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Franz Kafka
From Wikipedia, the free encyclopedia

Franz Kafka[a] (Jewish name: , Anschel; 3 July 1883 3 June 1924) was a German-language
writer of novels and short stories, regarded by critics as one of the most influential authors of the
20th century. Most of his works, such as "Die Verwandlung" ("The Metamorphosis"), Der Process (The
Trial), and Das Schloss (The Castle), are filled with the themes and archetypes of alienation, physical and
psychological brutality, parentchild conflict, characters on a terrifying quest, labyrinths of bureaucracy,
and mystical transformations.

Franz Kafka

Kafka was born into a middle-class, German-speaking Jewish family in Prague, the capital of the
Kingdom of Bohemia, then part of the Austro-Hungarian Empire. In his lifetime, most of the population of
Prague spoke Czech, and the division between Czech- and German-speaking people was a tangible reality,
as both groups were strengthening their national identity. The Jewish community often found itself in
between the two sentiments, naturally raising questions about a place to which one belongs. Kafka himself
was fluent in both languages, considering German his mother tongue.
Kafka trained as a lawyer and after completing his legal education, obtained employment with an
insurance company. He began to write short stories in his spare time. For the rest of his life, he
complained about the little time he had to devote to what he came to regard as his calling. He regretted
having to devote so much attention to his Brotberuf ("day job", literally "bread job"). Kafka preferred to
communicate by letter; he wrote hundreds of letters to family and close female friends, including his
father, his fiance Felice Bauer, and his youngest sister Ottla. He had a complicated and troubled
relationship with his father that had a major effect on his writing. He also suffered conflict over being
Jewish, feeling that it had little to do with him, although critics argue that it influenced his writing.
Only a few of Kafka's works were published during his lifetime: the story collections Betrachtung
(Contemplation) and Ein Landarzt (A Country Doctor), and individual stories (such as "Die
Verwandlung") in literary magazines. He prepared the story collection Ein Hungerknstler (A Hunger
Artist) for print, but it was not published until after his death. Kafka's unfinished works, including his

Franz Kafka in 1906

Born

3 July 1883
Prague, Bohemia,
Austria-Hungary

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novels Der Process, Das Schloss and Amerika (also known as Der Verschollene, The Man Who
Disappeared), were published posthumously, mostly by his friend Max Brod, who ignored Kafka's wish to
have the manuscripts destroyed. Albert Camus, Gabriel Garca Mrquez and Jean-Paul Sartre are among
the writers influenced by Kafka's work; the term Kafkaesque has entered the English language to describe
existential situations like those in his writing.

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(now Czech Republic)

Died

3 June 1924 (aged 40)

Klosterneuburg, Lower Austria,
Austria

Citizenship

Austria-Hungary,
Czechoslovakia[1][2]

Contents
1 Life
1.1 Family
1.2 Education
1.3 Employment
1.4 Private life
1.5 Personality
1.6 Political views
1.7 Judaism and Zionism
1.8 Death
2 Works
2.1 Stories
2.2 Novels
2.3 Publishing history
2.3.1 Max Brod
2.3.2 Modern editions
2.3.3 Unpublished papers
2.4 Critical interpretations
2.5 Translations
2.6 Translation problems to English
3 Legacy
3.1 "Kafkaesque"
3.2 Commemoration
3.3 Literary and cultural influence
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Alma mater
Occupation

German Charles-Ferdinand
University in Prague
Novelist
Short story writer
Insurance officer

Notable work

Die Verwandlung (The

Metamorphosis)
Der Process (The Trial)
Das Urteil (The Judgment)
Das Schloss (The Castle)
Betrachtung
(Contemplation)
Ein Hungerknstler
(A Hunger Artist)
Briefe an Felice
(Letters to Felice)

Style
Parent(s)

Modernism
Hermann Kafka
Julie Kafka (ne Lwy)

Signature

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4 See also
5 Notes
6 References
6.1 Citations
6.2 Bibliography
6.3 Further reading
7 External links

Life
Family
Kafka was born near the Old Town Square in Prague, then part of the Austro-Hungarian Empire. His family were
middle-class Ashkenazi Jews. His father, Hermann Kafka (18521931), was the fourth child of Jakob Kafka,[3][4] a
shochet or ritual slaughterer in Osek, a Czech village with a large Jewish population located near Strakonice in
southern Bohemia.[5] Hermann brought the Kafka family to Prague. After working as a travelling sales
representative, he eventually became a fancy goods and clothing retailer who employed up to 15 people and used the
image of a jackdaw (kavka in Czech, pronounced and colloquially written as kafka) as his business logo.[6] Kafka's
mother, Julie (18561934), was the daughter of Jakob Lwy, a prosperous retail merchant in Podbrady,[7] and was
better educated than her husband.[3]
Kafka's parents probably spoke a variety of German influenced by Yiddish that was sometimes pejoratively called
Mauscheldeutsch, but, as the German language was considered the vehicle of social mobility, they probably

Plaque marking the birthplace of

Franz Kafka in Prague.

encouraged their children to speak High German.[8] Hermann and Julie had six children, of whom Franz was the
eldest.[9] Franz's two brothers, Georg and Heinrich, died in infancy before Franz was seven; his three sisters were Gabriele ("Ellie") (18891944), Valerie
("Valli") (18901942) and Ottilie ("Ottla") (18921943). They all died during the Holocaust of World War II. Valli was deported to the d Ghetto in
Poland in 1942, but that is the last documentation of her.

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Hermann is described by the biographer Stanley Corngold as a "huge, selfish, overbearing businessman"[10] and by Franz Kafka 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".[11] On
business days, both parents were absent from the home, with Julie Kafka working as many as 12 hours each day helping to manage the family business.
Consequently, Kafka's childhood was somewhat lonely,[12] and the children were reared largely by a series of governesses and servants. Kafka's troubled
relationship with his father is evident in his Brief an den Vater (Letter to His Father) of more than 100 pages, in which he complains of being profoundly
affected by his father's authoritarian and demanding character;[13] his mother, in contrast, was quiet and shy.[14] The dominating figure of Kafka's father had
a significant influence on Kafka's writing.[15]
The Kafka family had a servant girl living with them in a cramped apartment. Franz's room was often cold. In November 1913 the family moved into a
bigger apartment, although Ellie and Valli had married and moved out of the first apartment. In early August 1914, just after World War I began, the sisters
did not know where their husbands were in the military and moved back in with the family in this larger apartment. Both Ellie and Valli also had children.
Franz at age 31 moved into Valli's former apartment, quiet by contrast, and lived by himself for the first time.[16]

