Misplaced Pages

Franz Kafka
Kafka in 1923
Born	(1883-07-03)3 July 1883 Prague, Bohemia, Austria-Hungary
Died	3 June 1924(1924-06-03) (aged 40) Klosterneuburg, Lower Austria, Austria
Resting place	New Jewish Cemetery, Prague
Citizenship	Austria (until 1918) Czechoslovakia (from 1918)
Alma mater	German Charles-Ferdinand University
Occupations	Novelist short story writer insurance officer
Works	List
Style	Modernism
Signature

Franz Kafka (3 July 1883 – 3 June 1924) was an Austrian-Czech novelist and writer from Prague. He is widely regarded as a major figure of 20th-century literature; he wrote in German. His work fuses elements of realism and the fantastic. It typically features isolated protagonists facing bizarre or surrealistic predicaments and incomprehensible socio-bureaucratic powers. It has been interpreted as exploring themes of alienation, existential anxiety, guilt, and absurdity. His best known works include the novella The Metamorphosis and the novels The Trial and The Castle. The term Kafkaesque has entered English to describe absurd situations like those depicted in his writing.

Kafka was born into a middle-class German- and Yiddish-speaking Czech Jewish family in Prague, the capital of the Kingdom of Bohemia, which belonged to the Austrian part of the Austro-Hungarian Empire (today the capital of the Czech Republic, also known as Czechia). He trained as a lawyer, and after completing his legal education was employed full-time, for a year handling cases for the indigent in the city's Provincial and Criminal Courts by an insurance company, then working for nine months for an Italian insurance company, and finally, starting in 1908, spending 14 years with the Austrian Imperial and Royal Workmen's Accident Institute for the Kingdom of Bohemia and its successor under the Czechoslovak Republic, rising to the position of chief legal secretary.

Being employed full-time forced Kafka to relegate writing to his spare time. Over the course of his life, Kafka wrote hundreds of letters to family and close friends, including his father, with whom he had a strained and formal relationship. He became engaged to several women but never married. He died in obscurity in 1924 at the age of 40 from tuberculosis.

Kafka was a prolific writer, spending most of his free time writing, often late into the night. He burned an estimated 90 percent of his total work due to his persistent struggles with self-doubt. Much of the remaining 10 percent is lost or otherwise unpublished. Few of Kafka's works were published during his lifetime; although the story collections Contemplation and A Country Doctor, and individual stories, such as his novella The Metamorphosis, were published in literary magazines, they received little attention.

In his will, Kafka instructed his close friend and literary executor Max Brod to destroy his unfinished works, including his novels The Trial, The Castle, and Amerika, but Brod ignored these instructions and had much of his work published. Kafka's writings became famous in German-speaking countries after World War II, influencing German literature, and its influence spread elsewhere in the world in the 1960s. It has also influenced artists, composers, and philosophers.

Life

Early life

Kafka was born near the Old Town Square in Prague, then part of the Austro-Hungarian Empire. His family were German-speaking middle-class Ashkenazi Jews. His father, Hermann Kafka (1854–1931), was the fourth child of Jakob Kafka, a shochet or ritual slaughterer in Osek, a Czech village with a large Jewish population located near Strakonice in southern Bohemia. Hermann brought the Kafka family to Prague. After working as a travelling sales representative, he eventually became a fashion 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. Kafka's mother, Julie (1856–1934), was the daughter of Jakob Löwy, a prosperous retail merchant in Poděbrady, and was better educated than her husband.

Kafka's parents, from traditional Jewish society, spoke German replete with influences from their native Yiddish; their children, raised in an acculturated environment, spoke Standard German. Hermann and Julie had six children, of whom Franz was the eldest. Franz's two brothers, Georg and Heinrich, died in infancy before Franz was seven; his three sisters were Gabriele ("Elli") (1889–1942), Valerie ("Valli") (1890–1942) and Ottilie ("Ottla") (1892–1943). All three were murdered in the Holocaust of World War II. Valli was deported to the Łódź Ghetto in occupied Poland in 1942, but that is the last documentation of her; it is assumed she did not survive the war. Ottilie was Kafka's favourite sister.

Hermann is described by Kafka scholar and translator Stanley Corngold as a "huge, selfish, overbearing businessman" and by Franz Kafka as "a true Kafka in strength, health, appetite, loudness of voice, eloquence, self-satisfaction, worldly dominance, endurance, presence of mind, knowledge of human nature, a certain way of doing things on a grand scale, of course with all the defects and weaknesses that go with all these advantages and into which your temperament and sometimes your hot temper drive you". 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, 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; his mother, in contrast, was quiet and shy. The dominating figure of Kafka's father had a significant influence on Kafka's writing.

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.

Education

From 1889 to 1893, Kafka attended the German boys' elementary school at the Masný trh/Fleischmarkt (meat market), now known as Masná 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 each year.

After leaving elementary school in 1893, Kafka was admitted to the rigorous classics-oriented state gymnasium, Altstädter Deutsches Gymnasium, an academic secondary school at Old Town Square, located within Kinský Palace. German was the language of instruction, but Kafka also spoke and wrote in Czech. He studied the latter at the gymnasium for eight years, achieving good grades. Although Kafka received compliments for his Czech, he never considered himself fluent in the language, though he spoke German with a Czech accent. He completed his Matura exams in 1901.

Kafka was admitted to the Deutsche Karl-Ferdinands-Universität of Prague in 1901. He was originally admitted for philosophy, and he had additionally signed up for chemistry. Kafka began studying chemistry but switched to law after two weeks. 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. He also joined a student club, Lese- und Redehalle der Deutschen Studenten (Reading and Lecture Hall of the German students), which organised literary events, readings and other activities. 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 Ludwig Winder, Oskar Baum and Franz Werfel.

At the end of his first year of studies, Kafka met Max Brod, a fellow law student who became a close friend for life. 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 Brod himself. Brod soon noticed that, although Kafka was shy and seldom spoke, what he said was usually profound. Kafka was an avid reader throughout his life; together he and Brod read Plato's Protagoras in the original Greek, on Brod's initiative, and Flaubert's L'éducation sentimentale and La Tentation de St. Antoine (The Temptation of Saint Anthony) in French, at his own suggestion. Kafka considered Fyodor Dostoevsky, Gustave Flaubert, Nikolai Gogol, Franz Grillparzer, and Heinrich von Kleist to be his "true blood brothers". Besides these, he took an interest in Czech literature and was also very fond of the works of Goethe. Kafka was awarded the degree of Doctor of Law on 18 June 1906 and performed an obligatory year of unpaid service as a law clerk for the civil and criminal courts.

Employment

On 1 November 1907, Kafka was employed at the Assicurazioni Generali, an insurance company, where he worked for nearly a year. His correspondence during that period indicates that he was unhappy with a work schedule—from 08:00 until 18:00—that made 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 (Úrazová pojišťovna dělnická pro Čechy v Praze). The job involved investigating and assessing compensation for personal injury to industrial workers; accidents such as lost fingers or limbs were commonplace, owing to poor work safety policies at the time. It was especially true of factories fitted with machine lathes, drills, planing machines and rotary saws, which were rarely fitted with safety guards.

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. He would compile and compose the annual report on the insurance institute for the several years he worked there. The reports were well received by his superiors. 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. Kafka's father also expected him to help out at and take over the family fancy goods store. In his later years, Kafka's illness often prevented him from working at the insurance bureau and at his writing.

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. During that period, he also found interest and entertainment in the performances of Yiddish theatre. After seeing a Yiddish theatre troupe perform in October 1911, for the next six months Kafka "immersed himself in Yiddish language and in Yiddish literature". This interest also served as a starting point for his growing exploration of Judaism. It was at about this time that Kafka became a vegetarian. 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. He later attempted to join the military but was prevented from doing so by medical problems associated with tuberculosis, with which he was diagnosed in 1917. 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.

Private life

Kafka never married. According to Brod, Kafka was "tortured" by sexual desire, 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". Kafka visited brothels for most of his adult life and was interested in pornography. In addition, he had close relationships with several women during his lifetime. On 13 August 1912, Kafka met Felice Bauer, a relative of Brod's, 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 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.

Shortly after this meeting, Kafka wrote the story "Das Urteil" ("The Judgment") in only one night and in a productive period worked 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. Kafka's extant letters to Bauer were published as Briefe an Felice (Letters to Felice); her letters did not survive. After he had written to Bauer's father asking to marry her, Kafka wrote in his diary:

My job is unbearable to me because it conflicts with my only desire and my only calling, which is literature.... I am nothing but literature and can and want to be nothing else ... Nervous states of the worst sort control me without pause ... A marriage could not change me, just as my job cannot change me.

According to the biographers Stach and James Hawes, Kafka became engaged a third time around 1920, to Julie Wohryzek, a poor and uneducated hotel chambermaid. Kafka's father objected to Julie because of her Zionist beliefs. Although Kafka and Julie rented a flat and set a wedding date, the marriage never took place. During this time, Kafka began a draft of Letter to His Father. Before the date of the intended marriage, he took up with yet another woman. While he needed women and sex in his life, he had low self-confidence, felt sex was dirty, and was cripplingly shy—especially about his body.

