Franz Kafka

Franz Kafka
Kafka1906.jpg
Photograph of Franz Kafka taken in 1906
Born 3 July 1883(1883-07-03)
Prague, Austria-Hungary
Died 3 June 1924 (aged 40)
Kierling near Vienna, Austria
Occupation insurance officer, factory manager, novelist, short story writer
Nationality Jewish-Bohemian (Austria-Hungary)
Genres novel, short story
Literary movement modernism, existentialism, precursor to magical realism
Notable work(s) The Trial, The Castle, The Metamorphosis
Influences
Influenced
Signature

Franz Kafka (IPA: [ˈfʀanʦ ˈkafka]) (3 July 1883 – 3 June 1924) was one of the major fiction writers of the 20th century. He was born to a middle-class German-speaking Jewish family in Prague, Austria-Hungary, presently the Czech Republic. His unique body of writing—much of which is incomplete and which was mainly published posthumously—is considered by some people to be among the most influential in Western literature.[1]

His stories, such as The Metamorphosis (1915), and novels, including The Trial (1925) and The Castle (1926), concern troubled individuals in a nightmarishly impersonal and bureaucratic world.

Contents

Biography

Kafka at the age of five

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"[2] 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".[3] 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.[4]

Kafka was the eldest of six children.[5] He had two younger brothers, Georg and Heinrich, who died at the ages of fifteen months and six months, respectively, before Kafka 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. Kafka's relationship with his father was severely troubled as explained in the Letter to His Father which Kafka complained of being profoundly emotionally abused since childhood.

Kafka'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.[6]

Education

Kinsky Palace where Kafka attended gymnasium and his father later owned a shop

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.[7][8] 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.[1]

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. However, he did not show any signs of indifference towards his job, as the several promotions that he received during his career suggest that he was a hardworking 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."[9]

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.[10]

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.[11]

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 Dora Diamant, a 25-year-old kindergarten teacher from an orthodox Jewish family, who was independent enough to have escaped her past in the ghetto. Dora became his lover, and influenced Kafka's interest in the Talmud.[12]

It is generally agreed that Kafka suffered from clinical depression and social anxiety throughout his entire life . 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, such as a vegetarian diet and the consumption of large quantities of unpasteurized milk. 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 (a fate resembling that of Gregor in the Metamorphosis and the main character of A Hunger Artist). His body was ultimately brought back to Prague where he was interred on 11 June 1924, in the New Jewish Cemetery (sector 21, row 14, plot 33) in Prague-Žižkov.

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.[13] 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. [14] 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." When Kafka makes explicit references to religion in his writing, they are almost always to Christianity.

On the other hand, Kafka dreamed of moving to Palestine with Felice Bauer, and later Dora Diamant, to live in the Land of Israel. [15] 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. He also spent a week attending the Eleventh Zionist Congress, and read the reports of the Jewish agricultural colonies in Palestine with great interest. [16]

In the opinion of literary critic Harold Bloom, author of The Western Canon, "Despite all his denials and beautiful evasions, [Kafka] quite simply is Jewish writing."[17]

Literary career

Franz Kafka's grave in Prague-Žižkov.

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."[18] 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.

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.[19]

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."[20] 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"?[21]

Critical interpretations

Bronze statue of Franz Kafka in Prague.

Critics have interpreted Kafka's works in the context of a variety of literary schools, such as modernism, magical realism, and so on.[22] 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,[22] 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[22] (because of his familial struggles), or as allegories of a metaphysical quest for God (Thomas Mann was a proponent of this theory).

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 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.

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".

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[23] for The Castle,[24] 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[25] at Marbach, Germany.[26]

Subsequently, Pasley headed a team (including Gerhard Neumann, Jost Schillemeit, and Jürgen Born) in reconstructing the German novels and S. Fischer Verlag republished them.[27] 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.[28]

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.[29]

In 2008, academic and Kafka expert James Hawes accused scholars of suppressing details of the pornography hidden in Kafka's journals to preserve the writer's image.[30]

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-1940's 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 '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.

After Pasley and Schillemeit completed their recompilation of the German text, the new translations were completed and published – The Castle, Critical by Mark Harman (Schocken Books, 1998), The Trial, Critical by Breon Mitchell (Schocken Books, 1998) and Amerika: The Man Who Disappeared by Michael Hoffman (New Directions Publishing, 2004). These editions are often noted as being based on the restored text.

Published works

See also: Bibliography of Franz Kafka

Short stories

Many collections of the stories have been published, and they include:

Novellas

Novels

Diaries and notebooks

Letters

The entrance to the Franz Kafka museum in Prague.

Commemoration

Franz Kafka has a museum dedicated to his work in Prague, Czech Republic. The term "Kafkaesque" is widely used to describe concepts, situations, and ideas which are reminiscent of Kafka's works, particularly The Trial and "The Metamorphosis".

