Edmund Wilson claimed that the only book he could not read while eating his breakfast was by the Marquis de Sade. I, for different reasons, have been having a difficult time reading Franz Kafka with my morning tea and toast. So much torture, description of wounds, disorientation, sadomasochism, unexplained cruelty, appearance of rodents, beetles, vultures, and other grotesque creatures—all set out against a background of utter hopelessness. Distinctly not a jolly way to start the day. Kafka doesn’t make for very comforting reading at bedtime, either.Hypochondriac, insomniac, food faddist, cripplingly indecisive, terrified by life, obsessed with death, Franz Kafka turned, as best he was able, his neuroses into art. As a character in Isaac Bashevis Singer’s story “A Friend of Kafka” says, Kafka was “Homo sapiens in his highest degree of self-torture.” Still, the consensus remains that Franz Kafka is a modern master—a master, more specifically, in the modernist tradition, housed in the same pantheon as Joyce, Picasso, Stravinsky, Mallarmé, and other artists who have radically altered contemporary understanding of the world.
Kafka created “obscure lucidity,” Erich Heller wrote in his book on Kafka. “His is an art more poignantly and disturbingly obscure,” he added, “than literature has ever known.” One thinks one grasps Kafka’s meaning, but does one, really? All seems so clear, yet is it, truly? A famous aphorism of Kafka’s reads: “Hiding places there are innumerable, escape is only one, but possibilities of escape, again, are as many as hiding places.” Another runs: “A cage went in search of a bird.”
As with Kafka’s aphorisms, so with his brief parables. The parables, Walter Benjamin wrote, are “never exhausted by what is explainable; on the contrary, he took all conceivable precautions against the interpretation of his writings.” Whatever these precautions may have been, they were inadequate, for the works of Franz Kafka—apart perhaps only from the Bible and the works of Shakespeare—may be the most relentlessly interpreted, if not overinterpreted, in the modern world. (...)
Kafka, the critic Jeremy Adler holds, is “less dazzling than Proust, less innovative than Joyce, [but his] vision is more stark, more painful, more obviously universal than that of his peers.” Kafka’s universality derives from his high level of generality. Places are not named; most characters go undescribed; landscapes, sere and menacing, appear as they might in nightmares. Joyce and Proust work from detail to generality; Kafka works from generality to detail, giving his fiction the feeling that something deeply significant is going on, if only we could grasp what precisely it is.
“The vicinity of literature and autobiography could hardly be closer than it is with Kafka,” Erich Heller wrote. “Indeed, it almost amounts to identity.” The broader lineaments of Kafka’s autobiography are well known. Taken together, they constitute a life of nearly unrelieved doubt and mental suffering. (...)
Benjamin, Begley, Heller, Friedländer, and other critics who take Kafka’s greatness as self-evident agree that Kafka cannot be either explained or judged in the same way as other literary artists. Benjamin believed that “Kafka’s entire work constitutes a code of gestures which surely had no definite symbolic meaning for the author from the outset; rather, the author tried to derive such a meaning from them in ever-changing contexts and experimental groupings.”
Kafka felt that his talent was “for portraying my dream-like inner life.” But dreams, however gripping, are aesthetically unsatisfying.
“In Kafka’s fiction,” Friedländer writes, “the Truth remains inaccessible and is possibly nonexistent.” Begley, remarking on an object referred to as “Odradek” in a five-paragraph exercise of Kafka’s called “The Cares of a Family Man,” writes: “Some things cannot be explained.” Of “The Metamorphosis,” Kafka’s most famous story, Heller writes: “It defies any established intellectual order and familiar form of understanding, and thus arouses the kind of intellectual anxiety that greedily and compulsively reaches out for interpretations.” In his Times Literary Supplement review, Josipovici, noting that 100 years have passed since Kafka wrote his story “The Judgment,” adds: “We are probably no nearer to understanding that or any other of his works today than his first readers were, nor should we expect to be.”
Kafka, in other words, is given a pass on criticism. The argument is that he cannot finally be explained, but merely read, appreciated, and reread until his meaning, somehow, washes over you. But what if this meaning seems oddly skewed and in our day even outmoded, in the way great literature never is?
“In Kafka’s fiction,” Friedländer writes, “the Truth remains inaccessible and is possibly nonexistent.” Begley, remarking on an object referred to as “Odradek” in a five-paragraph exercise of Kafka’s called “The Cares of a Family Man,” writes: “Some things cannot be explained.” Of “The Metamorphosis,” Kafka’s most famous story, Heller writes: “It defies any established intellectual order and familiar form of understanding, and thus arouses the kind of intellectual anxiety that greedily and compulsively reaches out for interpretations.” In his Times Literary Supplement review, Josipovici, noting that 100 years have passed since Kafka wrote his story “The Judgment,” adds: “We are probably no nearer to understanding that or any other of his works today than his first readers were, nor should we expect to be.”
Kafka, in other words, is given a pass on criticism. The argument is that he cannot finally be explained, but merely read, appreciated, and reread until his meaning, somehow, washes over you. But what if this meaning seems oddly skewed and in our day even outmoded, in the way great literature never is?
by Joseph Epstein, The Atlantic | Read more:
Image: MVM