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, 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. However, Kafka's biographer Peter-André Alt says that, while Bloch had a son, Kafka was not the father, as the pair were never intimate. Stach points out that there is a great deal of contradictory evidence around the claim that Kafka was the father.

Kafka was diagnosed with tuberculosis in August 1917 and moved for a few months to the Bohemian village of Zürau (Siřem in Czech), where his sister Ottla worked on the farm of her brother-in-law Karl Hermann. He felt comfortable there and later described this time as perhaps the best period of his life, probably because he had no responsibilities. He kept diaries and made notes in exercise books (Oktavhefte). From those notes, Kafka extracted 109 numbered pieces of text on single pieces of paper (Zettel); these were later published as Die Zürauer Aphorismen oder Betrachtungen über Sünde, Hoffnung, Leid und den wahren Weg (The Zürau Aphorisms or Reflections on Sin, Hope, Suffering, and the True Way).

In 1920, Kafka began an intense relationship with Milena Jesenská, a Czech journalist and writer who was non-Jewish and who was married, but when she met Kafka, her marriage was a "sham". His letters to her were later published as Briefe an Milena. During a vacation in July 1923 to Graal-Müritz 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 (September 1923-March 1924) and lived with Diamant. She became his lover and sparked his interest in the Talmud. He worked on four stories, including Ein Hungerkünstler (A Hunger Artist), which were published shortly after his death.

Siblings

Kafka's parents had six children; Franz was the eldest. His two brothers, Georg and Heinrich, died in infancy; his three sisters, Gabriele ("Elli") (September 22, 1889 – fall of 1942), Valerie ("Valli") (1890–1942) and Ottilie ("Ottla") (1892–1943), are believed to have been murdered in the Holocaust of the Second World War. Ottilie was Kafka's favourite sister.

Gabriele was Kafka's eldest sister. She was known as Elli or Ellie; her married name is variously rendered as Hermann or Hermannová. She attended a German girls' school in Prague's Řeznická Street and later a private girls' secondary school. She married Karl Hermann (1883–1939), a salesman, in 1910. The couple had a son, Felix (1911–1940), and two daughters, Gertrude (Gerti) Kaufmann (1912–1972), and Hanna Seidner (1920–1941). After her marriage to Hermann, she became closer to her brother, whose letters showed an active interest in the upbringing and education of her children. He accompanied her on a 1915 trip to Hungary to visit Hermann, who was stationed there, and spent a summer with her and her children in Müritz the year before he died.

With the outbreak of the Great Depression in 1929, the Hermann family business experienced financial difficulties and eventually went bankrupt. Karl Hermann died February 27, 1939, and Elli was supported financially by her sisters. On October 21, 1941, she was deported together with her daughter Hanna to the Łódź Ghetto, where she lived temporarily with her sister Valli and Valli's husband in the spring of 1942. She was probably killed in the Kulmhof extermination camp in the fall of 1942. Of Elli's three children, only her daughter Gerti survived the Second World War. A memorial plaque commemorates the three sisters at the family grave in the New Jewish Cemetery in Prague.

Personality

Kafka had a lifelong suspicion that people found him mentally and physically repulsive. However, many of those who met him found him to possess obvious intelligence and a sense of humour; they also found him handsome, although of austere appearance. Kafka was thought to be "very self-analytic". Brod compared Kafka to Heinrich von Kleist, noting that both writers had the ability to describe a situation realistically with precise details. Brod thought Kafka was one of the most entertaining people he had met; Kafka enjoyed sharing his humour with his friends but also helped them in difficult situations with good advice. According to Brod, he was a passionate reciter, able to phrase his speech as though it were music. Brod felt that two of Kafka's most distinguishing traits were "absolute truthfulness" (absolute Wahrhaftigkeit) and "precise conscientiousness" (präzise Gewissenhaftigkeit). He explored inconspicuous details in depth and with such precision and love that unforeseen things surfaced that seemed strange but absolutely true (nichts als wahr).

Kafka's letters and unexpurgated diaries reveal repressed homoerotic desires, including an infatuation with novelist Franz Werfel and fascination with the work of Hans Blüher on male bonding. Saul Friedländer argues that this mental struggle may have informed the themes of alienation and psychological brutality in his writing.

Although Kafka showed little interest in exercise as a child, he later developed a passion for games and physical activity and was an accomplished rider, swimmer, and rower. On weekends, he and his friends embarked on long hikes, often planned by Kafka himself. His other interests included alternative medicine, modern education systems such as Montessori, and technological novelties such as airplanes and film. Writing was vitally important to Kafka; he considered it a "form of prayer". He was highly sensitive to noise and preferred absolute quiet when writing. Kafka was also a vegetarian and did not drink alcohol.

Pérez-Álvarez has claimed that Kafka had symptomatology consistent with schizoid personality disorder. His style, it is claimed, not only in Die Verwandlung (The Metamorphosis) but in other writings, appears to show low- to medium-level schizoid traits, which Pérez-Álvarez claims to have influenced much of his work. His anguish can be seen in this diary entry from 21 June 1913:

and in Zürau Aphorism number 50:

Italian medical researchers Alessia Coralli and Antonio Perciaccante have posited in a 2016 article that Kafka may have had borderline personality disorder with co-occurring psychophysiological insomnia. Joan Lachkar interpreted Die Verwandlung as "a vivid depiction of the borderline personality" and described the story as "model for Kafka's own abandonment fears, anxiety, depression, and parasitic dependency needs. Kafka illuminated the borderline's general confusion of normal and healthy desires, wishes, and needs with something ugly and disdainful".

Though Kafka never married, he held marriage and children in high esteem. He had several girlfriends and lovers during his life. 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", and that Kafka was not just lonely and depressed but also "occasionally suicidal". In his 1995 book Franz Kafka, the Jewish Patient, Sander Gilman investigated "why a Jew might have been considered 'hypochondriacal' or 'homosexual' and how Kafka incorporates aspects of these ways of understanding the Jewish male into his own self-image and writing". Kafka considered suicide at least once, in late 1912.

Political views

Before World War I, Kafka attended several meetings of the Klub mladých, a Czech anarchist, anti-militarist, and anti-clerical organization. Hugo Bergmann, who attended the same elementary and high schools as Kafka, fell out with Kafka during their last academic year (1900–1901) because " socialism and my Zionism were much too strident". Bergmann said: "Franz became a socialist, I became a Zionist in 1898. The synthesis of Zionism and socialism did not yet exist." Bergmann claims that Kafka wore a red carnation to school to show his support for socialism. In one diary entry, Kafka made reference to the influential anarchist philosopher Peter Kropotkin: "Don't forget Kropotkin!"

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 Austro-Hungarian Empire, to the belief that he embodied the rise of socialism. 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. Whether Kafka was a political writer is still an issue of debate.

Judaism and Zionism

Kafka grew up in Prague as a German-speaking Jew. 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 contains many references to Yiddish writers. Yet he was at times alienated from Judaism and Jewish life. On 8 January 1914, he wrote in his diary:

In his adolescent years, Kafka declared himself an atheist.

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. In the opinion of literary critic Harold Bloom, although Kafka was uneasy with his Jewish heritage, he was the quintessential Jewish writer. Lothar Kahn is likewise unequivocal: "The presence of Jewishness in Kafka's oeuvre is no longer subject to doubt". Pavel Eisner, one of Kafka's first translators, interprets 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 himself is a Jew".

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." Kafka considered moving to Palestine with Felice Bauer, and later with Dora Diamant. He studied Hebrew while living in Berlin, hiring a friend of Brod's from Palestine, Pua Bat-Tovim, to tutor him and attending Rabbi Julius Grünthal and Rabbi Julius Guttmann's classes in the Berlin Hochschule für die Wissenschaft des Judentums (College for the Study of Judaism), where he also studied Talmud.

Livia Rothkirchen calls Kafka the "symbolic figure of his era". His contemporaries included numerous Jewish, Czech, and German writers who were sensitive to Jewish, Czech, and German 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".

Towards the end of his life Kafka sent a postcard to his friend Hugo Bergmann in Tel Aviv, announcing his intention to emigrate to Palestine. Bergmann refused to host Kafka because he had young children and was afraid that Kafka would infect them with tuberculosis.

Death

Kafka's laryngeal tuberculosis worsened and in March 1924 he returned from Berlin to Prague, where members of his family, principally his sister Ottla and Dora Diamant, took care of him. He went to Hugo Hoffmann's sanatorium in Kierling just outside Vienna for treatment on 10 April, 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. 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. His body was brought back to Prague where he was buried on 11 June 1924, in the New Jewish Cemetery in Prague-Žižkov. Kafka was virtually unknown during his own lifetime, but he did not consider fame important. He rose to fame rapidly after his death, particularly after World War II. The Kafka tombstone was designed by architect Leopold Ehrmann.

Works

All of Kafka's published works were written in German. What little was published during his lifetime attracted scant public attention.

Kafka finished none of his full-length novels and burned around 90 percent of his work, much of it during the period he lived in Berlin with Diamant, who helped him burn the drafts. 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.