Education
From 1889 to 1893, Kafka attended the Deutsche Knabenschule German boys' elementary school at the Masn trh/Fleischmarkt (meat market), now known
as Masn Street. His Jewish education ended with his Bar Mitzvah celebration at the age of 13. Kafka never enjoyed attending the synagogue and went with
his father only on four high holidays a year.[11][17][18]
After leaving elementary school in 1893, Kafka was admitted to the rigorous classics-oriented state gymnasium, Altstdter Deutsches Gymnasium, an
academic secondary school at Old Town Square, within the Kinsk Palace. German was the language of instruction, but Kafka also spoke and wrote in
Czech;[19][20] he studied the latter at the gymnasium for eight years, achieving good grades.[21] Although Kafka received compliments for his Czech, he
never considered himself fluent in Czech, though he spoke German with a Czech accent.[1][20] He completed his Matura exams in 1901.[22]
Admitted to the Deutsche Karl-Ferdinands-Universitt of Prague in 1901, Kafka began studying chemistry, but switched to law after two weeks.[23]
Although this field did not excite him, it offered a range of career possibilities which pleased his father. In addition, law required a longer course of study,
giving Kafka time to take classes in German studies and art history.[24] He also joined a student club, Lese-und Redehalle der Deutschen Studenten (Reading

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and Lecture Hall of the German students), which organized literary events, readings and other activities.[25] Among
Kafka's friends were the journalist Felix Weltsch, who studied philosophy, the actor Yitzchak Lowy who came from
an orthodox Hasidic Warsaw family, and the writers Oskar Baum and Franz Werfel.[26]
At the end of his first year of studies, Kafka met Max Brod, a fellow law student who became a close friend for
life.[25] Brod soon noticed that, although Kafka was shy and seldom spoke, what he said was usually profound.[27]
Kafka was an avid reader throughout his life;[28] together he and Brod read Plato's Protagoras in the original Greek,
on Brod's initiative, and Flaubert's L'ducation sentimentale (Sentimental Education) and La Tentation de St. Antoine
(The Temptation of Saint Anthony) in French, at his own suggestion.[29] Kafka considered Fyodor Dostoyevsky,
Flaubert, Franz Grillparzer,[30] and Heinrich von Kleist to be his "true blood brothers".[31] Besides these, he took an
interest in Czech literature[19][20] and was also very fond of the works of Goethe.[32][33] Kafka obtained the degree of

Kinsk Palace where Kafka attended

gymnasium and his father owned a
shop

Doctor of Law on 18 July 1906[b] and performed an obligatory year of unpaid service as law clerk for the civil and
criminal courts.[34]

Employment
On 1 November 1907, Kafka was hired at the Assicurazioni Generali, an Italian insurance company, where he worked for nearly a year. His correspondence
during that period indicates that he was unhappy with a working time schedulefrom 08:00 until 18:00[35][36]making it extremely difficult to concentrate
on writing, which was assuming increasing importance to him. On 15 July 1908, he resigned. Two weeks later he found employment more amenable to
writing when he joined the Worker's Accident Insurance Institute for the Kingdom of Bohemia. The job involved investigating and assessing compensation
for personal injury to industrial workers; accidents such as lost fingers or limbs were commonplace at this time. The management professor Peter Drucker
credits Kafka with developing the first civilian hard hat while employed at the Worker's Accident Insurance Institute, but this is not supported by any
document from his employer.[37][38] His father often referred to his son's job as an insurance officer as a Brotberuf, literally "bread job", a job done only to
pay the bills; Kafka often claimed to despise it. Kafka was rapidly promoted and his duties included processing and investigating compensation claims,
writing reports, and handling appeals from businessmen who thought their firms had been placed in too high a risk category, which cost them more in
insurance premiums.[39] He would compile and compose the annual report on the insurance institute for the several years he worked there. The reports were
received well by his superiors.[40] Kafka usually got off work at 2 p.m., so that he had time to spend on his literary work, to which he was committed.[41]
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Kafka's father also expected him to help out at and take over the family fancy goods store.[42] In his later years, Kafka's illness often prevented him from
working at the insurance bureau and at his writing. Years later, Brod coined the term Der enge Prager Kreis ("The Close Prague Circle") to describe the
group of writers, which included Kafka, Felix Weltsch and him.[43][44]
In late 1911, Elli's husband Karl Hermann and Kafka became partners in the first asbestos factory in Prague, known as Prager Asbestwerke Hermann & Co.,
having used dowry money from Hermann Kafka. Kafka showed a positive attitude at first, dedicating much of his free time to the business, but he later
resented the encroachment of this work on his writing time.[45] During that period, he also found interest and entertainment in the performances of Yiddish
theatre. After seeing a Yiddish theater troupe perform in October 1911, for the next six months Kafka "immersed himself in Yiddish language and in Yiddish
literature".[46] This interest also served as a starting point for his growing exploration of Judaism.[47] It was at about this time that Kafka became a
vegetarian.[48] Around 1915 Kafka received his draft notice for military service in World War I, but his employers at the insurance institute arranged for a
deferment because his work was considered essential government service. Later he attempted to join the military but was prevented from doing so by
medical problems associated with tuberculosis,[49] with which he was diagnosed in 1917.[50] In 1918 the Worker's
Accident Insurance Institute put Kafka on a pension due to his illness, for which there was no cure at the time, and he
spent most of the rest of his life in sanatoriums.[34]

Private life
Kafka had an active sex life. According to Brod, Kafka was "tortured" by sexual desire[51] and Kafka's biographer
Reiner Stach states that his life was full of "incessant womanising" and that he was filled with a fear of "sexual
failure".[52] He visited brothels for most of his adult life[53][54][55] and was interested in pornography.[51] In addition,
he had close relationships with several women during his life. On 13 August 1912, Kafka met Felice Bauer, a relative
of Brod, who worked in Berlin as a representative of a dictaphone company. A week after the meeting at Brod's
home, Kafka wrote in his diary:
Miss FB. When I arrived at Brod's on 13 August, she was sitting at the table. I was not at all curious about who
she was, but rather took her for granted at once. Bony, empty face that wore its emptiness openly. Bare throat.
A blouse thrown on. Looked very domestic in her dress although, as it turned out, she by no means was. (I

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Former home of the Worker's

Accident Insurance Institute.

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alienate myself from her a little by inspecting her so closely ...) Almost broken nose. Blonde, somewhat
straight, unattractive hair, strong chin. As I was taking my seat I looked at her closely for the first time, by the
time I was seated I already had an unshakeable opinion.[56][57]
Shortly after this, Kafka wrote the story "Das Urteil" ("The Judgment") in only one night and worked in a productive period on Der Verschollene (The Man
Who Disappeared) and "Die Verwandlung" ("The Metamorphosis"). Kafka and Felice Bauer communicated mostly through letters over the next five years,
met occasionally, and were engaged twice.[58] Kafka's extant letters to her were published as Briefe an Felice (Letters to Felice); her letters do not
survive.[56][59][60] According to biographers Stach and James Hawes, around 1920 Kafka was engaged a third time, to Julie Wohryzek, a poor and
uneducated hotel chambermaid.[58][61] Although the two rented a flat and set a wedding date, the marriage never took place. During this time Kafka began a
draft of the Letter to His Father, who objected to Julie because of her Zionist beliefs. Before the date of the intended marriage, he took up with yet another
woman.[62] While he needed women and sex in his life, he had low self-confidence, felt sex was dirty, and was shyespecially about his body.[34]
Stach and Brod state that during the time that Kafka knew Felice Bauer, he had an affair with a friend of hers, Margarethe "Grete" Bloch,[63] a Jewish
woman from Berlin. Brod says that Bloch gave birth to Kafka's son, although Kafka never knew about the child. The boy, whose name is not known, was
born in 1914 or 1915 and died in Munich in 1921.[64][65] However, Kafka's biographer Peter-Andr Alt claims that, while Bloch had a son, Kafka was not
the father as the pair were never intimate.[66][67] Stach states that Bloch had a son, but there is not solid proof but contradictory evidence that Kafka was the
father.[68]
Kafka was diagnosed with tuberculosis (TB) in August 1917 and moved for a few months to the Bohemian village of Zrau (Siem in Czech language),
where his sister Ottla worked on the farm of her brother-in-law Hermann. He felt comfortable there and later described this time as perhaps the best time in
his life, probably because he had no responsibilities. He kept diaries and Oktavhefte (octavo). From the notes in these books, Kafka extracted 109 numbered
pieces of text on Zettel, single pieces of paper in no given order. They were later published as Die Zrauer Aphorismen oder Betrachtungen ber Snde,
Hoffnung, Leid und den wahren Weg (The Zrau Aphorisms or Reflections on Sin, Hope, Suffering, and the True Way).[69]
In 1920 Kafka began an intense relationship with Milena Jesensk, a Czech journalist and writer. His letters to her were later published as Letters to Milena.
[70]

