Reading List

Authors Like Albert Camus

Meursault does not cry at his mother's funeral, drinks a coffee beside the coffin, and is convicted for it more than for the man he shot. Camus wrote that in the passé composé, the tense of ordinary speech, so nothing in the prose tells you what to think. He was thirty when it came out, he was dead at forty-six in a car he did not need to be in, and in between he ran a Resistance newspaper, took the Nobel at forty-four, and lost his closest friendship over whether killing can be justified by what it is for. The writers below hold different ends of that. Two of them argued with him. Two of them are Algerian, and write the people his novels left out.

By Lisanne Swart · 10 authors · The absurd · Revolt and witness · Algeria · Updated October 2026


Quick answer

If you like Albert Camus, the three closest are Franz Kafka, whom Camus wrote an appendix about in The Myth of Sisyphus, Fyodor Dostoevsky, whose Demons Camus adapted for the stage himself, and Kamel Daoud, whose The Meursault Investigation retells The Stranger from the dead Arab's family. For the argument he lost, read Jean-Paul Sartre; for the moral source of the later work, Simone Weil, whom Camus edited; and for a living novelist doing his job, Han Kang.

10 authors like Albert Camus

01
The absurd · The parable

Franz Kafka

Bohemian, wrote in German · The Metamorphosis (1915), The Trial (1925)

The Trial follows Josef K., a bank clerk arrested and prosecuted by an authority he can never reach, on a charge never disclosed to him or to the reader. Kafka writes bureaucratic procedure in a calm, legalistic register, so the horror comes from the flatness of the telling rather than from any raised voice. Almost everything now considered central was unfinished when he died and published against his instructions.

A documented lineage, not a resemblance. The Myth of Sisyphus carries an appendix on Kafka in which Camus reads him as an absurd writer who smuggles hope back in anyway. Kafka gave Camus the form: an ordinary man, a condition nobody explains, and a narrator who declines to editorialise.

— Lisanne

Every book by Franz Kafka →

02
Revolt · Where the subject comes from

Fyodor Dostoevsky

Russian · Crime and Punishment (1866), Demons (1871–72), The Brothers Karamazov (1879–80)

Crime and Punishment puts a student through a murder he has justified in advance on theoretical grounds, then follows the justification collapsing. Demons is a savage novel about a provincial cell of revolutionaries whose abstractions end in murder — the demons are the ideas that possess people, not the people. The Brothers Karamazov contains Ivan's refusal to accept any world order built on the suffering of one child.

The most concrete link here: Camus adapted Demons for the stage himself, as Les Possédés in 1959, his last completed theatre work. The Rebel is largely an argument with Ivan Karamazov. Read Dostoevsky to find where Camus got the question, and then read Camus answering it in the negative.

— Lisanne

Every book by Fyodor Dostoevsky →

03
The reply · Algeria

Kamel Daoud

Algerian, also French · The Meursault Investigation (2013), Houris (2024)

The Meursault Investigation is narrated by Harun, brother of the Arab whom Meursault shoots on the beach — a man Camus never named. Daoud names him Musa, gives him a mother and a death that is grieved, then mirrors Camus's plot: Harun also kills a man, and is also interrogated about his failure to weep. It won the Prix Goncourt du premier roman in 2015.

The strongest single recommendation on this page, and the one to read immediately after The Stranger rather than instead of it. It reuses Camus's frame, his ending and his courtroom logic, and turns all three on the question of who counts as a person in a colonial novel. Daoud is not refuting Camus — he defends him as a writer — which is what makes the book an argument rather than a correction.

— Lisanne
04
The quarrel · The other side

Jean-Paul Sartre

French · Nausea (1938), Being and Nothingness (1943), No Exit (1944)

Nausea is a diary novel in which a historian finds that objects stop cohering into meaning, and it delivers Sartre's philosophy as physical sickness rather than as argument. Being and Nothingness is a six-hundred-page treatise arguing that existence precedes essence, so we are condemned to be free. He was awarded the Nobel Prize in 1964 and refused it, saying a writer must not be turned into an institution.

Friends from 1943, and the two most visible figures of the postwar French left until The Rebel broke it in 1952. They never spoke again. Read them together and you are reading the argument itself, not two versions of one position: whether revolutionary violence can be justified by the future it promises. Sartre backed the FLN in Algeria. Camus would not.