Kafka drew and sketched extensively. Until May 2021, only about 40 of his drawings were known. In 2022, Yale University Press published Franz Kafka: The Drawings.

Stories

Kafka's earliest published works were eight stories that 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") in 1904; in 1905 he showed it to Brod, who advised him to continue writing and convinced him to submit it to Hyperion. Kafka published a fragment in 1908 and two sections in the spring of 1909, all in Munich.

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 fiancée, Georg Bendemann and Frieda Brandenfeld, to Franz Kafka and Felice Bauer. 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. Kafka later described writing it as "a complete opening of body and soul", a story that "evolved as a true birth, covered with filth and slime". The story was first published in Leipzig in 1912 and dedicated "to Miss Felice Bauer", and in subsequent editions "for F."

In 1912, Kafka wrote Die Verwandlung (The Metamorphosis, or The Transformation), published in 1915 in Leipzig. The story begins with a travelling salesman waking to find himself transformed into an ungeheures Ungeziefer, a monstrous vermin, Ungeziefer being a general term for unwanted and unclean pests, especially insects. Critics regard the work as one of the seminal works of fiction of the 20th century. The story "In der Strafkolonie" ("In the Penal Colony"), dealing with an elaborate torture and execution device, was written in October 1914, revised in 1918, and published in Leipzig during October 1919. The story "Ein Hungerkünstler" ("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. His last story, "Josefine, die Sängerin oder Das Volk der Mäuse" ("Josephine the Singer, or the Mouse Folk"), also deals with the relationship between an artist and his audience.

Novels

Kafka began his first novel in 1912; its first chapter is the story "Der Heizer" ("The Stoker"). He called the work, which remained unfinished, Der Verschollene (The Man Who Disappeared or The Missing Person), but when Brod published it after Kafka's death he named it Amerika. The inspiration for the novel was the time Kafka 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. 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. It uses many details of experiences from his relatives who had emigrated to America and is the only work for which Kafka considered an optimistic ending.

In 1914 Kafka began the novel Der Process (The Trial), 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. He did not complete the novel, although he finished the final chapter. According to Nobel Prize winning author Elias Canetti, Felice is central to the plot of Der Process and Kafka said it was "her story". 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. 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 suffocation—combined, surprisingly enough, with moments of boyish ardour and delight."

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. 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". 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 unattainable 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."

Publishing history

Kafka's stories were initially published in literary periodicals. His first eight were printed in 1908 in the first issue of the bi-monthly Hyperion. Franz Blei published two dialogues in 1909 which became part of "Beschreibung eines Kampfes" ("Description of a Struggle"). 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. On 27 March 1910, several stories that later became part of the book Betrachtung were published in the Easter edition of Bohemia. In Leipzig during 1913, Brod and publisher Kurt Wolff included "Das Urteil. Eine Geschichte von Franz Kafka." ("The Judgment. A Story by Franz Kafka.") in their literary yearbook for the art poetry Arkadia. In the same year, Wolff published "Der Heizer" ("The Stoker") in the Jüngste Tag series, where it enjoyed three printings. 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 Martin Buber's Der Jude, the paper Prager Tagblatt, and the periodicals Die neue Rundschau, Genius, and Prager Presse.

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; Wolff published Betrachtung in the Rowohlt Verlag at the end of 1912 (with the year given as 1913). Kafka dedicated it to Brod, "Für M.B.", and added in the personal copy given to his friend "So wie es hier schon gedruckt ist, für meinen liebsten Max‍—‌Franz K." ("As it is already printed here, for my dearest Max").

Kafka's novella Die Verwandlung (The Metamorphosis) was first printed in the October 1915 issue of Die Weißen Blätter, a monthly edition of expressionist literature, edited by René Schickele. Another story collection, Ein Landarzt (A Country Doctor), was published by Kurt Wolff in 1919, dedicated to Kafka's father. Kafka prepared a final collection of four stories for print, Ein Hungerkünstler (A Hunger Artist), which appeared in 1924 after his death, in Verlag Die Schmiede. On 20 April 1924, the Berliner Börsen-Courier published Kafka's essay on Adalbert Stifter.

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, to be burned unread." Brod ignored this request and published the novels and collected works between 1925 and 1935. Brod defended his action by claiming that he had told Kafka, "I shall not carry out your wishes", and that "Franz should have appointed another executor if he had been absolutely determined that his instructions should stand".

Brod took many of Kafka's papers, which remain unpublished, with him in suitcases to Palestine when he fled there in 1939. 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.

As Brod published the bulk of the writings in his possession, 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. 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; 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 The Great Wall of China, including the titular short story "The Great Wall of China". The book appeared in the Gustav Kiepenheuer Verlag. Brod's sets are usually called the "Definitive Editions".

Modern editions

In 1961 Malcolm Pasley acquired for the Oxford Bodleian Library most of Kafka's original handwritten works. The text for Der Process was later purchased through auction and is stored at the German Literary Archives in Marbach am Neckar, Germany. Subsequently, Pasley headed a team (including Gerhard Neumann, Jost Schillemeit and Jürgen Born) which reconstructed the German novels; S. Fischer Verlag republished them. 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".

In 2023, the first unexpurgated edition of Kafka's diaries was published in English, "more than three decades after this complete text appeared in German. The sole previous English edition, with Brod's edits, was issued in the late 1940s". The new edition revealed that Brod had expunged homoerotic references, and negative comments about Eastern European Jews.

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. 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 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. 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. The Hoffes claim the papers are their personal property, while the National Library of Israel argues they are "cultural assets belonging to the Jewish people". The National Library also suggests that Brod bequeathed the papers to them in his will. The Tel Aviv Family Court ruled in October 2012, six months after Ruth's death, that the papers were the property of the National Library. The Israeli Supreme Court upheld the decision in December 2016.

Critical response

Critical interpretations

The poet W. H. Auden called Kafka "the Dante of the twentieth century"; the novelist Vladimir Nabokov placed him among the greatest writers of the 20th century. Gabriel García Márquez noted the reading of Kafka's The Metamorphosis showed him "that it was possible to write in a different way". A prominent theme of Kafka's work, first established in the short story "Das Urteil", is father–son conflict: the guilt induced in the son is resolved through suffering and atonement. Other prominent themes and archetypes include alienation, physical and psychological brutality, characters on a terrifying quest, and mystical transformation.

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 Beiträge. The nature of Kafka's prose allows for varied interpretations and critics have placed his writing into a variety of literary schools. Marxists, for example, have sharply disagreed over how to interpret Kafka's works. Some accused him of distorting reality whereas others claimed he was critiquing capitalism. The hopelessness and absurdity common to his works are seen as emblematic of existentialism. 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. Others, such as Thomas Mann, see Kafka's work as allegorical: a quest, metaphysical in nature, for God.

According to Gilles Deleuze and Félix Guattari, the themes of alienation and persecution, although present in Kafka's work, have been overemphasised by critics. They argue that Kafka's work is more deliberate and subversive—and more joyful—than may first appear. They point out that reading Kafka while focusing on the futility of his characters' struggles reveals Kafka's humour; he is not necessarily commenting on his own problems, but rather pointing out how people tend to invent problems. In his work, Kafka often creates malevolent, absurd worlds. 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 Dostoevsky'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 from living in a totalitarian state.

Attempts have been made to identify the influence of Kafka's legal background and the role of law in his fiction. Most interpretations identify aspects of law and legality as important in his work, in which the legal system is often oppressive. 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. 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.

However, James Hawes argues many of Kafka's descriptions of the legal proceedings in Der Process—metaphysical, 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. Although he worked in insurance, as a trained lawyer Kafka was "keenly aware of the legal debates of his day". In an early 21st-century publication that uses Kafka's office writings as its point of departure, Pothik Ghosh states that with Kafka, law "has no meaning outside its fact of being a pure force of domination and determination".

Translations

The first instance of Kafka being translated into English was in 1925, when William A. Drake published "A Report for an Academy" in the New York Herald Tribune. Eugene Jolas translated Kafka's "The Judgment" for the modernist journal transition in 1928. In 1930, Edwin and Willa Muir 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. A 1941 edition, including a homage by Thomas Mann, spurred a surge in Kafka's popularity in the United States during the late 1940s. The Muirs translated all shorter works that Kafka had seen fit to print; they were published by Schocken Books in 1948 as The Penal Colony: Stories and Short Pieces, 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, that had been deleted by earlier publishers. 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. Published in 1961 by Schocken Books, Parables and Paradoxes presented in a bilingual edition by Nahum N. Glatzer selected writings, 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), The Trial, Critical by Breon Mitchell (Schocken Books, 1998), and The Man Who Disappeared (Amerika) by Michael Hofmann (Penguin Books, 1996) and Amerika: The Missing Person by Mark Harman (Schocken Books, 2008).

