knew he possessed before the outbreak: fortitude, resolution, and responsibility. Notably, he resolves to work on his novel and finally writes to his wife, not merely justifying himself as he had always wanted but showing greater awareness of his deep love for his wife and the reasons that led to his failed marriage. Conceptualized as a “true embodiment of the quiet courage,” Joseph becomes an inspiration to the play’s protagonist, Dr. Rieux, and many Oran residents (66). Surviving the pandemic teaches Joseph that life is worth more than obsessing oneself with unrealistic standards and senseless labor, and he realizes the importance of responsibility and initiative in pursuit of his dreams.
Joseph Grand begins as an irrational perfectionist whose unrealistic personal standards deter progress. The poorly paid cleric wallows in an austere life riddled with a failed marriage, failing health, and an unfinished book. As the plague continues to tighten its grip on the city, Joseph shows more compassion for others and learns from lifelong mistakes. He becomes heroic by inspiring others in different small ways and demonstrates rehabilitation by making commendable progress in writing his book and eventually seeking to amend his broken love life.
Work Cited
Camus, Albert. The Plague. Translated by Stuart Gilbert, 1948.