— Lisanne
05
The moral source

Simone Weil

French · Gravity and Grace (1947), The Need for Roots (1949)

The Need for Roots, written in London in 1943 for the Free French, argues that obligations come before rights and that the modern disease is uprootedness — people severed from work, place and each other. She sets out needs of the soul as concrete requirements rather than sentiments. Everything of hers that is read now was published after her death in 1943.

Camus was literally her editor. He found her manuscripts in 1948, founded the Gallimard series Espoir partly to publish her, and brought out seven of her books from 1949. Her essay on the Iliad as a poem about force fed straight into The Rebel. If you want the moral source of the later Camus rather than the absurd of the early Camus, it is here.

— Lisanne
06
Plain prose · The anti-totalitarian left

George Orwell

English · Homage to Catalonia (1938), Nineteen Eighty-Four (1949)

Homage to Catalonia is first-person reporting from the Spanish Civil War in which Orwell records not only the fighting but the discovery that his own side was lying about it in print. Nineteen Eighty-Four projects that discovery forward into a state that controls the past by controlling the record. His essays are the model case of plain-style argument: short words, concrete instances, the writer's doubts left visible.

The closest non-French match for what Camus was doing at Combat: a writer of the anti-Stalinist left who attacked the totalitarianism of his own side and paid for it in friendships. Both treat political language that abstracts killing into necessity as the thing to fight, and both wrote plainly on purpose — an ethical position about prose, not a preference.

— Lisanne

Every book by George Orwell →

07
The absurd, taken further

Samuel Beckett

Irish, wrote in French and English · Waiting for Godot (1952), Molloy (1951)

Godot is two men on a road waiting for someone who does not arrive, twice, across two nearly identical acts; Beckett strips plot until the only remaining action is continuing. The trilogy that begins with Molloy dismantles the narrating voice itself until little is left but the compulsion to keep speaking. He was awarded the Nobel Prize in 1969 and resisted interpretation of his own work.

Martin Esslin built the category Theatre of the Absurd explicitly on Camus's philosophy, and Godot is its central text. But Beckett is the contrast rather than the echo: where Camus insists the absurd obliges revolt and finally solidarity, Beckett offers no such conclusion and no consoling ethic. Same premise, taken somewhere Camus declined to go.

— Lisanne
08
Algeria · The people the novels left out

Mouloud Feraoun

Algerian, Kabyle, wrote in French · The Poor Man's Son (1950), Journal 1955–1962 (1962)

The Poor Man's Son is a spare autobiographical novel about a boy from a poor mountain family in Kabylia who becomes a schoolteacher, written partly to show French readers that Kabyle villagers had interior lives. The Journal is a day-by-day record of the Algerian war kept by a man who refused both the French army's version and the FLN's, and it ends with the death he had foreseen.

The exact counter-image to Camus, and the Algerian writer he actually corresponded with from 1951: same birth year, same country, same French-language schooling, opposite side of the colonial line. Feraoun writes the Algerians whose absence from The Stranger and The Plague is the central charge against Camus. He was shot by the OAS in March 1962, days before the ceasefire, by the settler paramilitary that claimed to be defending Camus's Algeria.

— Lisanne
09
The quarrel, as a novel

Simone de Beauvoir

French · The Second Sex (1949), The Mandarins (1954)

The Second Sex is two volumes of philosophy, history and reportage arguing that woman has been constructed as man's Other. The Mandarins, which won the Prix Goncourt in 1954, follows a circle of Paris intellectuals from the Liberation into the mid-fifties as they discover how little their opinions weigh; she denied it was a roman à clef, but Henri Perron is generally read as Camus.

She is the one who wrote the quarrel as fiction — the same milieu and the same fracture, commitment against independence. She also took the Algerian position Camus refused: from 1960 she campaigned publicly for Djamila Boupacha, an FLN member tortured in French custody, and co-wrote the 1962 book about the case. Reading her against him puts his silence in relief.

— Lisanne
10
The living one · Witness

Han Kang

South Korean · The Vegetarian (2007), Human Acts (2014)

The Vegetarian begins when a woman stops eating meat and refuses to explain herself; the novel is told entirely by three other people who cannot tolerate her silence. Human Acts reconstructs the 1980 Gwangju uprising and its massacre through a chain of narrators including the dead. She was awarded the Nobel Prize in Literature in 2024.

Two specific overlaps. The Vegetarian is the Meursault problem transposed: a protagonist whose refusal to perform the expected feeling is treated as evidence of monstrousness, and the real subject is everyone else's need for her to account for herself. And Human Acts does what The Plague does — a chronicle of a city under emergency, written to bear witness rather than to explain.