Translation problems to English

Kafka often made extensive use of a characteristic particular to German, which permits long sentences that sometimes can span an entire page. Kafka's sentences then deliver an unexpected impact just before the full stop—this being the finalizing meaning and focus. This is due to the construction of subordinate clauses in German, which require that the verb be 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 as the original text. German's more flexible word order and syntactical differences provide for multiple ways in which the same German writing can be translated into English. An example is the first sentence of Kafka's The Metamorphosis, which is crucial to the setting and understanding of the entire story:

The sentence above also exemplifies an instance of another difficult problem facing translators: dealing with the author's intentional use of ambiguous idioms and words that have several meanings, which results in phrasing that is difficult to translate precisely. English translators often render the word Ungeziefer as 'insect'; in Middle German, however, Ungeziefer literally means 'an animal unclean for sacrifice'; 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. Another example of this can be found in the final sentence of "Das Urteil" ("The Judgement"), with Kafka's use of the German noun Verkehr. Literally, Verkehr means 'intercourse' and, as in English, can have either a sexual or a non-sexual meaning. The word is additionally used to mean 'transport' or 'traffic'; therefore the sentence can also be translated as: "At that moment an unending stream of traffic crossed over the bridge." 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".

Legacy

Literary and cultural influence

Unlike many famous writers, Kafka is rarely quoted by others. Instead, he is noted more for his visions and perspective. Kafka had a strong influence on Gabriel García Márquez, Milan Kundera and the novel The Palace of Dreams by Ismail Kadare. Shimon Sandbank, a professor, literary critic, and writer, also identifies Kafka as having influenced Jorge Luis Borges, Albert Camus, Eugène Ionesco, J. M. Coetzee and Jean-Paul Sartre. A Financial Times literary critic credits Kafka with influencing José Saramago, and Al Silverman, a writer and editor, states that J. D. Salinger loved to read Kafka's works. The Romanian writer Mircea Cărtărescu said "Kafka is the author I love the most and who means, for me, the gate to literature"; he also described Kafka as "the saint of literature".

Kafka has been cited as an influence on the Swedish writer Stig Dagerman, and the Japanese writer Haruki Murakami, who paid homage to Kafka in his novel Kafka on the Shore with the namesake protagonist.

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. Harold Bloom said "when he is most himself, Kafka gives us a continuous inventiveness and originality that rivals Dante and truly challenges Proust and Joyce as that of the dominant Western author of our century". Sandbank argues that despite Kafka's pervasiveness, his enigmatic style has yet to be emulated. 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. 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". Brod said that the 20th century will one day be known as the "century of Kafka".

Michel-André 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 "irrationality at the roots of a supposedly rational world". His characters are trapped, confused, full of guilt, frustrated, and lacking understanding of their surreal world. Much post-Kafka fiction, especially science fiction, follows the themes and precepts of Kafka's universe. This can be seen in the works of authors such as George Orwell and Ray Bradbury.

The following are examples of works across a range of dramatic, literary, and musical genres that demonstrate the extent of Kafka's cultural influence:

"Kafkaesque"

The term "Kafkaesque" is used to describe concepts and situations reminiscent of Kafka's work, particularly Der Prozess (The Trial) and Die Verwandlung (The Metamorphosis). Examples include instances in which bureaucracies overpower people, often in a surreal, nightmarish milieu that 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.

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 Patrick Bokanowski's film The Angel (1982), Terry Gilliam's film Brazil (1985), and Alex Proyas' science fiction film noir, Dark City (1998). Films from other genres which have been similarly described include Roman Polanski's The Tenant (1976), Joseph Losey’s Monsieur Klein (1976) and the Coen brothers' Barton Fink (1991). The television series The Prisoner and The Twilight Zone are also frequently described as Kafkaesque.

However, with common usage, the term has become so ubiquitous that Kafka scholars note it is often misused. More accurately then, according to author Ben Marcus, paraphrased in "What it Means to be Kafkaesque" by Joe Fassler in The Atlantic, "Kafka's quintessential qualities are affecting use of language, a setting that straddles fantasy and reality, and a sense of striving even in the face of bleakness—hopelessly and full of hope."

Commemorations

3412 Kafka is an asteroid from the inner regions of the asteroid belt, approximately 6 kilometers in diameter. It was discovered on 10 January 1983 by American astronomers Randolph Kirk and Donald Rudy at Palomar Observatory in California, United States, and named after Kafka by them.

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 finally established in Prague in Malá Strana (Lesser Town), along the Moldau, in 2005. The museum aims with this exhibit to immerse the visitor into the world in which Kafka lived and about which he wrote.

The Franz Kafka Prize, established in 2001, is an annual literary award of the Franz Kafka Society and the City of Prague. 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". 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 Czech. 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.

San Diego State University operates the Kafka Project, which began in 1998 as the official international search for Kafka's last writings.

Notes

1. Based on Austro-Hungarian nationality law of 1867
2. UK: /ˈkæfkə/, US: /ˈkɑːf-/; German: [ˌfʁant͡s ˈkafka] ; Czech: [ˈkafka]; in Czech, he was sometimes called František Kafka.
3. Records of the university list June as Kafka's graduation month, as well was some secondary sources (Murray), while Brod lists July, possibly confusing the date with that of an exam three years earlier, on 18 July 1903.
4. "Kampf" also translates to "fight".

