Franz Kafka Writing
style
Kafka often made extensive use of a trait
special to the German language allowing for long
sentences that sometimes can span an entire
page.
Kafka's sentences then deliver an unexpected
impact just before the full stop—that being the
finalizing meaning and focus. This is achieved
due to the construction of certain sentences in
German which require that the verb be positioned
at the end of the sentence. Such constructions
cannot be duplicated in English, so it is up to
the translator to provide the reader with the
same effect found in the original text.
Another virtually insurmountable problem facing
the translator is how to deal with the author's
intentional use of ambiguous terms or of words
that have several meanings. One such instance is
found in the first sentence of The
Metamorphosis. Another example is Kafka's use of
the German noun Verkehr in the final sentence of
The Judgment. Literally, Verkehr means
intercourse and, as in English, can have either
a sexual or non-sexual meaning; in addition, it
is used to mean transport or traffic. The
sentence can be translated as: "At that moment
an unending stream of traffic crossed over the
bridge."What gives added weight to the obvious
double meaning of 'Verkehr' is Kafka's
confession to Max Brod that when he wrote that
final line, he was thinking of "a violent
ejaculation".In the English translation, of
course, what can 'Verkehr' be but "traffic?"
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Franz Kafka Diaries |
Franz
Kafka's Diaries, written in German
language between 1910-1923, include
casual observations, details of daily
life, reflections on philosophical
ideas, accounts of dreams, and ideas for
stories. Kafka’s diaries offer a
detailed view of the writer's thoughts
and feelings, as well as some of his
most famous and quotable statements.
Kafka began keeping the diaries at the
age of 27, as an attempt to provoke his
stalled creativity, and kept writing in
them until 1923, a year before his
death. These diaries were in the
background all through the composition
of Kafka's major works and many of them
are discussed and analyzed in detail.
The diaries offer an image of a
profoundly depressed man, isolated from
friends and family, involved in a series
of failed relationships, and constantly
sick. While this is certainly part of
Kafka's character it is typical for a
private journal, not meant for
publication, to express more of the
writer's anxieties and worries. The
humor and light-heartedness sometimes
expressed in Kafka's fiction, as well as
the generally positive image arising
from recollections by friends and
acquaintances, are missing from the
diaries.
Franz Kafka Diaries 1910-1923
By now we are almost accustomed in
Western European stories, as soon as
they try to encompass any groups of
Jews, to seek out and find beneath or
above the portrayal the solution to the
Jewish question as well. But in Jüdinnen
such a solution is not shown and not
even attempted, since the very
characters who are occupied with such
questions stand farthest from the center
of the story, where events turn more
quickly, so that we can still observe
them but no longer have a chance to get
from them a calm report of their
efforts. Suddenly we perceive this as a
flaw in the story, and feel ourselves
all the more justified in this dismissal
since today, with the coming of Zionism,
the possible solutions to the Jewish
problem are so clearly laid out that the
writer would, after all, only have
needed a few steps to find the
particular possible solution appropriate
to his story.
This flaw arises from yet another.
Jüdinnen lacks the non-Jewish onlookers,
those respectable opponents who in other
stories draw forth the Jewishness so
that it pushes out against them, shifts
into astonishment, doubt, envy, terror,
and finally, finally into
self-confidence, but in any case can
straighten itself to its full length
only against them. Just that is what we
demand, we don’t recognize any another
resolution of the Jewish material. And
we don’t rely on such a feeling in this
case alone, at least in one direction it
is general. On a footpath in Italy, for
instance, we are delighted when a lizard
darts off exquisitely from our
footsteps, we keep wanting to bend down,
but if we see them at a shop by the
hundreds, crawling over one another in
the large glasses where pickles are
usually kept, then we don’t know how to
handle it
Both flaws combine into a third.
Jüdinnen can do without that foremost
youth who in such a story usually pulls
the best things to himself and leads
them outward, in a beautiful radial
direction, to the borders of the Jewish
circle. That is precisely what we won’t
accept, that the story can do without
this youth, here we sense a fault more
than we see it. |
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Readers
have become accustomed, in contemporary
Western European Jewish stories, to seek
out and find just above or beneath the
story the solution to the Jewish
question as well; but in Jüdinnen such a
solution is not portrayed and not even
attempted, so that the reader might well
suddenly perceive this as a flaw in
Jüdinnen, and will look on only
reluctantly if Jews should come into the
daylight without political
encourangement from the past or the
future. Here he must say to himself
that, particularly since the advent of
Zionism, the possible solutions to the
Jewish problem are so clearly laid out
that the author need only turn his body,
after all, to find a particular solution
appropriate to that part of the problem
lying before him. |
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My
visit to Dr. Steiner.
A woman is already waiting (up on the
third floor of the Victoria Hotel at
Jungmannsstrasse) but insists that I go
in before her. We wait. The secretary
comes with promises. Down the corridor I
catch a glimpse of him. Immediately
afterward he comes up to us with
half-extended arms. The woman explains
that I was the first to come. I walk
behind him now, as he directs me into
his room. His Kaiser gown, which on
lecture evenings seems mopped black (not
mopped, but rather radiant in its own
blackness) is now by daylight (at 3 in
the afternoon) dusty and even spotted,
especially on the back and shoulders. In
his room I try to show my humility,
which I can’t feel, by looking for a
ridiculous place for my hat; I put it on
a small wooden rack for lacing boots. In
the center a table, I sit with a view of
the window, he on the left side of the
table. Some papers on the table, with a
few drawings recalling one of the
lectures on occult physiology. A small
volume of annals in natural philosophy
tops a short pile of books, other books
lie around elsewhere. You can’t look
around now, for he keeps seeking to hold
you with his gaze, and if he fails at it
once, you must look out for the gaze’s
return. He begins with a few loose
sentences: So you are Dr. Kafka? Have
you been interested long in Theosophy?
