inherent in the objective nature of the world that would give any necessary meaning to whatever actions he chose, and therefore nothing to restrict his freedom. "[H]is perception of the world around him becomes unstable as objects are disengaged from their usual frames of reference," and he is forced to recognize that freedom is inescapable and that therefore creating a meaning for his life is his own responsibility. "Nothing makes us act the way we do, except our own personal choice." "But," David Clowney writes, "freedom is frightening, and it is easier to run from it into the safety of roles and realities that are defined by society, or even by your own past. To be free is to be thrown into existence with no "human nature" as an essence to define you, and no definition of the reality into which you are thrown, either. To accept this freedom is to live "authentically"; but most of us run from authenticity. In the most ordinary affairs of daily life, we face the challenge of authentic choice, and the temptation of comfortable inauthenticity. All of Roquentin's experiences are related to these themes from Sartre's philosophy." As a novel of political commitment During the Second World War, the experience of Sartre and others in the French Resistance to the Nazi occupation of France emphasized political activism as a form of personal commitment. This political dimension was developed in Sartre's later trilogy of novels, Les Chemins de la Liberté (The Roads to Freedom) (1945–1949), which concern a vicious circle of failure on the part of a thinking individual to progress effectively from thought to action. Finally, for Sartre, political commitment became explicitly Marxist. In 1945, Sartre gave a lecture in New York that was printed in Vogue in July of that year. In it he recast his prewar works, such as Nausea, into politically committed works appropriate to the postwar era. Marxism was not, in any case, always as appreciative of Sartre as he was of it. Mattey describes their objections: Sartre's philosophy From Husserl to Heidegger Sartre was influenced at the time by the philosophy of Edmund Husserl and his phenomenological method. He received a stipend from the Institut Français, allowing him to study in Berlin with Husserl and Martin Heidegger in 1932, as he began writing the novel. Roy Elveton reports: Following Husserl, Sartre views absurdity as a quality of all existing