During a vacation in July 1923 to Graal-Mritz on the Baltic Sea, Kafka met Dora Diamant, a 25-year-old kindergarten teacher from an orthodox Jewish
family. Kafka, hoping to escape the influence of his family to concentrate on his writing, moved briefly to Berlin and lived with Diamant. She became his

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lover and caused him to become interested in the Talmud.[71] He worked on four stories, which he prepared to be published as Ein Hungerknstler (A
Hunger Artist).[70]

Personality
Kafka feared that people would find him mentally and physically repulsive. However, those who met him found him to
possess a quiet and cool demeanor, obvious intelligence, and a dry sense of humour; they also found him boyishly
handsome, although of austere appearance.[72][73][74] Brod compared Kafka to Heinrich von Kleist, noting that both
writers had the ability to describe a situation realistically with precise details.[75] Brod thought Kafka was one of the
most entertaining people he had met; Kafka enjoyed sharing humour with his friends, but also helped them in difficult
situations with good advice.[76] According to Brod, he was a passionate reciter, who was able to phrase his speaking as
if it were music.[77] Brod felt that two of Kafka's most distinguishing traits were "absolute truthfulness" (absolute
Wahrhaftigkeit) and "precise conscientiousness" (przise Gewissenhaftigkeit).[78][79] He explored details, the
inconspicuous, in depth and with such love and precision that things surfaced that were unforeseen, seemingly strange,
but absolutely true (nichts als wahr).[80]
Although Kafka showed little interest in exercise as a child, he later showed interest in games and physical activity,[28]
as a good rider, swimmer, and rower.[78] On weekends he and his friends embarked on long hikes, often planned by
Kafka himself.[81] His other interests included alternative medicine, modern education systems such as Montessori,[78]
and technical novelties such as airplanes and film.[82] Writing was important to Kafka; he considered it a "form of
prayer".[83] He was highly sensitive to noise and preferred quiet when writing.[84]

Franz Kafka, etching by Jan

Hladk, 1978

Prez-lvarez has claimed that Kafka may have possessed a schizoid personality disorder.[85] His style, it is claimed,
not only in "Die Verwandlung" ("The Metamorphosis"), but in various other writings, appears to show low to medium-level schizoid traits, which explain
much of his work.[86] His anguish can be seen in this diary entry from 21 June 1913:[87]

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The tremendous world I have in my head. But how to free myself and free them without ripping apart. And a thousand times rather tear in me
they hold back or buried. For this I'm here, that's quite clear to me.[88]
and in Zrau Aphorism number 50:
Man cannot live without a permanent trust in something indestructible within himself, though both that indestructible something and his own
trust in it may remain permanently concealed from him.[89]
Though Kafka never married, he held marriage and children in high esteem. He had several girlfriends.[90] He may have suffered from an eating disorder.
Doctor Manfred M. Fichter of the Psychiatric Clinic, University of Munich, presented "evidence for the hypothesis that the writer Franz Kafka had suffered
from an atypical anorexia nervosa",[91] and that Kafka was not just lonely and depressed but also "occasionally suicidal".[73] In his 1995 book Franz Kafka,
the Jewish Patient, Sander Gilman investigated "why a Jew might have been considered 'hypochondriac' or 'homosexual' and how Kafka incorporates
aspects of these ways of understanding the Jewish male into his own self-image and writing".[92] Kafka considered committing suicide at least once, in late
1912.[93]

Political views
Prior to World War I,[94] Kafka attended several meetings of the Klub Mladch, a Czech anarchist, anti-militarist, and anti-clerical organization.[95] Hugo
Bergmann, who attended the same elementary and high schools as Kafka, fell out with Kafka during their last academic year (19001901) because "
[Kafka's] socialism and my Zionism were much too strident".[96][97] "Franz became a socialist, I became a Zionist in 1898. The synthesis of Zionism and
socialism did not yet exist".[97] Bergmann claims that Kafka wore a red carnation to school to show his support for socialism.[97] In one diary entry, Kafka
made reference to the influential anarchist philosopher Prince Peter Kropotkin: "Don't forget Kropotkin!"[98]

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During the communist era, the legacy of Kafka's work for Eastern bloc socialism was hotly debated. Opinions ranged from the notion that he satirised the
bureaucratic bungling of a crumbling Austria-Hungarian Empire, to the belief that he embodied the rise of socialism.[99] A further key point was Marx's
theory of alienation. While the orthodox position was that Kafka's depictions of alienation were no longer relevant for a society that had supposedly
eliminated alienation, a 1963 conference held in Liblice, Czechoslovakia, on the eightieth anniversary of his birth, reassessed the importance of Kafka's
portrayal of bureaucracy.[100] Whether or not Kafka was a political writer is still an issue of debate.[101]

Judaism and Zionism

Kafka grew up in Prague as a German-speaking Jew.[102] He was deeply fascinated by the Jews of Eastern Europe, who he
thought possessed an intensity of spiritual life that was absent from Jews in the West. His diary is full of references to
Yiddish writers.[103] 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".[104] In his
adolescent years, Kafka had declared himself an atheist.[105]
Hawes suggests that Kafka, though very aware of his own Jewishness, did not incorporate it into his work, which, according
to Hawes, lacks Jewish characters, scenes or themes.[106][107][108] In the opinion of literary critic Harold Bloom, although
Kafka was uneasy with his Jewish heritage, he was the quintessential Jewish writer.[109] Lothar Kahn is likewise
unequivocal: "The presence of Jewishness in Kafka's oeuvre is no longer subject to doubt".[110] Pavel Eisner, one of Kafka's
first translators, interprets the classic, Der Process (The Trial) as the embodiment of the "triple dimension of Jewish existence
in Prague ... his protagonist Josef K. is (symbolically) arrested by a German (Rabensteiner), a Czech (Kullich) and a Jew
(Kaminer). He stands for the 'guiltless guilt' that imbues the Jew in the modern world, although there is no evidence that he

