The Plague — Themes and Context
Edition facts
For The Plague — Themes and Context, the stored edition analysis reports 7,645 words, 34 min estimated reading time, and 1 detected text section.
The text analysis averages about 13.6 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Science fiction,” connecting these edition facts with the source record’s subject description.
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- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
Patterson was retired ten days ago. I don't know what happened. Maybe this replacement sawbones got strangled in red tape. Anyhow, the brand-new lieutenant hasn't showed up here. As far as I know, I'm in charge."
"But this is incredible," a two-star general wailed. "A mysterious epidemic is sweeping the country, possibly an insidious germ attack timed to precede an all-out invasion, and a noncom is sitting on top of the whole powder keg."
Andy's big hands clenched into fists and he had to wait a moment before he could speak safely. Doggone the freckles and the unruly mop of hair that give him such a boyish look. "May I remind you, general," he said, "that I've been entombed here for two years. My staff and I know what to do. If you'll give us some co-operation and a priority, we'll try to figure this thing out."
"But good heavens," a chicken colonel moaned, "this is all so irregular. A noncom!" He said it like a dirty word.
"Irregular, hell," the brigadier snorted, the message getting through. "There're ways. Gentlemen, I suggest we clear out of here and let the sergeant get to work." He took a step toward the door, and the other officers, protesting and complaining, moved along after him. As they drifted out, he turned and said, "We'll clear your office for top priority." Then dead serious, he added, "Son, a whole nation could panic at any moment. You've got to come through."
Andy didn't waste time standing. He merely nodded to the general, snubbed out his cigarette, and buzzed the intercom. "Bettijean, will you bring me all the latest reports, please?" Then he peeled out of his be-ribboned blouse and rolled up his sleeves. He allowed himself one moment to enjoy the sight of the slim, black-headed corporal who entered his office.
Bettijean crossed briskly to his desk. She gave him a motherly smile as she put down a thick sheaf of papers. "You look beat," she said. "Brass give you much trouble?"
"Not much. We're top priority now." He ran fingers through the thick, brown hair and massaged his scalp, trying to generate stimulation to his wary and confused brain. "What's new?"
"I've gone though some of these," she said. "Tried to save you a little time."
She pulled up a chair and thumbed through the papers. "So far, no fatalities. That's why there's no panic yet, I guess. But it's spreading like ... well, like a plague." Fear flickered deep in her dark eyes.
"Any water reports?" Andy asked.
"Wichita O.K., Indianapolis O.K., Tulsa O.K., Buffalo O.K.,--and a bunch more. No indication there. Except"--she fished out a one-page report--"some little town in Tennessee. Yesterday there was a campaign for everybody to write their congressman about some deal and today they were to vote on a new water system. Hardly anybody showed up at the polls. They've all got it."
Andy shrugged. "You can drink water, but don't vote for it. Oh, that's a big help." He rummaged through the clutter on his desk and came up with a crude chart. "Any trends yet?"
"It's hitting everybody," Bettijean said helplessly. "Not many kids so far, thank heavens. But housewives, businessmen, office workers, teachers, preachers--rich, poor--from Florida to Alaska. Just when you called me in, one of the girls thought she had a trend. The isolated mountain areas of the West and South. But reports are too fragmentary."
"What is it?" he cried suddenly, banging the desk. "People deathly ill, but nobody dying. And doctors can't identify the poison until they have a fatality for an autopsy. People stricken in every part of the country, but the water systems are pure. How does it spread?"
"How? There must be hundreds of canneries and dairies and packing plants over the country. How could they all goof at the same time--even if it was sabotage?"
"But who could accurately predict every wind over the entire country--even Alaska and Hawaii--without hitting Canada or Mexico? And why wouldn't everybody get it in a given area?"
Bettijean's smooth brow furrowed and she reached across the desk to grip his icy, sweating hands. "Andy, do ... do you think it's ... well, an enemy?"
"I don't know," he said. "I just don't know."
For a long moment he sat there, trying to draw strength from her, punishing his brain for the glimmer of an idea. Finally, shaking his head, he pushed back into his chair and reached for the sheaf of papers.