But I press forward with my prepared
speech: I feel as if a large part of my
being is drawn to Theosophy, but at the
same time I have the greatest fear of
it. I’m afraid of it bringing a new
confusion, which would be terrible for
me, seeing as my present unhappiness
consists of nothing but confusion. The
nature of the confusion is this: my
happiness, my abilities and any
possibility of using them have always
lain in literature. And here I have even
experienced states (not many) which in
my opinion lie very close to the
clairvoyant states that you describe,
Herr Doctor, in which I lived entirely
within each idea, but also fulfilled
each idea, and in which I felt myself
not only at my own bounds but at the
bounds of all humanity. Only the
ecstatic peace which may be unique to
the clairvoyant was missing from these
states, though not quite entirely. I
leave out of this that I have not
written my best work in these states. —
Currently I can’t devote myself entirely
to these literary pursuits, as I should,
and for various reasons. Apart from my
family situation, I couldn’t live from
literature alone because of the slow
development of my work and its
particular character; in addition, my
health and my character prevent me from
devoting myself to a life that is
uncertain at best. So I have become an
office worker at a social insurance
institute. Now these two professions
could never tolerate one another and
accept a shared fortune. The least good
fortune in one is a great misfortune in
the other. If I have written something
good one evening, the next day in the
office I am on fire and can’t get
anything finished. This back-and-forth
is getting steadily worse.
In the office I fulfill my duties
outwardly, but not my inner duties, and
each unsatisfied inner duty turns into
an unhappiness which never stirs out of
me. And to these two endeavors, never to
be balanced, shall I now add Theosophy
as a third? Will it not disturb them on
both sides and itself be interrupted
from both? Will I, presently such an
unhappy person, be able to carry these
three to a conclusion? I have come, Herr
Doctor, to ask you this, for I feel that
if you consider me capable of it, I too
can really take it upon myself.
He listened very attentively, without
seeming to attend to me in the least,
entirely devoted to my words. He nodded
from time to time, which for him seemed
to be an aid to strict concentration. At
the beginning a silent cold disturbed
him, it ran out of his nose, he kept
working at it with his handkerchief deep
in his nose, a finger on either nostril. |
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28
March 1911. The painter Pollak-Karlin,
his wife with two large wide front teeth
tapering her large, rather flat face,
Frau Hofrath Bittner, the composer’s
mother, whose age so brings out her
strong skeleton that at least while
sitting she looks like a man: - Dr.
Steiner is so very occupied with his
absent students - At the lecture the
dead crowd around him so. Intellectual
curiosity? But do they actually need it.
Apparently so. - Sleeps 2 hours. Ever
since his electric lights were once cut
off, he always has a candle by him. - He
stood very near Christ. - He staged his
theater piece in Munich. (”You can study
it a whole year and still not understand
it.”) He designed the costumes, wrote
the music. - He gave instruction to a
chemist. Simon Löwy, silk merchant in
Paris, Quai Moncey, got the best
business advice from him. He translated
his work into French. Thus the Hofrat’s
wife has written in her notebook, “How
does one achieve the knowledge of higher
worlds? At S. Löwy’s in Paris.” - In the
Vienna lodge is a 65-year-old
Theosophist, strong as a giant, formerly
a great drunkard with a thick head, who
continually believes and continually has
doubts. Supposedly it was very funny
when, once at a congress in Budapest, at
a dinner on Blocksberg one moonlit
night, Dr. Steiner came unexpectedly
into the gathering and he hid in fear
behind a beer barrel with a mug (though
Dr. Steiner would not have been angry at
this) - Perhaps he is not the greatest
living psychic researcher, but he alone
has received the task of uniting
Theosophy with science. That’s also why
he knows everything.
Once a botanist, a great master of the
occult, came to his native village. He
enlightened him. - That I would look up
Dr. Steiner was interpreted by the lady
for me as the beginning of recollection.
- The lady’s doctor had, when she showed
the first signs of influenza, asked Dr.
Steiner about a remedy, prescribed it to
the woman so that she got better
immediately. - A Frenchwoman took leave
of him with “Au revoir.” He shook his
hand behind her. Two months later she
died. Yet another similar case in
Munich. - A Munich doctor heals using
colors picked out by Dr. Steiner. Also
he sends patients into the Pinakotheque
with instructions to concentrate on a
particular picture for a half hour or
longer. - Destruction of Atlantis, fall
of Lemuria, and now through egoism. - We
live in a decisive time. Dr. Steiner’s
efforts will be successful if only the
powers of Ahriman do not gain the upper
hand. - He eats two liters of almond
milk and fruits that grow in the air. -
He keeps company with his absent
students by means of thought forms,
which he sends out to them without
bothering about them after they have
produced. But soon they wear off and he
must generate more - Mrs. Fanta: I have
a bad memory. Dr St. Don’t eat any eggs. |
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26
March 1911
Theosophical lectures by Dr. Rudolf
Steiner, Berlin. Rhetorical effect:
relaxed discussion of the objections of
opponents, the listener is amazed by
this strong opposition, further
development and enlivening of these
objections, the listener falls into
worry, sinks entirely into these
objections as if there were nothing
else, now the listener takes a response
to be impossible and is more than
satisfied with a fleeting description of
the possibility of defense.