— Lisanne

Every book by Han Kang →

Where to start if you loved Albert Camus

If you have only read The Stranger, read Kamel Daoud next.

The Meursault Investigation gives the murdered man a name and a family. It only works if Camus is fresh in your head, so read it straight after.

If you want where the ideas came from, read Dostoevsky.

Demons first — Camus adapted it for the stage himself, and The Rebel is an argument with it.

If you want the argument he lost, read Sartre.

Nausea for the fiction, then read about the 1952 break. They never spoke again, and both of them meant it.

If you want the absurd without the consolation, read Beckett.

Camus ends at solidarity. Waiting for Godot does not end anywhere, which is the point.

If you want a living novelist doing the same work, read Han Kang.

Human Acts is The Plague's job done for Gwangju in 1980: a chronicle that refuses to turn the dead into a lesson.

If you want his own books in order

My complete guide to Camus has all of them, and explains why the novels only make sense next to the essays and the plays.

Frequently asked questions about authors like Albert Camus

Who writes books most like Albert Camus?

Franz Kafka and Fyodor Dostoevsky are the two Camus himself worked from — he wrote an appendix on Kafka in The Myth of Sisyphus and adapted Dostoevsky's Demons for the stage. Among living writers, Han Kang is the closest: Human Acts does what The Plague does. And Kamel Daoud's The Meursault Investigation is the single book most worth reading straight after The Stranger, because it retells it from the family of the man Meursault kills.

What should I read after The Stranger?

The Meursault Investigation by Kamel Daoud (2013), while the novel is still fresh. It is narrated by the brother of the Arab whom Meursault shoots — a man Camus never named — and it mirrors Camus's plot deliberately, down to the courtroom scene. After that, stay with Camus: The Stranger is one third of an argument he wrote in three forms, alongside the essay The Myth of Sisyphus and the play Caligula.

Was Albert Camus an existentialist?

He said he was not, repeatedly, and he was right to. Camus wrote about the absurd — the gap between a human demand for meaning and a universe that supplies none — and argued that the response is revolt, not the construction of meaning through choice. That is a different position from Sartre's, and their public break in 1952 was partly about it. Bookshops and syllabuses file them together anyway.

Which Camus book should I read first?

The Stranger (1942), because it is short and because everything else assumes it. But know what you are getting: Camus built his books in cycles of three, one novel, one essay, one play, around a single idea. The absurd cycle is The Stranger, The Myth of Sisyphus and Caligula. The revolt cycle is The Plague, The Rebel and The Just. A reader who has only read the novel has read a third of the case.

Why did Camus and Sartre fall out?

Over The Rebel in 1952. Camus argued that revolutionary violence justified by a promised future is the mechanism by which revolutions become murderous. Sartre's journal Les Temps modernes ran a hostile review by Francis Jeanson; Camus replied to Sartre directly; Sartre answered in print that summer. They never spoke again. The disagreement hardened over Algeria, where Sartre supported the FLN and Camus refused to.

Did Camus support Algerian independence?

No, and it is the hardest thing about him. He was born in Algeria to a poor European settler family, reported early and angrily on the starvation of Kabyle villagers, and campaigned against the death penalty and against torture — but he argued for a federated French Algeria rather than independence, and after 1958 said almost nothing in public. Edward Said's reading of The Stranger and The Plague as novels in which Algerians are scenery is now the standard academic position. Mouloud Feraoun and Kamel Daoud, both on this list, are where to go next.

Are there any modern authors like Camus?

Han Kang is the closest working novelist: the Nobel laureate of 2024 writes protagonists whose refusal to perform expected feeling is treated as monstrous, and chronicles of atrocity that refuse to draw a lesson. Kamel Daoud writes directly back at Camus. Outside fiction, the plain-sentence moral essay Camus wrote at Combat has more living descendants in journalism than in novels.

Which translation of The Stranger is best?

Matthew Ward's 1988 translation is the one most often recommended, because it keeps the flat American register and the perfect tense rather than smoothing Camus into literary English. For The Plague, Laura Marris's 2021 translation is the newest and reads far better than the 1948 Gilbert version most secondhand copies still carry.

Written by Lisanne Swart, who has curated reading lists and author guides at lisanneswart.com since 2021. Every comparison here is a judgement about method and subject, not an algorithmic match. See more on her personal bookshelf.

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“One must imagine Sisyphus happy.”

— Albert Camus, The Myth of Sisyphus.

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