and he is confronted with pure being. Carruth points out that the antipathy of the existentialists to formal ethical rules brought them disapproval from moral philosophers concerned with traditional schemes of value. On the other hand, analytical philosophers and logical positivists were "outraged by Existentialism's willingness to abandon rational categories and rely on nonmental processes of consciousness." Additionally, Sartre's philosophy of existentialism is opposed to a certain kind of rationalistic humanism. Upon the confession of the Self-Taught Man as to being a member of the S.F.I.O., a French Socialist party, Roquentin quickly engages him in a Socratic dialogue to expose his inconsistencies as a humanist. Roquentin first points out how his version of humanism remains unaffiliated to a particular party or group so as to include or value all of mankind. However, he then notes how the humanist nonetheless caters his sympathy with a bias towards the humble portion of mankind. Roquentin continues to point out further discrepancies of how one humanist may favor an audience of laughter while another may enjoy the somber funeral. In dialogue, Roquentin challenges the Self-Taught Man to show a demonstrable love for a particular, tangible person rather than a love for the abstract entity attached to that person (e.g. the idea of Youth in a young man). In short, he concludes that such humanism naively attempts to "melt all human attitudes into one." More importantly, to disavow humanism does not constitute "anti-humanism". The kind of humanism Sartre found unacceptable, according to Mattey, "is one that denies the primacy of individual choice... . But there is another conception of humanism implicit in existentialism. This is one that emphasizes the ability of individual human beings to transcend their individual circumstances and act on behalf of all humans. The fact is, Sartre maintains, that the only universe we have is a human universe, and the only laws of this universe are made by humans." Early reception In his Sartre biography, David Drake writes, "Nausea was on the whole well received by the critics and the success of Sartre the novelist served to enhance the reputation he had started to enjoy as a writer of short stories and philosophical texts, mostly on perception." Although his earlier essays did not receive much attention, Nausea and the collection of stories The Wall, swiftly brought him recognition. Carruth writes that, on publication, "it was condemned, predictably, in academic circles, but younger