Kafka in 1910

himself is a Jew".[111]
In his essay Sadness in Palestine?!, Dan Miron explores Kafka's connection to Zionism: "It seems that those who claim that there was such a connection and
that Zionism played a central role in his life and literary work, and those who deny the connection altogether or dismiss its importance, are both wrong. The
truth lies in some very elusive place between these two simplistic poles".[103] Kafka considered moving to Palestine with Felice Bauer, and later with Dora

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Diamant. He studied Hebrew while living in Berlin, hiring a friend of Brod's from Palestine, Pua Bat-Tovim, to tutor him[103] and attending Rabbi Julius
Grnthal's[112] and Rabbi Julius Guttmann's classes in the Berlin Hochschule fr die Wissenschaft des Judentums (Berlin College for the Study of
Judaism).[113]
Livia Rothkirchen calls Kafka the "symbolic figure of his era".[111] His contemporaries included numerous Jewish writers (Czech, German and national
Jews) who were sensitive to German, Czech, Austrian and Jewish culture. According to Rothkirchen, "This situation lent their writings a broad cosmopolitan
outlook and a quality of exaltation bordering on transcendental metaphysical contemplation. An illustrious example is Franz Kafka".[111]
Towards the end of his life Kafka sent a postcard to his friend Hugo Bergman in Tel Aviv, announcing his intention to emigrate to Palestine. Bergman
refused to host Kafka because he had young children and was afraid that Kafka would infect them with tuberculosis.[114]

Death
Kafka's laryngeal tuberculosis worsened and in March 1924 he returned from Berlin to Prague,[58] where members of his
family, principally his sister Ottla, took care of him. He went to Dr. Hoffmann's sanatorium in Kierling near Vienna for
treatment on 10 April,[70] and died there on 3 June 1924. The cause of death seemed to be 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.[115][116] Kafka was editing "A Hunger Artist" on his deathbed, a story whose composition he had begun before
his throat closed to the point that he could not take any nourishment.[117] His body was brought back to Prague where he was
buried on 11 June 1924, in the New Jewish Cemetery in Prague-ikov.[54] Kafka was unknown during his own lifetime, but
he did not consider fame important. He became famous soon after his death.[83]

Works
All of Kafka's published works, except some letters he wrote in Czech to Milena Jesensk, were written in German. What
little was published during his lifetime attracted scant public attention.

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Franz Kafka's grave in

Prague-ikov

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Kafka finished none of his full-length novels and burned around 90 percent of his work,[118][119] much of it during the period he lived in Berlin with
Diamant, who helped him burn the drafts.[120] In his early years as a writer, he was influenced by von Kleist, whose work he
described in a letter to Bauer as frightening, and whom he considered closer than his own family.[121]

Stories
Kafka's earliest published works were eight stories which appeared in 1908 in the first issue of the literary journal Hyperion
under the title Betrachtung (Contemplation). He wrote the story "Beschreibung eines Kampfes" ("Description of a
Struggle")[c] in 1904; he showed it to Brod in 1905 who advised him to continue writing and convinced him to submit it to
Hyperion. Kafka published a fragment in 1908[122] and two sections in the spring of 1909, all in Munich.[123]
In a creative outburst on the night of 22 September 1912, Kafka wrote the story "Das Urteil" ("The Judgment", literally: "The
Verdict") and dedicated it to Felice Bauer. Brod noted the similarity in names of the main character and his fictional fiance,
Georg Bendemann and Frieda Brandenfeld, to Franz Kafka and Felice Bauer.[124] The story is often considered Kafka's
breakthrough work. It deals with the troubled relationship of a son and his dominant father, facing a new situation after the
son's engagement.[125][126] Kafka later described writing it as "a complete opening of body and soul",[127] a story that

First page of Kafka's Letter

to His Father

"evolved as a true birth, covered with filth and slime".[128] The story was first published in Leipzig in 1912 and dedicated "to
Miss Felice Bauer", and in subsequent editions "for F."[70]
In 1912, Kafka wrote "Die Verwandlung" ("The Metamorphosis", or "The Transformation"),[129] published in 1915 in Leipzig. The story begins with a
travelling salesman waking to find himself transformed into a ungeheuren Ungeziefer, a monstrous vermin, Ungeziefer being a general term for unwanted
and unclean animals. Critics regard the work as one of the seminal works of fiction of the 20th century.[130][131][132] The story "In der Strafkolonie" ("In the
Penal Colony"), dealing with an elaborate torture and execution device, was written in October 1914,[70] revised in 1918, and published in Leipzig during
October 1919. The story "Ein Hungerknstler" ("A Hunger Artist"), published in the periodical Die neue Rundschau in 1924, describes a victimized
protagonist who experiences a decline in the appreciation of his strange craft of starving himself for extended periods.[133] His last story, "Josefine, die
Sngerin oder Das Volk der Muse" ("Josephine the Singer, or the Mouse Folk"), also deals with the relationship between an artist and his audience.[134]

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Novels
He began his first novel in 1912;[135] its first chapter is the story "Der Heizer" ("The Stoker"). Kafka called the work, which remained unfinished, Der
Verschollene (The Man Who Disappeared or The Missing Man), but when Brod published it after Kafka's death he named it Amerika.[136] The inspiration for
the novel was the time spent in the audience of Yiddish theatre the previous year, bringing him to a new awareness of his heritage, which led to the thought
that an innate appreciation for one's heritage lives deep within each person.[137] More explicitly humorous and slightly more realistic than most of Kafka's
works, the novel shares the motif of an oppressive and intangible system putting the protagonist repeatedly in bizarre situations.[138] It uses many details of
experiences of his relatives who had emigrated to America[139] and is the only work for which Kafka considered an optimistic ending.[140]
During 1914, Kafka began the novel Der Process (The Trial),[123] the story of a man arrested and prosecuted by a remote, inaccessible authority, with the
nature of his crime revealed neither to him nor to the reader. Kafka did not complete the novel, although he finished the final chapter. According to Nobel
Prize winner and Kafka scholar Elias Canetti, Felice is central to the plot of Der Process and Kafka said it was "her story".[141][142] Canetti titled his book
on Kafka's letters to Felice Kafka's Other Trial, in recognition of the relationship between the letters and the novel.[142] Michiko Kakutani notes in a review
for The New York Times that Kafka's letters have the "earmarks of his fiction: the same nervous attention to minute particulars; the same paranoid awareness
of shifting balances of power; the same atmosphere of emotional suffocationcombined, surprisingly enough, with moments of boyish ardor and
delight."[142]
According to his diary, Kafka was already planning his novel Das Schloss (The Castle), by 11 June 1914; however, he did not begin writing it until 27
January 1922.[123] The protagonist is the Landvermesser (land surveyor) named K., who struggles for unknown reasons to gain access to the mysterious
authorities of a castle who govern the village. Kafka's intent was that the castle's authorities notify K. on his deathbed that his "legal claim to live in the
village was not valid, yet, taking certain auxiliary circumstances into account, he was to be permitted to live and work there".[143] Dark and at times surreal,
the novel is focused on alienation, bureaucracy, the seemingly endless frustrations of man's attempts to stand against the system, and the futile and hopeless
pursuit of an unobtainable goal. Hartmut M. Rastalsky noted in his thesis: "Like dreams, his texts combine precise "realistic" detail with absurdity, careful
observation and reasoning on the part of the protagonists with inexplicable obliviousness and carelessness."[144]

