In the following essay, Hurley reviews several interpretations of “The Guest” and argues that contrary to prevailing critical opinion, there is textual evidence that points to the innocence of the Arab prisoner in the story.

In the following essay, Black reads Daru's behavior in “The Guest” as part of the ritual of Arabic and nomadic hospitality.

In the following essay, Beer explores the dynamics of Balducci's and Daru's relationship with the Arab prisoner in “The Guest,” maintaining that Camus is somewhat successful in “dismantling the frontiers which demarcate human relationships, blurring the boundaries between Self and Other and so creating a space where ethical encounter with alterity is possible.”

In the following essay, McGregor argues that Camus's “The Silent Men” and “The Guest” can be regarded as “companion pieces that symbolically depict unawareness and awareness, respectively, of the distressing state of the absurd human condition as articulated in Le Mythe de Sisyphe.”

In the following essay, Storey finds similarities between Frank O'Connor's “Guests of the Nation” and Camus's “The Guest.”

In the following essay, Léger analyzes the ending of “The Guest,” and considers several critical interpretations of that enigmatic section of the story.

In the following essay, Griem addresses the existentialist dilemma faced by both Daru and the Arab prisoner in “The Guest.”

In the following excerpt, Ellison contends that the ultimate lesson of “The Guest” is “that, in some circumstances, the refusal to choose is already a choice.”

In the following essay, Cervo asserts that Camus utilizes elements of Roman Catholic, Marxist, and Gnostic dialectic in “The Guest.”