References

Citations

1. ^ Koelb 2010, p. 12.
2. Czech Embassy 2012.
3. "Kafka". Random House Webster's Unabridged Dictionary. Archived from the original on 26 December 2014.
4. Herz, Julius M. (1978). "Franz Kafka and Austria: National Background and Ethnic Identity". Modern Austrian Literature. 11 (3/4): 301–318. JSTOR 24645937. Retrieved 11 October 2024.
5. Spindler, William (1993). "Magical Realism: A Typology". Forum for Modern Language Studies. XXIX (1): 90–93. doi:10.1093/fmls/XXIX.1.75. ISSN 0015-8518.
6. Franz Kafka at the Encyclopædia Britannica
7. ^ Steinhauer 1983, pp. 390–408.
8. "Heroes – Trailblazers of the Jewish People". Beit Hatfutsot. Archived from the original on 31 July 2020. Retrieved 14 November 2019.
9. "A new translation of Franz Kafka's diaries restores much of his Jewish musings". www.jta.org. 12 January 2023. Retrieved 2 October 2024.
10. Gray, Jefferson M., review in The Federal Lawyer, October 2009, of Franz Kafka: The Office Writings. Princeton, New Jersey: Princeton University Press, 2009.
11. ^ Gilman 2005, pp. 20–21.
12. Northey 1997, pp. 8–10.
13. Kohoutikriz 2011.
14. Brod 1960, pp. 3–5.
15. Northey 1997, p. 92.
16. Gray 2005, pp. 147–148.
17. ^ Hamalian 1974, p. 3.
18. Kafka, Franz (2009). The Metamorphosis. New York: Simon and Schuster Paperbacks. p. ix. ISBN 978-1-4165-9968-5.
19. Corngold 1972, pp. xii, 11.
20. ^ Kafka-Franz, Father 2012.
21. Brod 1960, p. 9.
22. ^ Brod 1960, pp. 15–16.
23. Brod 1960, pp. 19–20.
24. Brod 1960, pp. 15, 17, 22–23.
25. Stach 2005, p. 22.
26. Stach 2005, pp. 390–391, 462–463.
27. Stach 2005, p. 13.
28. Brod 1960, pp. 26–27.
29. ^ Hawes 2008, p. 29.
30. ^ Sayer 1996, pp. 164–210.
31. Kempf 2005, pp. 159–160.
32. Corngold 2004, p. xii.
33. Karl 1991, p. 148.
34. Diamant 2003, pp. 36–38.
35. Brod 1960, pp. 40–41.
36. ^ Gray 2005, p. 179.
37. Stach 2005, pp. 43–70.
38. Spector 2000, p. 17.
39. Keren 1993, p. 3.
40. Brod 1960, p. 40.
41. ^ Brod 1960, p. 14.
42. Brod 1966, pp. 53–54.
43. Stach 2005, p. 362.
44. Gray 2005, pp. 74, 273.
45. Brod 1960, pp. 51, 122–124.
46. Stach 2005, pp. 80–83.
47. Murray 2004, p. 62.
48. Brod 1960, p. 78.
49. German University Prague – Doctor of Law 1906.
50. German University Prague – Exam 1906.
51. German University Prague – Exam 1905.
52. German University Prague – Exam 1903.
53. Karl 1991, p. 210.
54. Glen 2007, pp. 23–66.
55. Corngold et al. 2009, p. 28.
56. Stach 2005, pp. 26–30.
57. Brod 1960, pp. 81–84.
58. Stach 2005, pp. 23–25.
59. Stach 2005, pp. 25–27.
60. Stach 2005, pp. 34–39.
61. Koelb 2010, p. 32.
62. Stach 2005, pp. 56–58.
63. Brod 1960, pp. 29, 73–75, 109–110, 206.
64. Brod 1960, p. 154.
65. Corngold 2011, pp. 339–343.
66. ^ Hawes 2008, p. 186.
67. Stach 2005, pp. 44, 207.
68. Hawes 2008, pp. 186, 191.
69. ^ European Graduate School 2012.
70. Stach 2005, p. 43.
71. ^ Banville 2011.
72. Köhler 2012.
73. ^ Stach 2005, p. 1.
74. Seubert 2012.
75. Brod 1960, pp. 196–197.
76. Wagenbach 2019, pp. 119–120.
77. Hawes 2008, pp. 129, 198–199.
78. Murray 2004, pp. 276–279.
79. Stach 2005, pp. 379–389.
80. Brod 1960, pp. 240–242.
81. S. Fischer 2012.
82. Alt 2005, p. 303.
83. Hawes 2008, pp. 180–181.
84. Stach 2005, pp. 1, 379–389, 434–436.
85. Apel 2012, p. 28.
86. Wagenbach 2019, pp. 154, 159.
87. ^ Brod 1966, p. 389.
88. Hempel 2002.
89. Kafka, Franz (2009). The Metamorphosis. New York: Simon and Schuster Paperbacks. p. ix. ISBN 978-1-4165-9968-5.
90. ^ "Elli Kafka". Franz Kafka. Retrieved 4 April 2024.
91. "Sisters – Franz Kafka". kafkamuseum.cz. Retrieved 4 April 2024.
92. ^ "Zur Erinnerung an Gabriele Kafka". gabriele-kafka.zurerinnerung.at (in German). Retrieved 5 April 2024.
93. "Valli Kafka". Franz Kafka (in German). Retrieved 5 April 2024.
94. "Ottla Kafka". Franz Kafka (in German). Retrieved 5 April 2024.
95. "Kafkas Schwestern" (in German). Jewish Museum Munich. Retrieved 5 April 2024.
96. Janouch 1971, pp. 14, 17.
97. ^ Fichter 1987, pp. 367–377.
98. Repertory 2005.
99. Robertson, Ritchie (2005). Kafka: A Very Short Introduction. Oxford University Press. p. 4.
100. Brod 1966, p. 41.
101. Brod 1966, p. 42.
102. Brod 1966, p. 97.
103. ^ Brod 1966, p. 49.
104. Brod 1960, p. 47.
105. Brod 1966, p. 52.
106. Banville 2013.
107. Brod 1966, p. 90.
108. Brod 1966, p. 92.
109. ^ Brod 1960, p. 214.
110. Brod 1960, p. 156.
111. Grovier, Kelly (13 June 2004). "The trials of Franz Kafka". The Guardian. Archived from the original on 9 March 2016. Retrieved 16 October 2024.
112. Pérez-Álvarez 2003, pp. 181–194.
113. Miller 1984, pp. 242–306.
114. McElroy 1985, pp. 217–232.
115. Sokel 2001, pp. 67–68.
116. Kafka & Brod 1988, p. 222.
117. Gray 1973, p. 196.
118. Coralli, Alessia; Perciaccante, Antonio (12 April 2016). "Franz Kafka: An emblematic case of the co-occurrence of sleep and psychiatric disorders". Sleep Science. 9 (1). Sleep Sci: 5–6. doi:10.1016/j.slsci.2016.02.177. PMC 4866976. PMID 27217905.
119. Lachkar 1992, p. 30.
120. Brod 1960, pp. 139–140.
121. Fichter 1988, pp. 231–238.
122. Gilman 1995, pp. 63ff, 160–163.
123. Brod 1960, p. 128.
124. Brod 1960, p. 86.
125. ^ Lib.com 2008.
126. Bergman 1969, p. 8.
127. ^ Bruce 2007, p. 17.
128. Preece 2001, p. 131.
129. Hughes 1986, pp. 248–249.
130. Bathrick 1995, pp. 67–70.
131. ^ Socialist Worker 2007.
132. History Guide 2006.
133. ^ Haaretz 2008.
134. Alt 2005, p. 430.
135. Kafka & Brod 1988, p. 252.
136. ^ Kafka-Franz 2012.
137. Gilman 2005, p. 31.
138. Connolly 2008.
139. Harper's 2008.
140. Hawes 2008, pp. 119–126.
141. Bloom 1994, p. 428.
142. Kahn & Hook 1993, p. 191.
143. ^ Rothkirchen 2005, p. 23.
144. Tal, Josef. Tonspur – Auf Der Suche Nach Dem Klang Des Lebens. Berlin: Henschel, 2005. pp. 43–44
145. Brod 1960, p. 196.
146. "The Hunters of Lost Books: New Project Finds and Digitizes Books Looted in WWII". Haaretz. Retrieved 8 February 2024.
147. Bloom 2011.
148. Believer 2006.
149. Brod 1960, pp. 209–211.
150. Brod 1960, p. 211.
151. F. Kafka, New Jewish Cemetery, Prague: Marsyas 1991, p. 56
152. Batuman, Elif (22 September 2010). "Kafka's Last Trial". The New York Times. Archived from the original on 5 July 2019. Retrieved 3 August 2012.
153. Stach 2005, p. 2.
154. Murray 2004, pp. 367.
155. Furst 1992, p. 84.
156. Sawicki, Nicholas (29 September 2021). "Kafka, the Artist". Los Angeles Review of Books.
157. Schmid, Franziska (16 December 2021). "Trove of Kafka's drawings reveals his 'cheerful side'". Futurity.
158. Franz Kafka: The Drawings, edited by Andreas Kilcher, in collaboration with Pavel Schmidt ; with essays by Judith Butler and Andreas Kilcher; translations from the German by Kurt Beals. Review
