she, too, embraced a meaningless universe. Thomas Pérez was the fiancé of Meursault's mother while she was in the home. He brings up the rear in the funeral procession for Meursault's mother, and Meursault describes in a great amount of detail the old man's struggle to keep up. He is called to testify at Meursault's trial. Céleste is the owner of a café that Meursault frequents. He testifies at Meursault's trial. Marie Cardona was a typist in the same workplace as Meursault. A day after his mother's funeral, she meets Meursault at a public pool, and they begin a relationship. She asks Meursault on one occasion if he loves her, and on another if he would like to marry her. To the first he responds with no, the second he seems indifferent to the idea. Marie visits him once in prison, but is not permitted any further visits since she is not his wife. She testifies at Meursault's trial. Salamano is an old man who routinely walks his dog. He abuses it but is still attached to it. When he loses his dog, he is distressed and asks Meursault for advice. He testifies at Meursault's trial. Raymond Sintès is a neighbour of Meursault who beats his Arab mistress. Her brother and friends try to take revenge. He brings Meursault into the conflict, and the latter kills the brother. Raymond and Meursault seem to develop a bond, and he testifies for Meursault during his trial. Masson is the owner of the beach house where Raymond takes Marie and Meursault. Masson is a carefree person who likes to live his life and be happy. He testifies at Meursault's trial. The Arabs include Raymond's mistress, her brother, and his assumed friends. None of the Arabs in The Stranger are named, reflecting the distance between the French colonists and native people. The Arab (the brother of the mistress of Raymond) is a man shot and killed by Meursault on a beach in Algiers. Critical analysis In his 1956 analysis of the novel, Carl Viggiani wrote: Victor Brombert has analysed L'Étranger and Sartre's "Explication de L'Étranger" in the philosophical context of the Absurd. Louis Hudon dismissed the characterisation of L'Étranger as an existentialist novel in his 1960 analysis. The 1963 study by Ignace Feuerlicht begins with an examination of the themes of alienation, in the sense of Meursault being a 'stranger' in his society. In