This rhetorical effect corresponds,
incidentally, to the commandment of the
devotional spirit. - Continual gazing on
the surface of one’s extended hand. -
Leaving out the final point. In general
the spoken sentence begins at the
speaker with its great capital letter,
in its course bends as far as it can out
to the listeners, and turns back to the
speaker with the final point. But if the
final point is left out, then the
sentence, no longer held, blows directly
onto the listener with the entire
breath.
Earlier a lecture by Loos and Kraus. |
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The
urban world.
Oskar M., an older student—if one looked
at him closely, one was frightened by
his eyes—stood one winter afternoon in
the midst of the falling snow on an
empty stretch, in his winter clothes
with a winter coat on top, a shawl
around his neck, and a fur cap on his
head. He squinted his eyes in
deliberation. He had lost himself so
deeply in thought that at one point he
took off his cap and brushed the fuzzed
fur over his face. At last he seemed to
reach some conclusion and turned with a
dance step toward the road home. As he
opened the door of his parents’ living
room he saw his father, a clean—shaven
man with a fleshy face, facing the door
from his seat at an empty table.
“Finally,” he said, Oskar having
scarcely set foot in the room, I’m
waiting here for you at the door, I’m so
furious with you that I can hardly
handle myself. But father, said Oskar,
and only on speaking noticed how he had
been running. Quiet, his father shouted
and stood up, blocking a window. Quiet,
I order you. And no arguments from you,
you understand. Meanwhile he took the
table with both hands and dragged it a
step closer to Oskar. I won’t put up
with your idle life any more. I’m an old
man. I thought that in you I’d have a
consolation for my old age, that’s what
makes you a torment worse than all my
illnesses. Blast such a son—through
laziness, wastefulness, spite, and
stupidity, he’s pushing his old father
into the grave. Here Oskar’s father fell
silent, but moved his face as if he were
still speaking. Dear
father,
said Oskar, and moved cautiously toward
the table, calm down, everything will be
fine. I’ve had an idea today that will
make a hardwoking man of me, as you
could only hope for. What’s that? asked
his father and looked into a corner.
Just trust me, I’ll explain everything
to you over dinner. Deep down I’ve
always been a good son, it’s just that I
couldn’t show it on the outside, I was
so bitter that I would rather torment
you, if there was no way I could make
you happy. But just let me go for a
short walk now, so that I can get my
thoughts clearer. Oskar’s father, at
first paying close attention, had sat
down on the table’s edge, now he stood:
I don’t believe there’s much sense in
what you just said, I’d sooner take it
for blather. But in the end you’re my
son — come back on time, we’ll have
dinner at home, and you can tell me the
matter then. That little trust is all I
need, I’m thankful to you from the
bottom of my heart. But isn’t it plain
to see in my eyes that I’m entirely
occupied with a serious matter? At the
moment I don’t see anything, said
Oskar’s father. But that could also be
my fault, after all I’ve gotten used to
looking right past you. Meanwhile, as
was his habit, he struck regular blows
against the tabletop as a reminder of
passing time. But what matters is that I
don’t trust you at all any more, Oskar.
If I shout at you — when you arrived I
shouted at you, didn’t I? — I do it only
in the hope that it might improve you, I
do it only for the thought of your poor
good mother, who perhaps now feels no
immediate sorrow over you, but is slowly
going to ruin from the effort of fending
off that sorrow, since she imagines that
this will help you somehow. But in the
end this is something you already know
quite well, and for my sake alone I
wouldn’t have reminded you of it if you
hadn’t provoked me with your promises.
During these last words, the servant
girl stepped in to check on the fire in
the oven. Scarcely had she left the room
when Oskar called out: But father! I
wouldn’t have expected that. If I’d had
only a small idea, let’s say an idea
about my dissertation, that’s been
sitting a good ten years in my chest and
needs ideas like salt, so it’s possible,
if not even highly probable, that just
as happened today I would have come
running home from my walk and said:
Father, happily I’ve had this and this
idea. And if then, with your venerable
voice, you had spoken those accusations
from a little while ago into my face,
then my idea would have been simply
blown away and I would have had to march
off with some excuse, or without one.
But now! Everything you say against me
helps my ideas, they don’t cease, they
get stronger and fill up my head. I’ll
go, because only in privacy can I set
them in order. He gulped at his breath
in the warm room. And it could also be a
dirty trick that you have in your head,
said his father with wide eyes, now I
believe it has got hold of you. But if
something capable gets into you by
mistake, then it runs out of you
overnight. I know you. Oskar shook his
head as if he were being held by the
neck. Let me alone. It’s most
unnecessary how you’re drilling into me.
The mere possibility that you might be
able to predict my future really
shouldn’t tempt you to disturb my
careful deliberations. Perhaps my past
gives you that right, but you shouldn’t
make use of it. There you see best how
great your insecurity must be, if it
forces you to speak against me like
this. Nothing forces me, said Oskar, and
jerked his neck. He even stepped much
closer to the table, so that one could
no longer tell to whom it belonged. What
I said, I said in awe, and even from
love for you, as you’ll see later, for
the greatest part of my decisions comes
out of consideration for you and Mama.