159. Pawel 1985, pp. 160–163.
160. ^ Brod 1966, p. 388.
161. Brod 1966114f
162. Ernst 2010.
163. Hawes 2008, pp. 159, 192.
164. Stach 2005, p. 113.
165. ^ Brod 1960, p. 129.
166. Brod 1966, p. 113.
167. ^ Sokel 1956, pp. 203–214.
168. ^ Luke 1951, pp. 232–245.
169. Dodd 1994, pp. 165–168.
170. Gray 2005, p. 131.
171. Horstkotte 2009.
172. Brod 1960, p. 113.
173. Brod 1960, pp. 128, 135, 218.
174. Koelb 2010, p. 34.
175. Sussman 1979, pp. 72–94.
176. Stach 2005, p. 79.
177. Brod 1960, p. 137.
178. Stach 2005, pp. 108–115, 147, 139, 232.
179. ^ Kakutani 1988.
180. Boyd 2004, p. 139.
181. Rastalsky 1997, p. 1.
182. ^ Itk 2008.
183. Brod 1966, p. 94.
184. Brod 1966, p. 61.
185. Stach 2005, p. 343.
186. Brod 1966, p. 110.
187. ^ European Graduate School, Articles 2012.
188. Brod 1966, p. 115.
189. Leiter 1958, pp. 337–347.
190. Krolop 1994, p. 103.
191. Kafka 1988, publisher's notes.
192. McCarthy 2009.
193. Diamant, Kathi, Kafka's Last Love: The Mystery of Dora Diamant, p. 132.
194. Butler 2011, pp. 3–8.
195. ^ Kafka Project SDSU 2012.
196. Contijoch 2000.
197. Kafka 2009, p. xxvii.
198. ^ Diamant 2003, p. 144.
199. Classe 2000, p. 749.
200. Jewish Heritage 2012.
201. ^ Kafka 1998, publisher's notes.
202. O'Neill 2004, p. 681.
203. ^ Adler 1995.
204. Oxford Kafka Research Centre 2012.
205. Kafka, Franz, The Diaries, translated by Ross Benjamin, New York: Schocken Books, 2023.
206. "The Kafka You Never Knew" (Review by Dwight Garner of Ross Benjamin's translation of Kafka's Diaries), The New York Times, 11 January 2023.
207. Benjamin 2024.
208. Guardian 2010.
209. New York Times 2010.
210. Buehrer 2011.
211. ^ Lerman 2010.
212. Rudoren & Noveck 2012.
213. Glazer 2017.
214. Bloom 2002, p. 206.
215. Durantaye 2007, pp. 315–317.
216. Paris Review 2012.
217. ^ Gale Research 1979, pp. 288–311.
218. ^ Bossy 2001, p. 100.
219. Furst 1992, p. 83.
220. Sokel 2001, pp. 102–109.
221. Burrows 2011.
222. Panichas 2004, pp. 83–107.
223. Gray 1973, p. 3.
224. Kavanagh 1972, pp. 242–253.
225. Rahn 2011.
226. Kundera 1988, pp. 82–99.
227. Glen 2007.
228. ^ Banakar 2010.
229. ^ Glen 2011, pp. 47–94.
230. Hawes 2008, pp. 216–218.
231. Preece 2001, pp. 15–31.
232. Hawes 2008, pp. 212–214.
233. Ziolkowski 2003, p. 224.
234. Corngold et al. 2009, pp. xi, 169, 188, 388.
235. Ghosh 2009.
236. Drake, William A. (1 November 1925). "A Report for an Academy". New York Herald Tribune. p. SM7.
237. "Franz Kafka | Modernist Archives Publishing Project". www.modernistarchives.com. Archived from the original on 25 April 2021. Retrieved 8 April 2021.
238. Guardian 1930.
239. Koelb 2010, p. 69.
240. Kafka 1948, pp. 3–4.
241. Kafka 1954, publisher's notes.
242. Sokel 2001, p. 63.
243. Preece 2001, p. 167.
244. Preece 2001, pp. xv, 225.
245. Kirsch 2009.
246. Kafka 1996, p. xi.
247. Newmark 1991, pp. 63–64.
248. Bloom 2003, pp. 23–26.
249. Prinsky 2002.
250. Lawson 1960, pp. 216–219.
251. Rhine 1989, pp. 447–458.
252. Corngold 1973, p. 10.
253. Kafka 1996, p. 75.
254. Hawes 2008, p. 50.
255. Hawes 2008, p. 4.
256. Hannelore Hahn The Influence of Franz Kafka on Three Novels by Gabriel García Márquez, P.Lang 1993
257. Lenka Žehrová "Sur les traces de Franz Kafka dans l’œuvre de Milan Kundera // In the footsteps of Franz Kafka in the work of Milan Kundera"
258. Peter Morgan Ismail Kadare: The Writer and the Dictatorship 1957–1990 Routledge 2017, p. 229
259. ^ Sandbank 1992, pp. 441–443.
260. Financial Times 2009.
261. Silverman 1986, pp. 129–130.
262. Mareş 2014.
263. Lotta Lotass. "Stig Dagerman (1923–1954)" (in Swedish). litteraturbanken.se.
264. Aris Fioretos (14 July 2023). "Som en hund slet Stig Dagerman köttet från knotorna" (in Swedish). Dagens Nyheter.
265. Masaki Mori Haruki Murakami and His Early Work: The Loneliness of the Long-Distance Running Artist, Rowman & Littlefield 2021
266. LiteraturHaus 1999.
267. Bloom 2010, p. 8.
268. Coker 2012.
269. Henze 1951.
270. Singer 1970, p. 311.
271. ^ Adams 2002, pp. 140–157.
272. Welles Net 1962.
273. Elsaesser 2004, p. 117.
274. Conrad, Anna (14 July 2020). "How Joy Division made Closer: 'We were really tight as a band; there was a lot of telepathy going on'". British GQ. Retrieved 22 August 2024.
275. "How Franz Kafka inspired one of Joy Division's underrated gems - Far Out Magazine". faroutmagazine.co.uk. 3 May 2021. Retrieved 22 August 2024.
276. Opera Today 2010.
277. "Robert Smith's Reading List". Radical Reads. 31 March 2021. Archived from the original on 9 July 2021. Retrieved 30 June 2021.
278. Times Literary Supplement 2005.
279. Aldiss, Brian W. (1991). Better Morphosis, in The Magazine of Fantasy and Science Fiction, June 1991. Subsequently reprinted in the Aldiss collections Bodily Functions and A Tupolev Too Far and Other Stories.
280. Writer's Institute 1992.
281. Herbort 1992.
282. New York Times 1993.
283. Dembo 1996, p. 106.
284. Akalaitis 2001.
285. Updike 2005.
286. Thomas, Alfred (2015). "Kafka's Statue : Memory and Forgetting in Postsocialist Prague". Revue des études slaves. 86 (1/2): 157–169. doi:10.4000/res.677. JSTOR 43493528.
287. Ruders 2005.
288. Milner 2005.
289. BBC 2012.
290. HAZE 2012.
291. Bury 2013.
292. Rizzulo 2013.
293. Jeal 2014.
294. "Statue of Kafka". Prague.eu. 2 March 2017. Archived from the original on 6 April 2017. Retrieved 5 April 2017.
295. "Is literature next in line for virtual-reality treatment?". The Economist. 8 March 2018. Archived from the original on 8 March 2021. Retrieved 24 June 2020.
296. Kudláč, Martin (20 December 2023). "Agnieszka Holland braces to shoot Kafka biopic Franz". Cineuropa. Retrieved 3 June 2024.
297. “Kafkaesque.” Merriam-Webster.com Dictionary. Retrieved 1 March 2021.
298. Aizenberg 1986, pp. 11–19.
299. Strelka 1984, pp. 434–444.
300. Anthony Lane (30 August 2019). "The Hour of Reckoning Descends in Mr. Klein". The New Yorker. Retrieved 2 July 2024.
301. Palmer 2004, pp. 159–192.
302. O'Connor 1987.
303. Los Angeles Times 2009.
304. Ivana Edwards (29 December 1991). "The Essence of 'Kafkaesque'". The New York Times. Archived from the original on 18 April 2018. Retrieved 26 June 2024.
305. Fassler, Joe (January 2014). "What It Really Means to Be 'Kafkaesque'". The Atlantic. Archived from the original on 29 January 2018. Retrieved 7 March 2017.
306. Schmadel, Lutz D. (2003). "(3412) Kafka". Dictionary of Minor Planet Names. Springer Berlin Heidelberg. p. 284. doi:10.1007/978-3-540-29925-7_3412. ISBN 978-3-540-00238-3.
307. "3412 Kafka". Minor Planet Center. 1983. Archived from the original on 4 March 2016. Retrieved 5 December 2016.
308. Kafka Museum 2005.
309. ^ Kafka Society 2011.

