He is no longer an elite Stasi operative; Dreyman is an unknowing ally rather than an unknown enemy; his former colleagues and allies are now his enemies; and the GDR in essence no longer even exists. Surveillance causes art and reality to mimic each other, not exactly, but in this distinctive distorted fashion. Art opens up Wiesler's emotions, while surveillance distorts and changes his realty.

Death and fear are present in different permutations throughout the novel The Plague by Albert Camus. The people of Oran come to fear the plague; many of them come to be intimately familiar with death in its myriad forms. One of the most unique characters in the novel, Cottard, seems to react very differently from the other characters in this atmosphere. He is not afraid of catching the plague, and seems to enjoy the atmosphere of fear and suspicion that develops through the novel. This response attempts to explore the reasons behind Cottard’s reactions. 
	Cottard, instead of reacting with fear, is, instead, relieved when the plague comes to Oran. In the book he has previously remarked on his fear of law enforcement, and his apparent difficulty meeting and keeping friends. His actions, however, are not entirely isolationist; he does seem to desire human contact. Cottard attempts to tell Grand, likely the least threatening personality in the novel, about his fear of being arrested. This shows that he is attempting to reach out to others, though his fear prevents him from making any bold attempts. He wishes to become a part of society, but does not feel any obligation to help society, for example he does not think it is his responsibility to fight the plague, he enjoys the new atmosphere and does not want to help speed its passing.
Cottard’s fear of arrest is nearly always present and the addition of the town’s fear of the plague comforts him; they are all like him now, suspicious and alone but desiring at all costs not to be so, but unwilling to jeopardize their safety for the luxury. The plague affects everyone in the city, every person now treats every other like a threat; Cottard is no longer emotionally isolated but, rather, connected to the townspeople. His comfort comes from the use of suspicion, no longer is someone suspected of illegal activity, but of carrying the plague, and as everyone is instantly guilty, punishment no longer carries any true threat. The concept of the plague, to Cottard, is abstract enough that he can take comfort in it. He believes, or wishes to believe, that one cannot suffer from two grievous ailments at once, and thus concludes that he is essentially immune to the plague as he views his “secret grief” as an aliment. He experiences irrational fear when it seems as though the plague were to come to an end, for this eventuality would end his companionship, his connection to the people would be severed if they returned to their everyday lives without the constant presence of fear.
