Everything begins with waking up to a familiar morning; putting on coffee, going to work, greeting people on the street. The routine works flawlessly, everything is in its place. In Nausea, Jean Paul Sartre leaves us not in this comfortable disorder, but right inside the void behind that flawless routine.
The protagonist of the novel, Antoine Roquentin, is a man living an ordinary life in the town of Bouville, interested in history and writing a book. However, everything changes one day when he looks at the roots of a chestnut tree in a park. In that setting where names, labels, and utilities are stripped away, Roquentin is left face to face with the pure, motiveless, superfluous, and nauseating reality that lies behind objects.
Behind this narrative, Sartre does not tell us an ordinary story of depression; inheriting the legacy of Martin Heidegger and Edmund Husserl, he lays out the harshest diagnosis of existence. He shatters modern humanity's most sacred lie the illusion that life has an inherent, pre written meaning.
Throughout life, human beings try to assign meaning to everything: A career, a future plan, moral rules, social roles... According to Sartre, all of these are comforting consolations we invent to mask the colossal absurdity of existence. When we look at objects, stones, and tree roots in the world, what we see is pure: They are. They have no reason, they were not created for a purpose; they simply have come to be, and this existence is so excessive that it creates a physical urge to vomit in humans a "nausea." Being is too heavy to explain.
The automated order in which modern people hide every day is a sheltered space we weave to avoid seeing the chaotic nature of existence. When our sheltered space shatters, we find absolute freedom before us, but this freedom is not breathtaking; it is suffocating. Because humans do not arrive with a pre written script; they are what they make of themselves after they exist. Life has no ready-made meaning; we must create the meaning ourselves, and this responsibility weighs heavily on the soul.
Nausea is not a book offering ready-made recipes to the question "What is life for?"; it is a shocking philosophical manifesto that commands us to step out of our comfortable zones and look at the world with naked eyes. Life is irrational and messy; yet, a work of art can bring at least a temporary order to that chaos.
And when we close the book, the inevitable question remains: Will we continue to sleep among the comfortable lies of routine, or will we dare to confront the heavy odor of being?
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