Publishing history

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Kafka's stories were initially published in literary periodicals. His first eight were printed in 1908 in the first issue of the bimonthly Hyperion.[145] Franz Blei published two dialogues in 1909 which became part of "Beschreibung eines Kampfes"
("Description of a Struggle").[145] A fragment of the story "Die Aeroplane in Brescia" ("The Aeroplanes at Brescia"), written
on a trip to Italy with Brod, appeared in the daily Bohemia on 28 September 1909.[145][146] On 27 March 1910, several
stories that later became part of the book Betrachtung were published in the Easter edition of Bohemia.[145][147] In Leipzig
during 1913, Brod and publisher Kurt Wolff included "Das Urteil. Eine Geschichte von Franz Kafka." ("The Verdict. A Story
by Franz Kafka.") in their literary yearbook for the art poetry Arkadia. The story "Vor dem Gesetz" ("Before the Law") was
published in the 1915 New Year's edition of the independent Jewish weekly Selbstwehr; it was reprinted in 1919 as part of
the story collection Ein Landarzt (A Country Doctor) and became part of the novel Der Process. Other stories were published
in various publications, including Brod's Der Jude, the paper Prager Tagblatt, and the periodicals Die neue Rundschau,
Genius, and Prager Presse.[145]
Kafka's first published book, Betrachtung (Contemplation, or Meditation), was a collection of 18 stories written between
1904 and 1912. On a summer trip to Weimar, Brod initiated a meeting between Kafka and Kurt Wolff;[148] Wolff published
Betrachtung in the Rowohlt Verlag at the end of 1912 (with the year given as 1913).[149] Kafka dedicated it to Brod, "Fr
M.B.", and added in the personal copy given to his friend "So wie es hier schon gedruckt ist, fr meinen liebsten Max

First edition of Betrachtung,

1912

Franz K." ("As it is already printed here, for my dearest Max").[150]

Kafka's story "Die Verwandlung" ("The Metamorphosis") was first printed in the October 1915 issue of Die Weien Bltter, a monthly edition of
expressionist literature, edited by Ren Schickele.[149] Another story collection, Ein Landarzt (A Country Doctor), was published by Kurt Wolff in 1919,[149]
dedicated to Kafka's father.[151] Kafka prepared a final collection of four stories for print, Ein Hungerknstler (A Hunger Artist), which appeared in 1924
after his death, in Verlag Die Schmiede. On 20 April 1924, the Berliner Brsen-Courier published Kafka's essay on Adalbert Stifter.[152]
Max Brod
Kafka left his work, both published and unpublished, to his friend and literary executor Max Brod with explicit instructions that it should be destroyed on
Kafka's death; Kafka wrote: "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".[153][154] Brod decided to ignore this request and published the novels and collected works between 1925 and
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1935. He took many papers, which remain unpublished, with him in suitcases to Palestine when he fled there in 1939.[155] Kafka's last lover, Dora Diamant
(later, Dymant-Lask), also ignored his wishes, secretly keeping 20 notebooks and 35 letters. These were confiscated by the Gestapo in 1933, but scholars
continue to search for them.[156]
As Brod published the bulk of the writings in his possession,[157] Kafka's work began to attract wider attention and critical
acclaim. Brod found it difficult to arrange Kafka's notebooks in chronological order. One problem was that Kafka often
began writing in different parts of the book; sometimes in the middle, sometimes working backwards from the end.[158][159]
Brod finished many of Kafka's incomplete works for publication. For example, Kafka left Der Process with unnumbered and
incomplete chapters and Das Schloss with incomplete sentences and ambiguous content;[159] Brod rearranged chapters, copy
edited the text, and changed the punctuation. Der Process appeared in 1925 in Verlag Die Schmiede. Kurt Wolff published
two other novels, Das Schloss in 1926 and Amerika in 1927. In 1931, Brod edited a collection of prose and unpublished
stories as Beim Bau der Chinesischen Mauer (The Great Wall of China), including the story of the same name. The book
appeared in the Gustav Kiepenheuer Verlag. Brod's sets are usually called the Definitive Editions.[160]
Modern editions
In 1961, Malcolm Pasley acquired most of Kafka's original handwritten work for the Oxford Bodleian Library.[161][162] The
text for Der Process was later purchased through auction and is stored at the German Literary Archives in Marbach am

First edition of Das Schloss,

1926

Neckar, Germany.[162][163] Subsequently, Pasley headed a team (including Gerhard Neumann, Jost Schillemeit and Jrgen Born) which reconstructed the
German novels; S. Fischer Verlag republished them.[164] Pasley was the editor for Das Schloss, 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 called the "Critical Editions" or the "Fischer
Editions".[165]
Unpublished papers
When Brod died in 1968, he left Kafka's unpublished papers, which are believed to number in the thousands, to his secretary Esther Hoffe.[166] She released
or sold some, but left most to her daughters, Eva and Ruth, who also refused to release the papers. A court battle began in 2008 between the sisters and the
National Library of Israel, which claimed these works became the property of the nation of Israel when Brod emigrated to British Palestine in 1939. Esther
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Hoffe sold the original manuscript of Der Process for US$2 million in 1988 to the German Literary Archive Museum of Modern Literature in Marbach am
Neckar.[118][167] Only Eva is still alive as of 2012.[168] A ruling by a Tel Aviv family court in 2010 held that the papers must be released and a few were,
including a previously unknown story, but the legal battle continued.[169] The Hoffes claim the papers are their personal property, while the National Library
argues they are "cultural assets belonging to the Jewish people".[169] The National Library also suggests that Brod bequeathed the papers to them in his will.
The Tel Aviv Family Court ruled in October 2012 that the papers were the property of the National Library.[170]

Critical interpretations
The poet W. H. Auden called Kafka "the Dante of the twentieth century";[171] the novelist Vladimir Nabokov placed him
among the greatest writers of the 20th century.[172] Gabriel Garca Mrquez noted the reading of Kafka's "The
Metamorphosis" showed him "that it was possible to write in a different way".[104][173] A prominent theme of Kafka's work,
first established in the short story "Das Urteil",[174] is father-son conflict: the guilt induced in the son is resolved through
suffering and atonement.[13][174] Other prominent themes and archetypes include alienation, physical and psychological
brutality, characters on a terrifying quest, and mystical transformation.[175]
Kafka's style has been compared to that of Kleist as early as 1916, in a review of "Die Verwandlung" and "Der Heizer" by
Oscar Walzel in Berliner Beitrge.[176] The nature of Kafka's prose allows for varied interpretations and critics have placed
his writing into a variety of literary schools.[101] Marxists, for example, have sharply disagreed over how to interpret Kafka's
works.[95][101] Some accused him of distorting reality whereas others claimed he was critiquing capitalism.[101] The