Then I shall have to thank you, said his
father, since it’s highly unlikely that
your mother and I will still be able to
do so at the appropriate moment. Please
father, let the future sleep for now, as
it deserves. If you wake it too early,
you get a groggy present. But that your
son should have to tell you this! It’s
not even that I wanted to convince you,
but only to announce the news. And that
at least, as you have to admit, I’ve
accomplished. Now Oskar only one thing
still amazes me: why you haven’t often
before come to me with a thing like
today’s. It fits your previous nature so
well. No, in fact I’m serious.
Yes, and you would have struck me
instead of listening to me. I ran here
so quickly, God knows, to give you some
joy. But I can’t give away anything to
you until my plan is completely
finished. So why do you berate me for my
good intentions, and demand explanations
from me that might hinder the
accomplishment of my plan.
Quiet I don’t want to know a thing. But
I must answer you very quickly, since
you’re drawing back to the door and
obviously have something very urgent in
mind: you calmed my original anger with
your piece of artistry, — only now it’s
all the sadder for me than before and so
I beg you — if you stay longer I can
even fold my hands — at least say
nothing of your ideas to your mother.
Let it be enough with me.
That certainly isn’t my father who’s
speaking this way, cried Oskar, who had
already laid his arm on the doorknob.
Something has come over you since noon,
or you’re a stranger I’m now meeting for
the first time in my father’s room. My
real father — Oskar was silent a moment,
his mouth open — he would surely have
embraced me, he would have called for my
mother. What has happened to you,
father?
You’d better eat dinner with your real
father, I think. It would be more
pleasant.
He’ll come soon. He can’t stay away much
longer. And my mother must be with him.
And Franz, whom I’m calling now. All of
them. And Oskar pushed his shoulder
against the easily moved door, as if he
had meant to break it down.
Having arrived at Franz’s apartment, he
bowed to the small landlady with the
words: I know the Herr Engineer is
sleeping, that means nothing, and with
no further regard for the woman, who was
moving uselessly back and forth in the
hallway from displeasure at the visit,
he opened the glass door, which trembled
in his hand as if touched in a delicate
position, and called carelessly into the
room, which he still scarcely saw:
Franz, get up. I need your professional
advice. But I can’t stand it here in the
room, we’ll have to go for a little
walk, you’ll have to eat dinner with us
too. So quickly now. With pleasure, said
the engineer from his leather sofa, but
which first, getting up, going for a
walk, eating dinner, giving advice, and
I probably missed some of it. And above
all, no little jokes, Franz. That’s the
most important, I forgot that. I’ll do
you the favor immediately. But getting
up — I’d rather eat dinner for you twice
than get up for you once. Up now! No
arguments. Oskar grabbed the weak man by
the front of his clothes and sat him up.
But you’re raving, you know. With all
respect. He rubbed at his closed eyes
with both little fingers. Say. Have I
ever torn you like this from the sofa.
But Franz, said Oskar with a twisted
face, get dressed now. I’m not some
idiot who’s woken you for no reason. —
Just as I don’t sleep for no reason. I
had the night shift last night, so I’ve
just now gotten to my midday sleep, on
your account too — How so? Oh, how it
irritates me, how little consideration
you take for me. It isn’t the first
time. Naturally you’re a free student
and can do whatever you like. Not
everyone is so lucky. So you really have
to be considerate, for God’s sake. Of
course I’m your friend, but they haven’t
lessened my work because of that. He
illustrated this by shaking his open
hands back and forth. But mustn’t I
believe, from how you’re talking now,
that you’ve slept more than enough, said
Oskar, who had drawn himself up on a
bedpost and from it looked at the
engineer as if he had somewhat more time
than earlier. So what do you actually
want from me? or better said, why did
you wake me? asked the engineer, and
heavily rubbed his neck beneath his
goatee, in the close connection with
one’s body that one has after sleeping.
What I want from you, said Oskar gently,
and gave the bed a small push with his
heel. Very little. I already told to you
from the hall: for you to get dressed.
If you want to suggest by this, Oskar,
that your news interests me very little,
then you’re completely right. That’s
just fine, then it will set you on fire
on your own account, even without our
friendship getting involved. The
information too will become clearer, I
need clear information, keep that
thought foremost. If you’re perhaps
looking for your collar and necktie,
they’re lying there on the armchair.
Thanks, said the engineer and began to
fasten his collar and tie, one really
can depend on you. |
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The Franz Kafka
Biography website |
|
Marc
Henry—Delvard. The tragic feeling
created in the audience by the empty
hall heightens the effect of serious
songs, harms the lively ones.—Henry
gives a prologue while Delvard, behind a
curtain that she doesn’t realize is
transparent, arranges her hair.—At badly
attended performances, Wetzler the
presenter seems to wear his Assyrian
beard, which is otherwise deep black,
with tinges of gray.—Good to let such a
temperament blow over you, it lasts for
24 hours, no not so long.—A lot of
clothing on display, Breton costumes,
the inner underskirt is the longest so
that one can count up the richness from
a distance.—At first Delvard
accompanies, since they wanted to save
an accompanist, in a broad low-cut green
dress, and freezes.—Parisian street
calls. Newsboys are left out.—Someone
speaks to me, before I can breathe out I
am bid farewell.—Delvard is ridiculous,
she has an old maid’s smile, an old maid
from the German cabaret, she gets a red
shawl from behind the curtain and plays
revolution, poems by Dauthendey in the
same tough, indestructible voice. Only
when she first sat like a woman at the
piano was she endearing.—At the song “a
Batignolles” I felt Paris in my throat.