In Mexico, the phrase "Si Franz Kafka fuera mexicano, sería costumbrista" (If Franz Kafka were Mexican, he would be a Costumbrista writer) is commonly used in newspapers, blogs, and online forums to tell how hopeless and absurd the situation in the country is.[31]

It has been noted that "from the Czech point of view, Kafka was German, and from the German point of view he was, above all, Jewish" and that this was a common "fate of much of Western Jewry."[9]

Literary and cultural references

Literature

Short stories

Film

Metamorphosis

Theatre

See also

References

  1. ↑ 1.0 1.1 (Spanish)Contijoch, Francesc Miralles (2000) "Franz Kafka". Oceano Grupo Editorial, S.A. Barcelona. ISBN 84-494-1811-9.
  2. ↑ Corngold 1973
  3. ↑ Franz Kafka's Letter to his father www.kafka-franz.com
  4. ↑ Gilman, Sander L. (2005) Franz Kafka. Reaktion Books Ltd. London, UK. p.20-21. ISBN 1-88187-264-5.
  5. ↑ Hamalian ([1975], 3).
  6. ↑ Danuta Czech: Kalendarz wydarzeń w KL Auschwitz, Oświęcim 1992, p. 534. In the archives of the camp a list with the names of the guardians was preserved.
  7. ↑ Franz Kafka Biography www.kafka-franz.com
  8. ↑ Letter to his Father, pg. 150
  9. ↑ 9.0 9.1 The Metamorphosis and Other Stories, notes. Herberth Czermak. Lincoln, Nebraska: Cliffs Notes 1973, 1996.
  10. ↑ http://victorian.fortunecity.com/vermeer/287/judaism.htm
  11. ↑ Ryan McKittrick speaks with director Dominique Serrand and Gideon Lester about Amerika www.amrep.org
  12. ↑ Lothar Hempel www.atlegerhardsen.com
  13. ↑ http://www.haaretz.com/hasen/spages/1040561.html, Sadness in Palestine
  14. ↑ http://www.haaretz.com/hasen/spages/1040561.html, Sadness in Palestine
  15. ↑ http://www.haaretz.com/hasen/spages/1040561.html, Sadness in Palestine
  16. ↑ http://www.haaretz.com/hasen/spages/1040561.html, Sadness in Palestine
  17. ↑ http://victorian.fortunecity.com/vermeer/287/judaism.htm [Well-written source, but non-academic; can we get a better one?]
  18. ↑ Quoted in Publisher's Note to The Castle, Schocken Books.
  19. ↑ Kafka (1996, xi).
  20. ↑ Kafka (1996, 75).
  21. ↑ Kafka (1996, xii).
  22. ↑ 22.0 22.1 22.2 Franz Kafka 1883 – 1924 www.coskunfineart.com
  23. ↑ A Kafka For The 21st century by Arthur Samuelson, publisher, Schocken Books www.jhom.com
  24. ↑ Schocken Books, 1998
  25. ↑ (German) Herzlich Willkommen www.dla-marbach.de
  26. ↑ (publisher's note, The Trial, Schocken Books, 1998
  27. ↑ Stepping into Kafka’s head, Jeremy Adler, Times Literary Supplement, 13 October 1995 (http://www.textkritik.de/rezensionen/kafka/einl_04.htm)
  28. ↑ The Kafka Project - Kafka's Works in German According to the Manuscript www.kafka.org
  29. ↑ Sources: Kafka, by Nicolas Murray, pages 367, 374; Kafka's Last Love, by Kathi Diamant; "Summary of the Results of the Kafka Project Berlin Research 1 June-September 1998" published in December 1998 Kafka Katern, quarterly of the Kafka Circle of the Netherlands. More information is available at http://www.kafkaproject.com
  30. ↑ Franz Kafka’s porn brought out of the closet - Times Online at entertainment.timesonline.co.uk
  31. ↑ Aquella, Daniel (2006-11-22). "México kafkiano y costumbrista". Daquella manera:Paseo personal por inquietudes culturales, sociales y lo que tengamos a bien obrar.. Retrieved on 2007-02-16.
  32. ↑ Bashevis Singer, Isaac (1970). A Friend of Kafka, and Other Stories. Farrar, Straus and Giroux. pp. 311. ISBN 0-37415-880-0. 
  33. ↑ (German) Menschenkörper movie website www.menschenkoerper.de

Bibliography

External links

Adaptations of works by Franz Kafka
Feature films

The Trial (USA 1962) · Class Relations (from Amerika; Germany 1984) · Kafka (USA 1991) · The Trial (USA 1993) · The Castle (Germany 1997) · K (USA/Iran/Morocco 2002)
Short films

Metamorphosis (Germany 1975) · Metamorphosis (Sweden 1976) · The Metamorphosis of Mr. Samsa (Canada 1977) · Metamorphosis (UK 1987) · Franz Kafka (Poland 1992) · Description of a Struggle (USA 1993) · Franz Kafka's It's a Wonderful Life (UK 1993) · Zoetrope (from "In the Penal Colony"; USA 2000) · The Hunger Artist (USA 2002) · Metamorphosis (Russia 2002) · Human Body (from "A Country Doctor"; Germany 2004)
Literature

Kafka Americana
Comics

Give It Up! · The Metamorphosis · Introducing Kafka · Il Processo di Franz Kafka
Persondata
NAME Kafka, Franz
ALTERNATIVE NAMES
SHORT DESCRIPTION German Czech novelist
DATE OF BIRTH July 3, 1883(1883-07-03)
PLACE OF BIRTH Prague, Austria-Hungary
DATE OF DEATH June 3, 1924
PLACE OF DEATH Vienna, Austria