Kafka in 1917

hopelessness and absurdity common to his works are seen as emblematic of existentialism.[177] Some of Kafka's books are
influenced by the expressionist movement, though the majority of his literary output was associated with the experimental modernist genre. Kafka also
touches on the theme of human conflict with bureaucracy. William Burrows claims that such work is centred on the concepts of struggle, pain, solitude, and
the need for relationships.[178] Others, such as Thomas Mann, see Kafka's work as allegorical: a quest, metaphysical in nature, for God.[179][180]
According to Gilles Deleuze and Flix Guattari, the themes of alienation and persecution, although present in Kafka's work, have been over-emphasised by
critics. They argue Kafka's work is more deliberate and subversiveand more joyfulthan may first appear. They point out that reading his work while
focusing on the futility of his characters' struggles reveals Kafka's play of humour; he is not necessarily commenting on his own problems, but rather
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pointing out how people tend to invent problems. In his work, Kafka often created malevolent, absurd worlds.[181][182] Kafka read drafts of his works to his
friends, typically concentrating on his humorous prose. The writer Milan Kundera suggests that Kafka's surrealist humour may have been an inversion of
Dostoyevsky's presentation of characters who are punished for a crime. In Kafka's work a character is punished although a crime has not been committed.
Kundera believes that Kafka's inspirations for his characteristic situations came both from growing up in a patriarchal family and living in a totalitarian
state.[183]
Attempts have been made to identify the influence of Kafka's legal background and the role of law in his fiction.[184][185] Most interpretations identify
aspects of law and legality as important in his work,[186] in which the legal system is often oppressive.[187] The law in Kafka's works, rather than being
representative of any particular legal or political entity, is usually interpreted to represent a collection of anonymous, incomprehensible forces. These are
hidden from the individual but control the lives of the people, who are innocent victims of systems beyond their control.[186] Critics who support this
absurdist interpretation cite instances where Kafka describes himself in conflict with an absurd universe, such as the following entry from his diary:
Enclosed in my own four walls, I found myself as an immigrant imprisoned in a foreign country;... I saw my family as strange aliens whose
foreign customs, rites, and very language defied comprehension;... though I did not want it, they forced me to participate in their bizarre
rituals;... I could not resist.[188]
However, James Hawes argues many of Kafka's descriptions of the legal proceedings in Der Processmetaphysical, absurd, bewildering and nightmarish as
they might appear, are based on accurate and informed descriptions of German and Austrian criminal proceedings of the time, which were inquisitorial
rather than adversarial.[189] Although he worked in insurance, as a trained lawyer Kafka was "keenly aware of the legal debates of his day".[185][190] In an
early 21st-century publication that uses Kafka's office writings as its point of departure,[191] Pothik Ghosh states that with Kafka, law "has no meaning
outside its fact of being a pure force of domination and determination".[192]

Translations
The earliest English translations of Kafka's works were by Edwin and Willa Muir, who in 1930 translated the first German edition of Das Schloss. This was
published as The Castle by Secker & Warburg in England and Alfred A. Knopf in the United States.[193] A 1941 edition, including a homage by Thomas
Mann, spurred a surge in Kafka's popularity in the United States the late 1940s.[194] The Muirs translated all shorter works that Kafka had seen fit to print;
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they were published by Schocken Books in 1948 as The Penal Colony: Stories and Short Pieces,[195] including additionally The First Long Train Journey,
written by Kafka and Brod, Kafka's "A Novel about Youth", a review of Felix Sternheim's Die Geschichte des jungen Oswald, his essay on Kleist's
"Anecdotes", his review of the literary magazine Hyperion, and an epilogue by Brod.
Later editions, notably those of 1954 (Dearest Father. Stories and Other Writings), included text, translated by Eithne Wilkins and Ernst Kaiser,[196] which
had been deleted by earlier publishers.[164] Known as "Definitive Editions", they include translations of The Trial, Definitive, The Castle, Definitive, and
other writings. These translations are generally accepted to have a number of biases and are considered to be dated in interpretation.[197] Published in 1961
by Schocken Books, Parables and Paradoxes presented in a bilingual edition by Nahum N. Glatzer selected writings,[198] drawn from notebooks, diaries,
letters, short fictional works and the novel Der Process.
New translations were completed and published based on the recompiled German text of Pasley and Schillemeit The Castle, Critical by Mark Harman
(Schocken Books, 1998),[162] The Trial, Critical by Breon Mitchell (Schocken Books, 1998),[199] and Amerika: The Man Who Disappeared by Michael
Hofmann (New Directions Publishing, 2004).[200]

Translation problems to English

Kafka often made extensive use of a characteristic particular to the German language which permits long sentences that sometimes can span an entire page.
Kafka's sentences then deliver an unexpected impact just before the full stopthis being the finalizing meaning and focus. This is due to the construction of
subordinate clauses in German which require that the verb be positioned at the end of the sentence. Such constructions are difficult to duplicate in English,
so it is up to the translator to provide the reader with the same (or at least equivalent) effect found in the original text.[201] German's more flexible word order
and syntactical differences provide for multiple ways in which the same German writing can be translated into English.[202] An example is the first sentence
of Kafka's "The Metamorphosis", which is crucial to the setting and understanding of the entire story:[203]
Als Gregor Samsa eines Morgens aus unruhigen Trumen erwachte, fand er sich in seinem Bett zu einem ungeheuren Ungeziefer verwandelt.
(original)
As Gregor Samsa one morning from restless dreams awoke, found he himself in his bed into an enormous vermin transformed. (literal word-forword translation)[204]
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Another virtually insurmountable problem facing translators is how to deal with the author's intentional use of ambiguous idioms and words that have
several meanings which result in phrasing difficult to precisely translate.[205][206] One such instance is found in the first sentence of "The Metamorphosis".
English translators often render the word Ungeziefer as "insect"; in Middle German, however, Ungeziefer literally means "an animal unclean for
sacrifice";[207] in today's German it means vermin. It is sometimes used colloquially to mean "bug" a very general term, unlike the scientific "insect".
Kafka had no intention of labeling Gregor, the protagonist of the story, as any specific thing, but instead wanted to convey Gregor's disgust at his
transformation.[130][131] Another example is Kafka's use of the German noun Verkehr in the final sentence of "Das Urteil". 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".[208] The double meaning of Verkehr is given added weight by Kafka's
confession to Brod that when he wrote that final line, he was thinking of "a violent ejaculation".[128][209]

Legacy
"Kafkaesque"
Kafka's writing has inspired the term "Kafkaesque", used to describe concepts and situations reminiscent of his work, particularly Der Process (The Trial)
and "Die Verwandlung". Examples include instances in which bureaucracies overpower people, often in a surreal, nightmarish milieu which evokes feelings
of senselessness, disorientation, and helplessness. Characters in a Kafkaesque setting often lack a clear course of action to escape a labyrinthine situation.
Kafkaesque elements often appear in existential works, but the term has transcended the literary realm to apply to real-life occurrences and situations that are
incomprehensibly complex, bizarre, or illogical.[34][210][211][212]
Numerous films and television works have been described as Kafkaesque, and the style is particularly prominent in dystopian science fiction. Works in this
genre that have been thus described include Terry Gilliam's 1985 film Brazil and the 1998 science fiction film noir, Dark City. Films from other genres
which have been similarly described include The Tenant (1976) and Barton Fink (1991).[213] The television series The Prisoner is also frequently described
as Kafkaesque.[214][215]

