The Complete Stories (forword by John Updike)

artist's abstention is made plain by the opposing symbol of the panther who replaces him in his cage: 'the joy of life streamed with such ardent passion from his throat that for the onlookers it was not easy to stand the shock of it.' In 1920 Milena Jesenska wrote to Brod: 'Frank cannot live. Frank does not have the capacity for living. . . He is absolutely incapable of living, just as he is incapable of getting drunk. He possesses not the slightest refuge. For that reason he is exposed to all those things against which we are protected. He is like a naked man among a multitude who are dressed.' After Gregor Samsa's incarnation, Kafka showed a fondness for naked heroes — animals who have complicated and even pedantic confessions to make but who also are distinguished by some keenly observed bestial traits — the ape of 'A Report to an Academy' befouls himself and his fur jumps with fleas; the dog of 'Investigations' recalls his young days when, very puppylike, 'I believed that great things were going on around me of which I was the leader and to which I must lend my voice, things which must be wretchedly thrown aside if I did not run for them and wag my tail for them'; the mouse folk of 'Josephine the Singer' pipe and multiply and are pervaded by an 'unexpended, ineradicable childishness'; and the untaxonomic inhabitant of 'The Burrow' represents the animal in all of us, his cheerful consumption of 'small fry' existentially yoked to a terror of being consumed himself. An uncanny empathy broods above these zoomorphs, and invests them with more of their creator's soul than all but a few human characters receive. So a child, cowed and bored by the world of human adults, makes companions of pets and toy animals.

Kafka, in the long 'Letter to His Father,' which he poured out in November 1919 but that his mother prudently declined to deliver, left a vivid picture of himself as a child, 'a little skeleton,' undressing with his father in a bathing hut. 'There was I, skinny, weakly, slight; you strong, tall, broad. Even inside the hut I felt a miserable specimen, and what's more, not only in your eyes but in the eyes of the whole world, for you were for me the measure of all things.' Hermann Kafka — 'the huge man, my father, the ultimate authority' — was a butcher's son from a village in southern Bohemia; he came to Prague and founded a successful business, a clothing warehouse selling wholesale to retailers in country towns. He was physically big, as were all the Kafkas (Franz himself grew to be nearly six feet*), and a photograph of 1910 shows more than a touch of arrogance on his heavy features. No doubt he was sometimes brusque with his sensitive only son, and indifferent to the boy's literary aspirations. But Hermann Kafka cannot be blamed for having become in his son's mind and art a myth, a core of overwhelming vitality and of unappeasable authority in relation to which one is hopelessly and forever in the wrong. It is Franz Kafka's extrapolations from his experience of paternal authority and naysaying, above all in his novels The Trial and The Castle, that define the word 'Kafkaesque.' Like 'Orwellian,' the adjective describes not the author but an atmosphere within a portion of his work. Kafka's reputation has been immeasurably enhanced by his seeming prophecy, in works so private and eccentric, of the atrocious regimes of Hitler and Stalin, with their mad assignments of guilt and farcical trials and institutionalized paranoia. But the seeds of such vast evil were present in the world of the Emperor Franz Josef, and Kafka was, we should not forget, a man of the world, for all his debilities. He attended the harsh German schools of Prague; he earned the degree of Doctor of Law; he had experience of merchandising through his father's business. He worked thirteen years for the Workers' Accident Insurance Institute for the Kingdom of Bohemia — his speciality was factory safety, and his reports were admired, trusted, and published in professional journals. He retired as Senior Secretary, and a medal of honor 'commemorating his contribution to the establishment and management of hospitals and rest homes for mentally ill veterans' was on its way to him as the Hapsburg Empire collapsed in 1918. Out of his experience of paternal tyranny and decadent bureaucracy he projected nightmares that proved prophetic. A youthful disciple. Gustav Janouch, who composed the hagiographic Conversations with Kafka, once raised with him the possibility that his work was 'a mirror of tomorrow.' Kafka reportedly covered his eyes with his hands and rocked back and forth, saying, 'You are right. You are certainly right. Probably that's why I can't finish anything. I am afraid of the truth. . . One must be silent, if one can't give any help. . . For that reason, all my scribbling is to be destroyed.'