Sources

• Alt, Peter-André (2005). Franz Kafka: Der ewige Sohn. Eine Biographie (in German). Munich: C. H. Beck. ISBN 978-3-406-53441-6.
• Bathrick, David (1995). The Powers of Speech: The Politics of Culture in the GDR. Lincoln: University of Nebraska Press. ISBN 9780803212589.
• Bergman, Hugo (1969). Memories of Franz Kafka in Franz Kafka Exhibition (Catalogue) (PDF). The Jewish National and University Library. Archived (PDF) from the original on 16 March 2019. Retrieved 19 August 2012 – via The Anarchist Library.
• Bloom, Harold (1994). The Western Canon: The Books and School of the Ages. New York: Riverhead Books, Penguin Group. ISBN 978-1-57322-514-4.
• Bloom, Harold (2002). Genius: A Mosaic of One Hundred Exemplary Creative Minds. New York: Warner Books. ISBN 978-0-446-52717-0.
• Bloom, Harold (2003). Franz Kafka. Bloom's Major Short Story Writers. New York: Chelsea House Publishers. ISBN 978-0-7910-6822-9.
• Bloom, Harold (2010). Harold Bloom (ed.). Franz Kafka. Bloom's Modern Critical Views. Infobase Publishing. p. 8.
• Bloom, Harold (Spring 2011). "Franz Kafka's Zionism". Midstream. 57 (2).-left
• Bossy, Michel-André-left (2001). Artists, Writers, and Musicians: An Encyclopedia of People Who Changed the World. Westport, Connecticut: Oryx Press. ISBN 978-1-57356-154-9.
• Boyd, Ian R. (2004). Dogmatics Among the Ruins: German Expressionism and the Enlightenment. Bern: Peter Lang AG. ISBN 978-3-03910-147-4.
• Brod, Max (1960). Franz Kafka: A Biography. New York: Schocken Books. ISBN 978-0-8052-0047-8.
• Brod, Max (1966). Über Franz Kafka (in German). Hamburg: S. Fischer Verlag.
• Bruce, Iris (2007). Kafka and Cultural Zionism – Dates in Palestine. Madison, Wisconsin: University of Wisconsin Press. ISBN 978-0-299-22190-4.
• Classe, Olive (2000). Encyclopedia of Literary Translation into English, Vol. 1. Chicago: Fitzroy Dearborn Publishers. ISBN 978-1-884964-36-7.
• Contijoch, Francesc Miralles (2000). Franz Kafka (in Spanish). Barcelona: Oceano Grupo Editorial, S.A. ISBN 978-84-494-1811-2.
• Corngold, Stanley (1972). Introduction to The Metamorphosis. New York: Bantam Classics. ISBN 978-0-553-21369-0.
• Corngold, Stanley (1973). The Commentator's Despair. Port Washington, New York: Kennikat Press. ISBN 978-0-8046-9017-1.
• Corngold, Stanley (2004). Lambent Traces: Franz Kafka. Princeton, New Jersey: Princeton University Press. ISBN 978-0-691-11816-1.
• Corngold, Stanley (2009). Franz Kafka: The Office Writings. Princeton, New Jersey: Princeton University Press. ISBN 978-0-691-12680-7. Review
• Diamant, Kathi (2003). Kafka's Last Love: The Mystery of Dora Diamant. New York: Basic Books. ISBN 978-0-465-01551-1.
• Elsaesser, Thomas (2004). The Last Great American Picture Show. Amsterdam: Amsterdam University Press. ISBN 978-90-5356-493-6.
• Furst, Lillian R. (1992). Through the Lens of the Reader: Explorations of European Narrative. SUNY Press. ISBN 978-0-7914-0808-7. Archived from the original on 4 December 2020. Retrieved 16 November 2015.
• Gale Research (1979). Twentieth-Century Literary Criticism: Excerpts from Criticism of the Works of Novelists, Poets, Playwrights, Short Story Writers, & Other Creative Writers Who Died Between 1900 & 1999. Farmington Hills, Michigan: Gale Cengage Learning. ISBN 978-0-8103-0176-4.
• Gilman, Sander (1995). Franz Kafka, the Jewish Patient. New York: Routledge. ISBN 978-0-415-91391-1.
• Gilman, Sander (2005). Franz Kafka. London: Reaktion Books. ISBN 978-1-881872-64-1.
• Gray, Richard T. (2005). A Franz Kafka Encyclopedia. Westport, Connecticut: Greenwood Press. ISBN 978-0-313-30375-3.
• Gray, Ronald (1973). Franz Kafka. Cambridge: Cambridge University Press. ISBN 978-0-521-20007-3.
• Hamalian, Leo (1974). Franz Kafka: A Collection of Criticism. New York: McGraw-Hill. ISBN 978-0-07-025702-3.
• Hawes, James (2008). Why You Should Read Kafka Before You Waste Your Life. New York: St. Martin's Press. ISBN 978-0-312-37651-2.
• Janouch, Gustav (1971). Conversations with Kafka (2 ed.). New York: New Directions Books. p. 17. ISBN 978-0-8112-0071-4. Retrieved 16 November 2015.
• Kafka, Franz (1948). The Penal Colony: Stories and Short Pieces (1987 ed.). New York: Schocken Books. ISBN 978-0-8052-3198-4.
• Kafka, Franz (1954). Dearest Father: Stories and Other Writings. New York: Schocken Books.
• Kafka, Franz (1988). The Castle. New York: Schocken Books. ISBN 978-0-8052-0872-6.
• Kafka, Franz (1996). The Metamorphosis and Other Stories. New York: Barnes & Noble. ISBN 978-1-56619-969-8.
• Kafka, Franz (1998). The Trial. New York: Schocken Books. ISBN 978-0-8052-0999-0.
• Kafka, Franz (2009). The Trial. Oxford: Oxford University Press. ISBN 978-0-19-923829-3.
• Kafka, Franz (1988). Brod, Max (ed.). The Diaries: 1910–1923. New York: Schocken Books. ISBN 978-0-8052-0906-8.
• Kahn, Lothar; Hook, Donald D. (1993). Between Two Worlds: A Cultural History of German-Jewish Writers. Ames, Iowa: Iowa State University Press. ISBN 978-0-8138-1233-5.
• Karl, Frederick R. (1991). Franz Kafka: Representative Man. Boston: Ticknor & Fields. ISBN 978-0-395-56143-0.
• Koelb, Clayton (2010). Kafka: A Guide for the Perplexed. Chippenham, Wiltshire: Continuum International Publishing Group. ISBN 978-0-8264-9579-2.
• Krolop, Kurt (1994). Kafka und Prag (in German). Prague: Goethe-Institut. ISBN 978-3-11-014062-0.
• Lachkar, Joan (1992). The Narcissistic/Borderline Couple. Philadelphia: Brunner/Mazel. ISBN 978-0-87630-634-5.
• Miller, Alice (1984). Thou Shalt Not Be Aware: Society's Betrayal of the Child. New York: Farrar, Straus, Giroux. ISBN 978-0-9567982-1-3.
• Murray, Nicholas (2004). Kafka. New Haven, Connecticut: Yale University Press. ISBN 978-0-300-10631-2.
• Newmark, Peter (1991). About Translation. Wiltshire, England: Cromwell Press. ISBN 978-1-85359-117-4.
• Northey, Anthony (1997). Mišpoche Franze Kafky (in Czech). Prague: Nakladatelství Primus. ISBN 978-80-85625-45-5.
• O'Neill, Patrick M. (2004). Great World Writers: Twentieth Century. Tarrytown, New York: Marshal Cavendish. ISBN 978-0-7614-7477-7.
• Palmer, R. Barton (2004). Joel and Ethan Coen. Urbana, Illinois: University of Illinois Press. ISBN 978-0-252-07185-0.
• Pawel, Ernst (1985). The Nightmare of Reason: A Life of Franz Kafka. New York: Vintage Books. ISBN 978-0-374-52335-0.
• Preece, Julian (2001). The Cambridge Companion to Kafka. Cambridge: Cambridge University Press. ISBN 978-0-521-66391-5.
• Rothkirchen, Livia (2005). The Jews of Bohemia and Moravia: Facing the Holocaust. Lincoln, Nebraska: University of Nebraska Press. ISBN 978-0-8032-3952-4.
• Silverman, Al, ed. (1986). The Book of the Month: Sixty Years of Books in American Life. Boston: Little, Brown. ISBN 978-0-316-10119-6.
• Singer, Isaac Bashevis (1970). A Friend of Kafka, and Other Stories. New York: Farrar, Straus and Giroux. ISBN 978-0-374-15880-4.
• Sokel, Walter H. (2001). The Myth of Power and the Self: Essays on Franz Kafka. Detroit: Wayne State University Press. ISBN 978-0-8143-2608-4.
• Spector, Scott (2000). Prague Territories: National Conflict and Cultural Innovation in Franz Kafka's Fin de Siècle. Berkeley: University of California Press. ISBN 978-0-520-23692-9.
• Stach, Reiner (2005). Kafka: The Decisive Years. Translated by Shelley Frisch. New York: Harcourt. ISBN 978-0-15-100752-3 – via Internet Archive.
• Sussman, Henry (1979). Franz Kafka: Geometrician of Metaphor. Madison, Wisconsin: Coda Press. ISBN 978-0-930956-02-8.
• Wagenbach, Klaus (2019) . Kafka's Prague (paperback). Armchair Traveller. Translated by Ewald Osers with Peter Lewis. London: Haus Publishing. ISBN 9781909961654. Publisher's product page.
• Ziolkowski, Theodore (2003). The Mirror of Justice: Literary Reflections of Legal Crisis. Princeton, New Jersey: Princeton University Press. ISBN 978-0-691-11470-5.