Commemoration
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The Franz Kafka Museum in Prague is dedicated to Kafka and his work. A major component of the museum is an exhibit The City of K. Franz Kafka and
Prague, which was first shown in Barcelona in 1999, moved to the Jewish Museum in New York City, and was finally established in 2005 in Prague in Mal
Strana (Lesser Town), along the Moldau. The museum calls its display of original photos and documents Msto K. Franz Kafka a Praha (City K. Kafka and
Prague) and aims to immerse the visitor into the world in which Kafka lived and about which he wrote.[216]
The Franz Kafka Prize is an annual literary award of the Franz Kafka Society and the City of Prague established in 2001. It recognizes the merits of
literature as "humanistic character and contribution to cultural, national, language and religious tolerance, its existential, timeless character, its generally
human validity, and its ability to hand over a testimony about our times".[217] The selection committee and recipients come from all over the world, but are
limited to living authors who have had at least one work published in the Czech language.[217] The recipient receives $10,000, a diploma, and a bronze
statuette at a presentation in Prague's Old Town Hall on the Czech State Holiday in late October.[217]
San Diego State University (SDSU) operates a Kafka Project which began in 1998 as the official international search for Kafka's last writings.[156]

Literary and cultural influence

Unlike many famous writers, Kafka is rarely quoted by others. Instead, he is noted more for his visions and perspective.[218]
Shimon Sandbank, a professor and writer, identifies Kafka as having influenced Jorge Luis Borges, Albert Camus, Eugne
Ionesco, J. M. Coetzee and Jean-Paul Sartre.[219] A Financial Times literary critic credits Kafka with influencing Jos
Saramago,[220] and Al Silverman, a writer and editor, states that J. D. Salinger loved to read Kafka's works.[221] In 1999 a
committee of 99 authors, scholars, and literary critics ranked Der Process and Das Schloss the second and ninth most
significant German-language novels of the 20th century.[222] Shimon Sandbank, a literary critic, argues that despite Kafka's
pervasiveness, his enigmatic style has yet to be emulated.[219] Neil Christian Pages, a professor of German Studies and
Comparative Literature at Binghamton University who specialises in Kafka's works, says Kafka's influence transcends
literature and literary scholarship; it impacts visual arts, music, and popular culture.[223] Harry Steinhauer, a professor of
German and Jewish literature, says that Kafka "has made a more powerful impact on literate society than any other writer of
the twentieth century".[34] Brod said that the 20th century will one day be known as the "century of Kafka".[34]

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Michel-Andr Bossy writes that Kafka created a rigidly inflexible and sterile bureaucratic universe. Kafka wrote in an aloof
manner full of legal and scientific terms. Yet his serious universe also had insightful humour, all highlighting the

Jaroslav Rna's bronze statue

of Franz Kafka in Prague

"irrationality at the roots of a supposedly rational world".[175] His characters are trapped, confused, full of guilt, frustrated,
and lacking understanding of their surreal world. Much of the post-Kafka fiction, especially science fiction, follow the themes and precepts of Kafka's
universe. This can be seen in the works of authors such as George Orwell and Ray Bradbury.[175]
The following are examples of works across a range of literary, musical, and dramatic genres which demonstrate the extent of cultural influence:
Title

Year

Medium

Remarks

Ref

by Nobel Prize winner Isaac Bashevis Singer, about a Yiddish actor called Jacques Kohn who said he
short story knew Franz Kafka; in this story, according to Jacques Kohn, Kafka believed in the Golem, a legendary
creature from Jewish folklore

"A Friend of
Kafka"

1962

The Trial

1962

film

the film's director, Orson Welles, said, "Say what you like, but The Trial is my greatest work, even
greater than Citizen Kane"

Watermelon Man

1970

film

partly inspired by "The Metamorphosis", where a white bigot wakes up as a black man

[226]

"KafkaFragmente,
Op. 24"

1985

music

by Hungarian composer Gyrgy Kurtg for soprano and violin, using fragments of Kafka's diary and
letters

[227]

Kafka's Dick

1986

play

by Alan Bennett, in which the ghosts of Kafka, his father Hermann and Brod arrive at the home of an
English insurance clerk (and Kafka aficionado) and his wife

[228]

[229]

[230]

[224]

[210][225]

Kafka

1991

film

stars Jeremy Irons as the eponymous author; written by Lem Dobbs and directed by Steven Soderbergh,
the movie mixes his life and fiction providing a semi-biographical presentation of Kafka's life and
works; Kafka investigates the disappearance of one of his work colleagues, taking Kafka through many
of the writer's own works, most notably The Castle and The Trial

Franz Kafka's It's

a Wonderful Life

1993

film

short comedy film made for BBC Scotland, won an Oscar, was written and directed by Peter Capaldi,
and starred Richard E. Grant as Kafka

"Bad Mojo"

1996

computer loosely based on "The Metamorphosis", with characters named Franz and Roger Samms, alluding to
game
Gregor Samsa

[231]

In the Penal
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Colony

2000

opera

by Philip Glass

[232]

Kafka on the
Shore

2002

novel

by Japanese writer Haruki Murakami, on The New York Times 10 Best Books of 2005 list, World Fantasy
Award recipient

[233]

Kafka's Trial

2005

opera

by Danish composer Poul Ruders, based on the novel and parts of Kafka's life; first performed in 2005,
released on CD

[234]

Kafka's Soup

2005

book

by Mark Crick, is a literary pastiche in the form of a cookbook, with recipes written in the style of a
famous author

[235]

In the Penal
Colony

2006

film

written, directed and produced by Sibel Guvenc based on Franz Kafka's short story, won best
cinematography and best art film awards

"Kafkaesque"

2010

TV series

Breaking Bad Season 3 episode written by Peter Gould & George Mastras. Jesse Pinkman at a group
therapy meeting, describes his new workplace as a boring corporate laundromat he complains about his
boss, that he's not worthy to meet the owner whom everyone fears. "Sounds kind of Kafkaesque,"
responds the group leader.

"Kafka the
Musical"

2011

radio play

by BBC Radio 3 produced as part of their Play of the Week programme. Franz Kafka was played by
David Tennant

[236]

"Sound
Interpretations
Dedication To
Franz Kafka"

2012

music

HAZE Netlabel released musical compilation Sound Interpretations Dedication To Franz Kafka. In
this release musicians rethink the literary heritage of Kafka

[237]

Google Doodle

2013

internet
culture

Google had a sepia-toned doodle of a roach in a hat opening a door, honoring Kafka's 130th birthday

[238]

The
Metamorphosis

2013

dance

Royal Ballet production of The Metamorphosis with Edward Watson

[239]

Caf Kafka

2014

opera

by Spanish composer Francisco Coll on a text by Meredith Oakes, built from texts and fragments by
Franz Kafka; Commissioned by Aldeburgh Music, Opera North and Royal Opera Covent Garden

[240]

See also
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3412 Kafka, an asteroid

Oskar Pollak

Notes
a. German pronunciation: [fants kafka]; Czech pronunciation: [frants kafka]; in Czech he was sometimes called Frantiek Kafka (Czech pronunciation: [franck kafka]); English
pronunciation: /kfk, -k/ (Random House Webster's Unabridged Dictionary: "Kafka" (http://dictionary.reference.com/browse/kafka)).
b. Some sources list June (Murray) as Kafka's graduation month and some list July (Brod).[241][242]
c. "Kampf" also translates to "fight".