Batignolles is supposed to be living on
pension, even its Apaches. Bruant wrote
a song for each of its quarters. |
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21
February 1911
I live my life here as if I were
entirely certain of a second life, as if
for example I had entirely gotten over
the failed time spent in Paris, since I
will strive to return soon. Connected to
this, the sight of the sharply divided
light and shadow on the street paving.
For a moment I felt myself covered in
armor.
How distant, for example, are the
muscles of my arms. |
|
Kleist’s youthful letters, age 22. Quits
his military position. At home they ask
him: So which practical studies for you,
since they considered that self-evident.
You have a choice between jurisprudence
& political science. But do you have any
connections at court? “I answered no,
somewhat embarrassed at first, but went
on to explain much more proudly that if
I did have any connections, with my
current ideas I would be ashamed to
count on them. They smiled, I felt I had
been too hasty. One must take care not
to voice such truths” |
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The
young pure well-dressed youths beside me
in the gallery remind me of my own
youth, and so make an unappetizing
impression on me. |
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Small
cities also have small surroundings for
those taking walks. |
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20 February 1911
Mella Mars in the “Lucerna.”
A witty tragedienne, who as it were
entered onto an inside-out stage, as
tragediennes sometimes show themselves
behind the scenery. On her entrance she
had a tired, in fact even a flat, empty,
old face, the sort that is a natural
start for all famous actors. She speaks
very sharply, her movements too are
sharp, beginning from her bent-back
thumbs which seem to have hard sinews in
place of bones. Particular changeability
of her nose through the shifting
highlights and depths of the muscles
playing around it. In spite of the
unending flashes of her movements and
words, she makes her points delicately. |
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“Are you going to stay here much
longer?” I asked. At the sudden speech a
bit of spittle flew out of my mouth as a
bad omen. Is it
bothering you? If it’s bothering you or
perhaps keeping you from going up, I’ll
go right away, but otherwise I’d rather
stay here, for I’m tired. |
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19 February 1911
The particular nature of
my inspiration, in which I, the happiest
and unhappiest of men, now go to sleep
at two in the morning [perhaps it will
remain, if I can only bear the thought
of it, for it exceeds all that came
before] is such that I can do anything,
and not only for one particular work. If
I write down a sentence at random, such
as He looked out the window, it is
already perfected. |
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19 February 1911
When I tried to get out
of bed today, I simply folded up.
There’s a very simple reason for this, I
am completely overworked. Not by the
office but by my other work. The office
has an innocent share in it only in that
if I did not have to go there, I could
live calmly for my work and would not
have to spend six hours there daily,
which especially on Friday and Saturday
afflicted me to a degree you can’t
imagine, since I was full of my own
affairs. In the end I know perfectly
well that these are empty words, that I
am guilty and that the office has the
clearest and most justified claims
against me. But for me in particular it
is a terrible double life, from which
there is no way out but madness. I write
this in good morning light and surely
would not write it if it were not so
true, and if I did not love you like a
son.
For the rest, tomorrow
I will surely be together again and will
go to the office, where the first thing
I hear will be that you want me out of
your division. |
|
Three
times in the theater, always sold out:
Des Meeres und der Liebe Wellen:
I sat in the balcony, too good an actor
made too much noise as Naukleros,
several times I had tears in my eyes,
such as the end of the first act when
Hero’s and Leander’s eyes cannot leave
each other. Hero steps out the temple
door, through which something is visible
that can be nothing else but an icebox.
In the second act a forest, as in early
deluxe editions, it goes to the heart,
lianas loop themselves from tree to
tree. Everything mossy and dark green.
The back wall of the tower turns next
evening back into Miss Dudelsack.
From the third act on the anticlimax of
the piece, as if there were an enemy
behind it |
|
One
policeman doesn’t know the address of
the Workers’ Insurance Company, another
doesn’t know that of the institute
branch office, a third doesn’t even know
where Johannes Street is. They explain
that they have only been in the service
a short time. For an address I have to
go to the guardroom, where there are
plenty of policemen resting in various
ways, all in uniforms of surprising
beauty, newness and color, since
otherwise only dark winter coats are to
be seen on the street. |
|
Reichenberg: The
actual intentions of people who rush
into a small town in the afternoon are
completely unclear to me. If they live
outside it, then surely they have to use
the trams, since the distances are too
great. But if they live in the town
itself, then of course there is no
distance and no reason to hurry. And yet
people stretch their legs in crossing
this central square which is no larger
than that of a village and whose city
hall makes it still smaller by its
immediate size (it can amply cover the
square with its shadow), so long as,
looking from the small square, one
doesn’t quite want to believe in the
size of the hall and tries to explain
the first impression of its size by the
square’s smallness. |
|
I had
noticed the Dürerbund “literary advisor”
in the window display of the bookshop.
Decided to buy it, then changed my mind,
returned once more to the decision,
during which I often remained standing
before the display at all times of day.
