If Descartes’ soul was always thinking, Sartre's soul (if we may put it this way) was always not just thinking but putting those thoughts on paper. It is an indication of the enormous fertility of his thinking and writing across many decades that we continue to find food for our own thinking and writing in the whole span of his philosophical works, from his books on the imagination to his reflections on Marxism, as this issue of Sartre Studies International exemplifies. And in a year in which we seem to have rediscovered the value of dialogue with others, many of the contributions to this issue exemplify that value as well: we see here Sartre in dialogue with Husserl, with Beauvoir, with Badiou, and with Lacan.
John Ireland and Constance Mui
The fortieth anniversary of Sartre's death, on April 15 of this year, found much of the world in lockdown in response to a new virus, Covid-19, which has changed humanity's situation on this planet in ways we will be struggling to elucidate for years to come. In these unprecedented circumstances, Sartre's thought has been an obvious resource to help us understand the impact and ramifications of this pandemic. The virus has been an unsparing indicator in itself of social injustice, unmasking the pious platitudes of our advanced, modern democracies. In the United States in particular, the reality is truly ugly. Covid-19 has shed pitiless light on the disparity between affluent white communities, able to “shelter in place” and avoid putting their members at risk of infection, and less affluent black and brown districts, where workers on subsistence salaries, often without health-care benefits, have been forced to work in unsafe conditions, with terrible consequences for them and their families. Living in the “richest” country on earth, we can imagine only too easily Sartre's vitriolic assessment of America in its present crisis. And it is just as easy to imagine the fervor with which he would have embraced the Black Lives Matter protests that erupted all over the world, provoked by the 8 minute 46 second video clip that showed the matter-of-fact murder by asphyxiation of George Floyd by white police officers in Minneapolis.
Adrian van den Hoven
Sarah Richmond's translation makes an important contribution to Sartrean scholarship. L'Etre et le néant was first translated by Hazel Barnes in 1956 but it contained various errors. Richmond also had access to the internet and to Sartre's French and German sources. Her edition also contains an Introduction and a ‘Notes on the translation’ section.
Sartre published his work in 1943 and, unable to access all the works he cited, he often did so from memory. He also adopted certain translators’ neologisms: for example, Corbin's translation of Heidegger's Qu'est-ce que la métaphysique? , and when he quoted Nietzsche, he used two different translations, and he quotes Spinoza using a text by Hegel. He quotes a line from the playwright Beaumarchais without clarifying the context.
Sarah Richmond deals with many of these problems and also notes that the French gender system can be problematic. Also, Sartre's neologisms rendered finding English equivalents difficult. This is an excellent translation.
John Ireland and Constance Mui
We are thrilled, on the occasion of the 25th anniversary of Sartre Studies International, to publish for the first time in English (thanks to Dennis Gilbert's initiative and perseverance) two interviews on theater given by Sartre to Russia's oldest continually running theater journal, Teatr, whose first issues date from the 1930s. Six years apart, these two interviews give us the flavor of Sartre addressing a Soviet audience, in early 1956, just before Russian tanks rolled into Hungary and then again in early 1962, as France negotiated its exit out of the disastrous Algerian War. While these interviews intersect at times with remarks made by Sartre in interviews and lectures during the same period in France (the need for theater to become a truly popular forum, the importance of Brecht as a model of politically engaged theater, etc.), the tone of the two interviews (the first in particular) is different, as Sartre seeks to connect with a socialist audience. These interviews also break new ground. Discussing contemporary playwrights, Sartre demonstrates, for example, his familiarity with Kateb Yacine and Algerian theater. More unexpectedly, addressing Russian readers, Sartre offers a much more positive assessment of Jean Vilar's Théâtre National Populaire than he ever formulated in France. In short, beyond their content, these interviews help us appreciate even more the importance of the situation shaping Sartre's pronouncements at any given moment.
John Gillespie and Katherine Morris
This issue spans the entirety of Sartre's philosophical life, from his mémoire on images written at the age of twenty-two for his diploma at the Ecole normale supérieure to his thoughts about democracy as expressed in his final interview, Hope Now, at seventy-four. Fittingly enough, in between come reflections on sin and love and on the ageing body. As a result, we can get a sense of how Sartre's thinking changes and develops throughout his career and is always engaged, right to the end.