The story opens in a crowded Pentagon office where Sergeant Major Andrew McCloud struggles to maintain composure amid jangling telephones and panicked brass hats. The initial paragraphs establish a tone of bureaucratic absurdity: a two-star general wails about a noncom sitting on a powder keg, while McCloud’s irritation is palpable in his clenched fists and the detail that his freckles and unruly hair give him a boyish look. The prose moves quickly, with short, punchy sentences that mirror the chaos.
From Panic to Procedure
The narrative voice shifts markedly once the generals leave. McCloud’s clipped commands—“Bettijean, will you bring me all the latest”—give way to a more deliberate, procedural tone as he interviews a sick secretary named Janis. The dialogue becomes a series of hesitant exchanges: Janis stammers, “I … I wrote a letter to my mother,” and McCloud’s disappointment is audible in the line “Andy swallowed against his groan of disappointment.” The pace slows, allowing the reader to follow the incremental gathering of clues. Keller uses repetition of “And” at the start of sentences to mimic the accumulation of data, building toward the moment when McCloud yells, “Hey, wait!”
The Stamp as Culprit
The climax hinges on a physical object: a four-cent stamp. McCloud’s sudden realization—that writers, artists, and college students lick stamps while government workers use franking machines—is delivered in a burst of action. He yanks open drawers, dumps a purse, and hands a stamp to a lab technician. The prose accelerates again, with short declarative sentences: “The lab technician arrived a minute later. He shook his head as he handed his hastily scribbled report to Andy.” Bettijean’s explanation, “Sure. College kids and engaged girls and new parents … they’d all lick lots of stamps,” ties the mystery together in a single, satisfying paragraph. The voice here is triumphant but weary, matching McCloud’s relieved smile.
Voice and the Bureaucratic Lens
Throughout the story, Keller maintains a consistent third-person perspective anchored in McCloud’s experience. The narrative voice is colloquial and slightly sardonic, with phrases like “Doggone the freckles” and “He said it like a dirty word.” This voice colors the portrayal of military hierarchy: the brass are flustered and ineffectual, while the noncom is competent and resourceful. The setting—a cramped office with a switchboard and web of lines—reinforces the theme of communication breakdown. The story’s brevity (7,645 words) means the pace never flags; each scene advances the investigation without digression.
Readers should pay attention to how Keller uses physical details—a stamp, a cigarette, a desk drawer—to anchor the speculative premise in concrete reality. The story’s humor arises from the contrast between the epidemic’s absurd cause and the deadpan bureaucratic response. Note also how the narrative voice remains steady even as the pace fluctuates, a technique that keeps the investigation grounded despite the escalating stakes.
I’ve often lingered on that sergeant in Teddy Keller’s quiet plague story, how his chaos unravels into something hidden in plain view—much like Fitz-James O’Brien’s microscope. Both tales share a patient dread, the discovery that what we seek is already beneath our hands, just waiting for the wrong glance. A private sort of kinship, that. The Diamond Lens — Story, Setting & Ideas sits beside it on my shelf, whispering.
Avery Rivera
1 month agoLeo Hall
3 weeks ago-
Jonathan Cisneros - 1 month ago
The Plague, by Albert Camus, is a profound and haunting allegory of human resilience in the face of absurd suffering. Through the lives of the citizens of Oran, Camus explores themes of isolation, solidarity, and the eternal struggle against evil. The prose is stark yet compassionate, and the philosophical depth is remarkable. This novel is a timeless masterpiece that resonates even more in today's world. -
Alice Hunt - 1 month ago
The Plague is dry and over-intellectualized, with characters that feel more like philosophical mouthpieces than real people. The plot is predictable, and the emotional impact is muted by the detached narration. While the themes are lofty, the execution is cold and uninvolving. I found it a chore to read and couldn't connect with any of the characters. Camus' reputation aside, this one didn't impress me. -
Bill Ronald Morris - 3 weeks ago
The Plague is a compelling and thought-provoking novel that captures the human response to crisis. Camus' narrative is poignant, but the pacing can be slow, and the allegorical nature sometimes overwhelms the characters. Still, the themes of endurance and collective action are powerful. It's a worthwhile read for fans of existentialist literature, though it may not be for those seeking fast-paced fiction.
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Charlotte Robinson
1 month ago