The bookshop seemed so forsaken to me,
the books so forsaken. Only here and
there did I feel the connection between
the world and Friedland, it was so
slight. But since any forsakenness
induces a warmth in me, soon I felt the
happiness of this bookshop as well, and
once stepped inside just to see the
interior. Since scientific works aren’t
needed there, its shelves seemed almost
more literary than in city bookshops. An
old lady sat under a green-shaded light
bulb. Four, five evenly unpacked volumes
of Kunstwart reminded me that it
was the beginning of the month. The
woman, refusing my help, pulled the book
out from the display (she was scarcely
conscious of its existence), handed it
to me, was surprised that I had noticed
it behind the icy pane (of course I had
seen it earlier), and began to look up
the price in the account books, since
she didn’t know it and her husband was
away. I’ll come back later in the
evening, I said (it was five in the
afternoon), but didn’t keep my word. |
|
Kafka was born
into a middle-class Jewish family in Prague, the
capital of Bohemia. His father, Hermann Kafka
(1852–1931), was described as a "huge, selfish,
overbearing businessman"and by Kafka himself as
"a true Kafka in strength, health, appetite,
loudness of voice, eloquence, self-satisfaction,
worldly dominance, endurance, presence of mind,
[and] knowledge of human nature". Hermann was
the fourth child of Jacob Kafka, a ritual
slaughterer, and came to Prague from Osek, a
Czech-speaking Jewish village near Písek in
southern Bohemia. After working as a traveling
sales representative, he established himself as
an independent retailer of men's and women's
fancy goods and accessories, employing up to 15
people and using a jackdaw (kavka in Czech) as
his business logo. Kafka's mother, Julie
(1856—1934), was the daughter of Jakob Löwy, a
prosperous brewer in Poděbrady, and was better
educated than her husband.
Franz was the eldest of six children.[4] He had
two younger brothers, Georg and Heinrich, who
died at the ages of fifteen months and six
months, respectively, before Franz was seven,
and three younger sisters, Gabriele ("Elli")
(1889–1941), Valerie ("Valli") (1890–1942), and
Ottilie ("Ottla") (1891–1943). On business days,
both parents were absent from the home. His
mother helped to manage her husband's business
and worked in it as much as 12 hours a day. The
children were largely reared by a series of
governesses and servants. Franz's relationship
with his father was severely troubled as
explained in the Letter to His Father in which
he complained of being profoundly emotionally
abused since childhood.
Franz's sisters were sent with their families to
the Łódź Ghetto and died there or in
concentration camps. Ottla was sent to the
concentration camp at Theresienstadt and then on
7 October 1943 to the death camp at Auschwitz,
where 1267 children and 51 guardians, including
Ottla, were gassed to death on their arrival.
Kafka learned German as his first language, but
he was also fluent in Czech. Later, Kafka
acquired some knowledge of French language and
culture; one of his favorite authors was
Flaubert. From 1889 to 1893, he attended the
Deutsche Knabenschule, the boys' elementary
school at the Masný trh/Fleischmarkt (meat
market), the street now known as Masná street.
His Jewish education was limited to his Bar
Mitzvah celebration at 13 and going to the
synagogue four times a year with his father,
which he loathed. After elementary school, he
was admitted to the rigorous classics-oriented
state gymnasium, Altstädter Deutsches Gymnasium,
an academic secondary school with eight grade
levels, where German was also the language of
instruction, at Old Town Square, within the
Kinsky Palace. He completed his Maturita exams
in 1901.
Admitted to the Charles-Ferdinand University of
Prague, Kafka first studied chemistry, but
switched after two weeks to law. This offered a
range of career possibilities, which pleased his
father, and required a longer course of study
that gave Kafka time to take classes in German
studies and art history. At the university, he
joined a student club, named Lese- und Redehalle
der Deutschen Studenten, which organized
literary events, readings and other activities.
In the end of his first year of studies, he met
Max Brod, who would become a close friend of his
throughout his life, together with the
journalist Felix Weltsch, who also studied law.
Kafka obtained the degree of Doctor of Law on 18
June 1906 and performed an obligatory year of
unpaid service as law clerk for the civil and
criminal courts.
Franz Kafka Employment
On 1 November 1907, he was hired at the
Assicurazioni Generali, a large Italian
insurance company, where he worked for nearly a
year. His correspondence, during that period,
witnesses that he was unhappy with his working
time schedule—from 8 p.m. (20:00) until 6 a.m.
(06:00)—as it made it extremely difficult for
him to concentrate on his writing. On 15 July
1908, he resigned, and two weeks later found
more congenial employment with the Worker's
Accident Insurance Institute for the Kingdom of
Bohemia. His father often referred to his son's
job as insurance officer as a "Brotberuf",
literally "bread job", a job done only to pay
the bills. While Kafka often claimed that he
despised the job, he was a diligent and capable
employee. He was also given the task of
compiling and composing the annual report and
was reportedly quite proud of the results,
sending copies to friends and family. In
parallel, Kafka was also committed to his
literary work. Together with his close friends
Max Brod and Felix Weltsch, these three were
called "Der enge Prager Kreis", the close Prague
circle, which was part of a broader Prague
Circle, "a loosely knit group of German-Jewish
writers who contributed to the culturally
fertile soil of Prague from the 1880s till after
World War I."
In 1911, Karl Hermann, spouse of his sister
Elli, proposed Kafka collaborate in the
operation of an asbestos factory known as Prager
Asbestwerke Hermann and Co. Kafka showed a
positive attitude at first, dedicating much of
his free time to the business. During that
period, he also found interest and entertainment
in the performances of Yiddish theatre, despite
the misgivings of even close friends such as Max
Brod, who usually supported him in everything
else. Those performances also served as a
starting point for his growing relationship with
Judaism.[8]
Franz Kafka Later years
In 1912, at Max Brod's home, Kafka met Felice
Bauer, who lived in Berlin and worked as a
representative for a dictaphone company. Over
the next five years they corresponded a great
deal, met occasionally, and twice were engaged
to be married. Their relationship finally ended
in 1917.