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Franz Kafka - Wikipedia, the free encyclopedia

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Stach 2005, p. 362.
Gray 2005, pp. 74, 273.
Brod 1960, pp. 51, 122124.
Stach 2005, pp. 8083.
Steinhauer 1983, pp. 390408.
Karl 1991, p. 210.
Glen 2007, pp. 2366.
Drucker 2002, p. 24.
Corngold et al. 2009, pp. 250254.
Stach 2005, pp. 2630.
Brod 1960, pp. 8184.
Stach 2005, pp. 2325.
Stach 2005, pp. 2527.
Spector 2000, p. 17.
Keren 1993, p. 3.
Stach 2005, pp. 3439.
Koelb 2010, p. 32.
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Further reading
Begley, Louis (2008). The Tremendous World I Have Inside My Head, Franz Kafka: A Biographical Essay. New York: Atlas & Co. ISBN 978-1934633-06-9.
Calasso, Roberto (2005). K. New York: Alfred A. Knopf. ISBN 978-1-4000-4189-3.
Citati, Pietro (1987). Kafka. New York: Alfred A. Knopf. ISBN 978-0-394-56840-9.
Coots, Steve (2002). Franz Kafka (Beginner's Guide). London: Hodder & Stoughton. ISBN 978-0-340-84648-3.
Corngold, Stanley; Gross, Ruth V. (2011). Kafka for the Twenty-First Century. New York: Camden House. ISBN 978-1-57113-482-0.
Czech, Danuta (1992). Kalendarz wydarze w KL Auschwitz (in Polish). Owicim: Wydawn.
Engel, Manfred; Robertson, Ritchie (2010). Kafka und die kleine Prosa der Moderne / Kafka and Short Modernist Prose. Oxford Kafka Studies I (in
http://en.wikipedia.org/wiki/Franz_Kafka

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German and English) (Knigshausen & Neumann: Wrzburg). ISBN 978-3-8260-4029-0.

Engel, Manfred; Robertson, Ritchie (2012). Kafka, Prag und der Erste Weltkrieg / Kafka, Prague and the First World War. Oxford Kafka Studies II (in
German and English) (Knigshausen & Neumann: Wrzburg). ISBN 978-3-8260-4849-4.
Engel, Manfred; Robertson, Ritchie (2014). Kafka und die Religion in der Moderne / Kafka, Religion, and Modernity. Oxford Kafka Studies III (in
German and English) (Knigshausen & Neumann: Wrzburg). ISBN 978-3-8260-5451-8.
Glatzer, Nahum Norbert (1986). The Loves of Franz Kafka. New York: Schocken Books. ISBN 978-0-8052-4001-6.
Gray, Ronald (1962). Kafka: A Collection of Critical Essays. Englewood Cliffs, NJ: Prentice-Hall. ISBN 1-199-77830-3.
Greenberg, Martin (1968). The Terror of Art: Kafka and Modern Literature. New York: Basic Books. ISBN 978-0-465-08415-9.
Hayman, Ronald (2001). K, a Biography of Kafka. London: Phoenix Press. ISBN 978-1-84212-415-4.
Heller, Paul (1989). Franz Kafka: Wissenschaft und Wissenschaftskritik (in German). Tbingen: Stauffenburg. ISBN 978-3-923721-40-5.
Kafka, Franz; Brod, Max (1988). The Diaries, 19101923. New York: Schocken Books. ISBN 0-8052-0906-9.
Lundberg, Phillip (2011). Essential Kafka, Rendezvous with Otherness / 9 Stories & 3 novel excerpts. Authorhouse. ISBN 978-1-4389-9021-7.
Major, Michael (2011). Kafka ... for our time. San Diego, CA: Harcourt Publishing. ISBN 978-0-9567982-1-3.
Suchoff, David (2012). Kafka's Jewish Languages: the Hidden Openness of Tradition. Philadelphia: University of Pennsylvania Press. ISBN 978-08122-4371-0.
Thiher, Allen (2012). Franz Kafka: A Study of the Short Fiction. Twayne's Studies in Short Fiction, No. 12 (Philadelphia: University of Pennsylvania
Press). ISBN 978-0-8057-8323-0.
Journals
Danta, Chris (April 2008). "Sarah's Laughter: Kafka's Abraham" (http://muse.jhu.edu/journals/modernism-modernity/toc/mod15.2.html).
Modernism/modernity (Baltimore, MD) 15 (2): 343359. doi:10.1353/mod.2008.0048 (https://dx.doi.org/10.1353%2Fmod.2008.0048). (subscription
required)

Ryan, Michael P. (1999). "Samsa and Samsara: Suffering, Death and Rebirth in The Metamorphosis". German Quarterly (Durham, NC) 72 (2): 133
152. doi:10.2307/408369 (https://dx.doi.org/10.2307%2F408369).

External links
Kafka Society of America (http://www.kafkasocietyofamerica.org/)
Oxford Kafka Research Centre (http://www.kafka-research.ox.ac.uk/) information on ongoing international
Kafka research
Works by Franz Kafka (https://www.gutenberg.org/author/Kafka,+Franz) at Project Gutenberg
Works by or about Franz Kafka (https://archive.org/search.php?
http://en.wikipedia.org/wiki/Franz_Kafka

Franz Kafka - Wikipedia, the free encyclopedia

German Wikisource has

original text related to this
article:
Franz Kafka
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query=%28subject%3A%22Kafka%22%20OR%20creator%3A%22Kafka%22%20OR%20description%3A%22Kafka%22%20OR%20title%3A%22
Kafka%22%29%20OR%20%28%221883-1924%22%20AND%20Kafka%29) at Internet Archive
Works by Franz Kafka (http://librivox.org/author/100) at LibriVox (public domain audiobooks)
Franz Kafka (https://www.dmoz.org/Arts/Literature/Authors/K/Kafka%2C_Franz/) at DMOZ
The Album of Franz Kafka (http://www.gerard-bertrand.net/albumprem.htm), Franz Kafka receives a tribute in this album of "recomposed
photographs".
Journeys of Franz Kafka (http://www.franzkafka.info/) Photographs of places where Kafka lived and worked
Letters to Felice at Archive.org (https://archive.org/details/zdanh_test_026_toc_a)
Literature by and about Franz Kafka (https://portal.dnb.de/opac.htm?method=simpleSearch&query=118559230) in the German National Library
catalogue
Spolenost Franze Kafky a nakladatelstv Franze Kafky (http://www.franzkafka-soc.cz/index.php?action=view&page=cnakladatelstvi) Franz Kafka
Society and Publishing House in Prague
Franz Kafka (http://www.isfdb.org/cgi-bin/ea.cgi?15578) at the Internet Speculative Fiction Database
Retrieved from "http://en.wikipedia.org/w/index.php?title=Franz_Kafka&oldid=665673989"
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