* His application for employment at the Assicurazioni Generali gives his height as 1.81 meters, or over five foot eleven.

Janouch also says that Kafka, as they were passing the Old Synagogue in Prague (the very synagogue Hitler intended to preserve as a mocking memorial to a vanished people), announced that men 'will try to grind the synagogue to dust by destroying the Jews themselves.' His ancestors had worn the yellow patch, been forbidden to own land or practice medicine, and suffered onerous residence restrictions under the emperors. Kafka lived and died in a relatively golden interim for European Jewry; but all three of his sisters were to perish in the concentration camps. The Kafka household had been perfunctorily observant; Hermann Kafka had been proud of the degree of assimilation he had achieved, and the Judaism he had brought from his village was, his son accused him, too little; 'it all dribbled away while you were passing it on.' Kafka's mother, Julie Lowy, came from an orthodox family and remembered her grandfather as 'a very pious and learned man, with a long white beard.' As if to assert himself against his father, Franz took a decided interest in Jewishness; his diary of 1911 records:

Today, eagerly and happily began to read the History of the Jews by Graetz. Because my desire for it had far outrun the reading, it was at first stranger than I had thought, and I had to stop here and there in order by resting to allow my Jewishness to collect itself.

He taught himself considerable Hebrew and, with Dora Dymant, dreamed of moving to Israel. Yet churches loom larger than synagogues in Kafka's landscapes, and he also read Kierkegaard. His diary of 1913 notes:

Today I got Kierkegaard's Buch des Richters [Book of the Judge, a selection from his diaries]. As I suspected, his case, despite essential differences, is very similar to mine. At least he is on the same side of the world. He bears me out like a friend.

Kierkegaard's lacerating absolutism of faith would seem to lie behind the torture machine of 'In the Penal Colony' and the cruel estrangements of The Trial, and to have offered Kafka a certain purchase on his spiritual pain. But in 1917 he wrote Oskar Baum, a fellow writer in Prague, 'Kierkegaard is a star, although he shines over territory that is almost inaccessible to me.' Kafka came to resign himself to inaccessibility; of his theology it might be said in sum that though he did not find God, he did not blame Him. The authority masked by phenomena remained unindicted. In his shorter tales an affinity may be felt with the parables of Hasidism, that pietist movement within Judaism which emphasized, over against the law of orthodoxy, mystic joy and divine immanence. Certain of the parables share Kafka's relish in the enigmatic:

A man who was afflicted with a terrible disease complained to Rabbi Israel that his suffering interfered with his learning and praying. The rabbi put his hand on his shoulder and said: 'How do you know, friend, what is more pleasing to God, your studying or your suffering?'

[Martin Buber, Tales of the Hasidim, Vol. u]

But there is little in the Hasidic literature of Kafka's varied texture, his brightly colored foreign settings and the theatrical comedy that adorns the grimmest circumstances — the comedy, for instance, of the prisoner and his guard in the penal colony, or of the three bearded boarders in 'The Metamorphosis.' The Samsas, one should notice, are Christian, crossing themselves in moments of crisis and pinning their year to Christmas; Kafka, however unmistakable the ethnic source of his 'liveliness' and alienation, avoided Jewish parochialism, and his allegories of pained awareness take upon themselves the entire European — that is to say, predominantly Christian — malaise.

It is the shorter stories, too, that sparkle most with country glimpses, with a savor of folk tale and a still- medieval innocence. They remind us that Kafka wrote in a Europe where islands of urban, wealth, culture, and discontent were surrounded by a countryside still, in its simplicity, apparently in possession of the secret of happiness, of harmony with the powers of earth and sky. Modernity has proceeded far enough, and spread wide enough, to make us doubt that anyone really has this secret. Part of Kafka's strangeness, and part of his enduring appeal, was to suspect that everyone except himself had the secret. He received from his father an impression of