In 1917, Kafka began to suffer from
tuberculosis, which would require frequent
convalescence during which he was supported by
his family, most notably his sister Ottla.
Despite his fear of being perceived as both
physically and mentally repulsive, he impressed
others with his boyish, neat, and austere good
looks, a quiet and cool demeanor, obvious
intelligence and dry sense of humor.
In 1921 he developed an intense relationship
with Czech journalist and writer Milena
Jesenská. In July 1923, throughout a vacation to
Graal-Müritz on the Baltic Sea, he met Dora
Diamant and briefly moved to Berlin in the hope
of distancing himself from his family's
influence to concentrate on his writing. In
Berlin, he lived with Diamant, a 25-year-old
kindergarten teacher from an orthodox Jewish
family, who was independent enough to have
escaped her past in the ghetto. She became his
lover, and influenced Kafka's interest in the
Talmud.
It is generally agreed that Kafka suffered from
clinical depression and social anxiety
throughout his entire life.[citation needed] He
also suffered from migraines, insomnia,
constipation, boils, and other ailments, all
usually brought on by excessive stresses and
strains. He attempted to counteract all of this
by a regimen of naturopathic treatments.
However, Kafka's tuberculosis worsened; he
returned to Prague, then went to Dr. Hoffmann's
sanatorium in Kierling near Vienna for
treatment, where he died on 3 June 1924,
apparently from starvation. The condition of
Kafka's throat made eating too painful for him,
and since parenteral nutrition had not yet been
developed, there was no way to feed him. His
body was ultimately brought back to Prague where
he was buried on 11 June 1924, in the New Jewish
Cemetery (sector 21, row 14, plot 33) in Prague-Žižkov.
Franz Kafka Judaism and Zionism
Kafka was not formally involved in Jewish
religious life, but he showed a great interest
in Jewish culture and spirituality. He was
well-versed in Yiddish literature, and loved the
Yiddish theater. He was deeply fascinated by the
Jews of Eastern Europe whom he regarded as
having an intensity of spiritual life Western
Jews did not have. His diary is full of
references to Yiddish writers, known and
unknown. Yet he was at times alienated from
Judaism and Jewish life: "What have I in common
with Jews? I have hardly anything in common with
myself and should stand very quietly in a
corner, content that I can breathe."
On the other hand, Kafka dreamed of moving to
Palestine with Felice Bauer, and later Dora
Diamant, to live in the Land of Israel. He
studied Hebrew in Berlin, and hired Pua Bat-Tovim,
a university student from Palestine, to teach
him, although he never became proficient in the
language. Kafka attended Rabbi Julius Grünthal’s
class in the Berlin Hochschule für die
Wissenschaft des Judentums. The critic Hans
Keller interviewed Grünthal’s son, the Israeli
composer Josef Tal:
"A little story [Josef] Tal told me which
contained some new, first-hand information about
Franz Kafka, which throws old light on the
genius – shows how utterly incapable he was of
behaving uncharacteristically: he put the whole
of Kafka into a few understanding words – the
kind of understatement, downright daring in its
humour, which Kafka alone was able to invent.
Tal's father, [Julius] Grünthal by name, was a
rabbi and an international authority on Semitic
languages, in which capacity he taught at the
Berlin Hochschule für die Wissenschaft des
Judentums (College for Judaic Science), as
institute of world-wide reputation. The
grown-up, indeed mature Kafka sat in one of his
classes, but Grünthal's knowledge of
contemporary literature had its gaps, and he
didn't know of Kafka's existence. What he did
notice was this pale, thin man in the last row,
quiet with burning eyes, who came out with
piercing, pertinent questions, invariably of
original interest. The day came when the
professor could no longer contain his curiosity:
"Excuse me, sir, who are you? What do you do in
life?" "I am a journalist." In private
conversation, the essence of Kafka's style (by
no means always apparent in the inadequate
English translations) was compressed into these
four words: the smiling paradox used towards
extreme understatement, the Freudian
'representation through the opposite'
transferred from the unconscious's primary
process to conscious conscientiousness – for the
absurdity of describing himself as a journalist,
with all the implications of superficiality,
ephemerality, the sheer bad writing which the
concept inevitably carries, was well-balanced,
amusingly outbalanced by the firm fact that all
his greatest stories had appeared in journals –
stories which indeed 'reported' on the deepest
and darkest events in the human mind as if they
were everyday occurrences in so-miscalled real
life. I would calmly describe this answer as a
masterpiece, and I am therefore happy that one
has been able to recover it. Tal himself was a
child at the time and is therefore unable to
recount, in any detail, Kafka's subsequent visit
to his father's house. All he remembers in his
turn is the slim, exceedingly pale ("white") man
with those piercing eyes – who, however, was
obtrusively quiet, while his striking girl
friend, whom he had brought along, was all
vivacity."
He also spent a week attending the Eleventh
Zionist Congress, and read the reports of the
Jewish agricultural colonies in Palestine with
great interest.
In the opinion of literary critic Harold Bloom,
author of The Western Canon, "Despite all his
denials and beautiful evasions, [Kafka's
writing] quite simply is Jewish writing."
Franz kafka Publications
Much of Kafka's work was unfinished, or prepared
for publication posthumously by Max Brod. The
novels The Castle (which stopped mid-sentence
and had ambiguity on content), The Trial
(chapters were unnumbered and some were
incomplete) and Amerika (Kafka's original title
was The Man who Disappeared) were all prepared
for publication by Brod. It appears Brod took a
few liberties with the manuscript (moving
chapters, changing the German and cleaning up
the punctuation), and thus the original German
text was altered prior to publication. The
editions by Brod are generally referred to as
the Definitive Editions.
According to the publisher's note for The
Castle, Malcolm Pasley was able to get most of
Kafka's original handwritten work into the
Oxford Bodleian Library in 1961. The text for
The Trial was later acquired through auction and
is stored at the German literary archives at
Marbach, Germany.
Subsequently, Pasley headed a team (including
Gerhard Neumann, Jost Schillemeit, and Jürgen
Born) in reconstructing the German novels and S.
Fischer Verlag republished them.[23] Pasley was
the editor for Das Schloß (The Castle),
published in 1982, and Der Proceß (The Trial),
published in 1990. Jost Schillemeit was the
editor of Der Verschollene (Amerika) published
in 1983. These are all called the "Critical
Editions" or the "Fischer Editions." The German
critical text of these, and Kafka's other works,
may be found online at The Kafka Project.
There is another Kafka Project based at San
Diego State University, which began in 1998 as
the official international search for Kafka's
last writings. Consisting of 20 notebooks and 35
letters to Kafka's last companion, Dora Diamant
(later, Dymant-Lask), this missing literary
treasure was confiscated from her by the Gestapo
in Berlin 1933. The Kafka Project's four-month
search of government archives in Berlin in 1998
uncovered the confiscation order and other
significant documents. In 2003, the Kafka
Project discovered three original Kafka letters,
written in 1923. Building on the search
conducted by Max Brod and Klaus Wagenbach in the
mid-1950s, the Kafka Project at SDSU has an
advisory committee of international scholars and
researchers, and is calling for volunteers who
want to help solve a literary mystery.
In 2008, academic and Kafka expert James Hawes
accused scholars of suppressing details of the
pornography Kafka subscribed to (published by
the same man who was Kafka's own first
publisher) in order to preserve his image as a
quasi-saintly "outsider".
Franz Kafka Literary career
Kafka's writing attracted little attention until
after his death. During his lifetime, he
published only a few short stories and never
finished any of his novels (with the possible
exception of The Metamorphosis, which some
consider to be a short novel). Prior to his
death, Kafka wrote to his friend and literary
executor Max Brod: "Dearest Max, my last
request: Everything I leave behind me ... in the
way of diaries, manuscripts, letters (my own and
others'), sketches, and so on, [is] to be burned
unread." Brod overrode Kafka's wishes, believing
that Kafka had given these directions to him
specifically because Kafka knew he would not
honor them—Brod had told him as much. (His
lover, Dora Diamant, also ignored his wishes,
secretly keeping up to 20 notebooks and 35
letters until they were confiscated by the
Gestapo in 1933. An ongoing international search
is being conducted for these missing Kafka
papers.) Brod, in fact, would oversee the
publication of most of Kafka's work in his
possession, which soon began to attract
attention and high critical regard.
All of Kafka's published works, except several
letters he wrote in Czech to Milena Jesenská,
were written in German.
Franz Kafka Critical interpretations
Critics have interpreted Kafka's works in the
context of a variety of literary schools, such
as modernism, magical realism, and so on. The
apparent hopelessness and absurdity that seem to
permeate his works are considered emblematic of
existentialism. Others have tried to locate a
Marxist influence in his satirization of
bureaucracy in pieces such as In the Penal
Colony, The Trial, and The Castle, whereas
others point to anarchism as an inspiration for
Kafka's anti-bureaucratic viewpoint. Still
others have interpreted his works through the
lens of Judaism (Borges made a few perceptive
remarks in this regard), through Freudianism
(because of his familial struggles), or as
allegories of a metaphysical quest for God
(Thomas Mann was a proponent of this
theory[citation needed]).
Themes of alienation and persecution are
repeatedly emphasized, and the emphasis on this
quality, notably in the work of Marthe Robert,
partly inspired the counter-criticism of Gilles
Deleuze and Felix Guattari, who argued in
Kafka:Toward a Minor Literature that there was
much more to Kafka than the stereotype of a
lonely figure writing out of anguish, and that
his work was more deliberate, subversive, and
more "joyful" than it appears to be.
Furthermore, an isolated reading of Kafka's work
— focusing on the futility of his characters'
struggling without the influence of any studies
on Kafka's life — reveals the humor of Kafka.
Kafka's work, in this sense, is not a written
reflection of any of his own struggles, but a
reflection of how people invent
struggles.[citation needed]
Biographers have said that it was common for
Kafka to read chapters of the books he was
working on to his closest friends, and that
those readings usually concentrated on the
humorous side of his prose. Milan Kundera refers
to the essentially surrealist humour of Kafka as
a main predecessor of later artists such as
Federico Fellini, Gabriel García Márquez, Carlos
Fuentes and Salman Rushdie. For García Márquez,
it was as he said the reading of Kafka's The
Metamorphosis that showed him "that it was
possible to write in a different way."
Franz kafka Translations
There are two primary sources for the
translations based on the two German editions.
The earliest English translations were by Edwin
and Willa Muir and published by Alfred A. Knopf.
These editions were widely published and spurred
the late-1940s surge in Kafka's popularity in
the United States. Later editions (notably the
1954 editions) had the addition of the deleted
text translated by Eithne Wilkins and Ernst
Kaiser. These are known as "Definitive
Editions." They translated both The Trial,
Definitive and The Castle, Definitive among
other writings. Definitive Editions are
generally accepted to have a number of biases
and to be dated in interpretation. |