Journals

• Adams, Jeffrey (Summer 2002). "Orson Welles's The Trial: Film Noir and the Kafkaesque". College Literature, Literature and the Visual Arts. 29 (3). West Chester, Pennsylvania: 140–157. JSTOR 25112662. Archived from the original on 6 August 2020. Retrieved 13 November 2021. PDF Version Archived 9 February 2020 at the Wayback Machine
• Aizenberg, Edna (July–December 1986). "Kafkaesque Strategy and Anti-Peronist Ideology Martinez Estrada's Stories as Socially Symbolic Acts". Latin American Literary Review. 14 (28). Chicago: 11–19. JSTOR 20119426.
• Banakar, Reza (Fall 2010). "In Search of Heimat: A Note on Franz Kafka's Concept of Law". Law and Literature. 22 (2). Berkeley, California. doi:10.2139/ssrn.1574870. SSRN 1574870.
• Butler, Judith (3 March 2011). "Who Owns Kafka". London Review of Books. 33 (5). London. Archived from the original on 3 December 2019. Retrieved 1 August 2012.
• Corngold, Stanley (Fall 2011). "Kafkas Spätstil/Kafka's Late Style: Introduction". Monatshefte. 103 (3). Madison, Wisconsin: 339–343. doi:10.1353/mon.2011.0069. S2CID 219195741.
• Dembo, Arinn (June 1996). "Twilight of the Cockroach: Bad Mojo Evokes Kafka So Well It'll Turn Your Stomach" (PDF). Computer Gaming World. No. 143. New York. Archived (PDF) from the original on 2 October 2014. Retrieved 9 February 2020.
• Dodd, W. J. (1994). "Kafka and Dostoyevsky: The Shaping of Influence". Comparative Literature Studies. 31 (2). State College, Pennsylvania: 165–168. JSTOR 40246931.
• Durantaye, Leland de la (2007). "Kafka's Reality and Nabokov's Fantasy: On Dwarves, Saints, Beetles, Symbolism and Genius" (PDF). Comparative Literature. 59 (4): 315. doi:10.1215/-59-4-315. S2CID 7056408. Archived from the original (PDF) on 25 May 2010.
• Fichter, Manfred M. (May 1987). "The Anorexia Nervosa of Franz Kafka". International Journal of Eating Disorders. 6 (3). Washington, D.C.: 367. doi:10.1002/1098-108X(198705)6:3<367::AID-EAT2260060306>3.0.CO;2-W.
• Fichter, Manfred M. (July 1988). "Franz Kafka's anorexia nervosa". Fortschritte der Neurologie · Psychiatrie (in German). 56 (7). Munich: 231–238. doi:10.1055/s-2007-1001787. PMID 3061914. S2CID 144116337.
• Fort, Jeff (March 2006). "The Man Who Could Not Disappear". The Believer. Archived from the original on 7 April 2020. Retrieved 7 August 2012.
• Glen, Patrick J. (2007). "The Deconstruction and Reification of Law in Franz Kafka's Before the Law and The Trial" (PDF). Southern California Interdisciplinary Law Journal. 17 (23). Los Angeles. Archived from the original (PDF) on 16 September 2012. Retrieved 3 August 2012.
• Glen, Patrick J. (2011). "Franz Kafka, Lawrence Joseph, and the Possibilities of Jurisprudential Literature" (PDF). Southern California Interdisciplinary Law Journal. 21 (47). Los Angeles. Archived from the original on 12 November 2019. Retrieved 21 September 2012.
• Horton, Scott (19 August 2008). "In Pursuit of Kafka's Porn Cache: Six Questions for James Hawes". Harper's Magazine. Archived from the original on 19 October 2012. Retrieved 3 August 2012.
• Hughes, Kenneth (Summer 1986). "Franz Kafka: An Anthology of Marxist Criticism". Monatshefte. 78 (2). Madison, Wisconsin: 247–250. JSTOR 30159253.
• Kavanagh, Thomas M. (Spring 1972). "Kafka's The Trial: The Semiotics of the Absurd". Novel: A Forum on Fiction. 5 (3). Durham, North Carolina: 242–253. doi:10.2307/1345282. JSTOR 1345282.
• Kempf, Franz R. (Summer 2005). "Franz Kafkas Sprachen: '... in einem Stockwerk des innern babylonischen Turmes. ..'". Shofar: An Interdisciplinary Journal of Jewish Studies. 23 (4). West Lafayette, Indiana: 159. doi:10.1353/sho.2005.0155. S2CID 170581064.
• Keren, Michael (1993). "The 'Prague Circle' and the Challenge of Nationalism". History of European Ideas. 16 (1–3). Oxford: 3. doi:10.1016/S0191-6599(05)80096-8.
• Kundera, Milan (Winter 1988). "Kafka's World". The Wilson Quarterly. 12 (5). Washington, D.C.: 88–99. JSTOR 40257735.
• Lawson, Richard H. (May 1960). "Ungeheueres Ungeziefer in Kafka's "Die Verwandlung"". The German Quarterly. 33 (3). Cherry Hill, New Jersey: 216–219. doi:10.2307/402242. JSTOR 402242.
• Leiter, Louis H. (1958). "A Problem in Analysis: Franz Kafka's 'A Country Doctor'". The Journal of Aesthetics and Art Criticism. 16 (3). Philadelphia: 337–347. doi:10.2307/427381. JSTOR 427381.
• Luke, F. D. (April 1951). "Kafka's 'Die Verwandlung'". Modern Language Review. 46 (2). Cambridge: 232–245. doi:10.2307/3718565. JSTOR 3718565.
• McElroy, Bernard (Summer 1985). "The Art of Projective Thinking: Franz Kafka and the Paranoid Vision". Modern Fiction Studies. 31 (2). Cambridge: 217. doi:10.1353/mfs.0.0042. S2CID 170564041.
• Panichas, George A. (2004). "Kafka's Afflicted Vision: A Literary-Theological Critique" (PDF). Humanitas. 17 (1–2). Bowie, Maryland: 83–107. doi:10.5840/humanitas2004171/26. S2CID 160098208. Archived (PDF) from the original on 16 February 2021. Retrieved 13 November 2021.
• Pérez-Álvarez, Marino (2003). "The Schizoid Personality of Our Time" (PDF). International Journal of Psychology and Psychological Therapy. 3 (2). Almería, Spain. Archived (PDF) from the original on 23 September 2020. Retrieved 9 February 2020.
• Rhine, Marjorie E. (Winter 1989). "Untangling Kafka's Knotty Texts: The Translator's Prerogative?". Monatshefte. 81 (4). Madison, Wisconsin: 447–458. JSTOR 30166262.
• Sayer, Derek (1996). "The Language of Nationality and the Nationality of Language: Prague 1780–1920". Past & Present (153). Oxford: 164. doi:10.1093/past/153.1.164. OCLC 394557. Archived from the original on 7 April 2020. Retrieved 9 February 2020.
• Sandbank, Shimon (1992). "After Kafka: The Influence of Kafka's Fiction". Comparative Literature Studies. 29 (4). Oxford: 441–443. JSTOR 40246852.
• Sokel, Walter H. (April–May 1956). "Kafka's 'Metamorphosis': Rebellion and Punishment" (PDF). Monatshefte. 48 (4). Madison, Wisconsin: 203–214. JSTOR 30166165. Archived from the original (PDF) on 9 February 2020.
• Steinhauer, Harry (Autumn 1983). "Franz Kafka: A World Built on a Lie". The Antioch Review. 41 (4). Yellow Springs, Ohio: 390–408. doi:10.2307/4611280. JSTOR 4611280.
• Strelka, Joseph P. (Winter 1984). "Kafkaesque Elements in Kafka's Novels and in Contemporary Narrative Prose". Comparative Literature Studies. 21 (4). Pennsylvania State College: 434–444. JSTOR 40246504.
• Updike, John (24 January 2005). "Subconscious Tunnels: Haruki Murakami's Dreamlike New Novel". The New Yorker. Archived from the original on 19 August 2014. Retrieved 22 September 2012.

Newspapers

• Mareş, Ionuţ (23 August 2014). "Mircea Cărtărescu: Franz Kafka este sfântul literaturii" [Mircea Cărtărescu: Franz Kafka is a saint of literature] (in Romanian). Retrieved 10 January 2022.
• Adler, Jeremy (13 October 1995). "Stepping into Kafka's Head". The New York Times Literary Supplement. Archived from the original on 21 February 2009. Retrieved 4 August 2012.
• Akalaitis, JoAnne (10 June 2001). "Theatre; Adapting the Horrors of a Kafka Story to Suit Glass's Music". The New York Times. Archived from the original on 23 August 2019. Retrieved 26 June 2024.
• Apel, Friedman (28 August 2012). "Der Weg in die Ewigkeit führt abwärts / Roland Reuß kramt in Kafkas Zürauer Zetteln". Frankfurter Allgemeine Zeitung (in German).
• Banville, John (14 January 2011). "Franz Kafka's Other Trial / An Allegory of the Fallen Man's Predicament, or an Expression of Guilt at a Tormented Love Affair?". The Guardian. London. Archived from the original on 4 July 2019. Retrieved 1 August 2012.
• Buehrer, Jack (9 March 2011). "Battle for Kafka Legacy Drags On". The Prague Post. Archived from the original on 15 June 2011. Retrieved 29 August 2012.
• Burrows, William (22 December 2011). "Winter Read: The Castle by Franz Kafka". The Guardian. London. Archived from the original on 19 August 2019. Retrieved 27 August 2012.
• Connolly, Kate (14 August 2008). "Porn Claims Outrage German Kafka Scholars". The Guardian. London. Archived from the original on 4 July 2019. Retrieved 3 August 2012.
• Glazer, Hilo (18 February 2017). "A Final Note From Kafka, a Trove of Manuscripts, and a Trial That Left an Israeli Heiress 'Destitute'". Haaretz. Archived from the original on 10 October 2021. Retrieved 10 October 2021.
• Herbort, Heinz Josef (11 September 1992). "Franz Kafkas Roman "Das Schloß" als Musiktheater: Aribert Reimanns sechste Oper in Berlin uraufgeführt: Rundtanz um den Tabernakel der Bürokratie". Die Zeit (in German). p. 23. Archived from the original on 30 July 2019. Retrieved 4 August 2017.
• Jeal, Erica (18 March 2014). "The Commission/Café Kafka, Royal Opera/Opera North/Aldeburgh Music – Review". The Guardian. London. Archived from the original on 4 July 2019. Retrieved 20 April 2015.
• Kakutani, Michiko (2 April 1988). "Books of the Times; Kafka's Kafkaesque Love Letters". The New York Times. Archived from the original on 23 August 2019. Retrieved 8 August 2012.
• Kenley-Letts, Ruth (1993). "Franz Kafka's "It's a Wonderful Life" (1993)". Movies & TV Dept. The New York Times. Archived from the original on 29 September 2012. Retrieved 4 August 2012.
• Kirsch, Adam (2 January 2009). "America, 'Amerika'". The New York Times. Archived from the original on 3 March 2020. Retrieved 25 September 2012.
• Lerman, Antony (22 July 2010). "The Kafka legacy: Who Owns Jewish Heritage?". The Guardian. London. Archived from the original on 4 July 2019. Retrieved 29 August 2012.
• McCarthy, Rory (24 October 2009). "Israel's National Library Adds a Final Twist to Franz Kafka's Trial". The Guardian. London. Archived from the original on 4 July 2019. Retrieved 3 August 2012.
• McLellan, Dennis (15 January 2009). "Patrick McGoohan Dies at 80; TV's 'Secret Agent' and 'Prisoner'". Los Angeles Times. Archived from the original on 18 December 2013. Retrieved 17 June 2013.
• Metcalfe, Anna (5 December 2009). "Small Talk: José Saramago". Financial Times. Archived from the original on 31 October 2011. Retrieved 1 August 2012.
• O'Connor, John J. (4 June 1987). "McGoohan a Spy on 31". The New York Times. Archived from the original on 4 July 2019. Retrieved 16 June 2013.
• Rizzulo, Rachel (23 September 2013). "The Royal Ballet's Production of The Metamorphosis with Edward Watson in New York". bachtrack. Archived from the original on 24 April 2015. Retrieved 23 January 2014.
• Rudoren, Jodi; Noveck, Myra (14 October 2012). "Woman Must Relinquish Kafka Papers, Judge Says". The New York Times. Archived from the original on 4 July 2019. Retrieved 15 October 2012.
• Tran, Mark (19 July 2010). "Lawyers open cache of unpublished Kafka manuscripts". The Guardian. London. Archived from the original on 21 February 2020. Retrieved 26 June 2024.

Online sources

• Banville, John (2013). "Kafka's Repressed Homosexuality". Connell Guides. Retrieved 3 May 2024.
• Benjamin, Ross (27 April 2024). "Sex, insomnia and swimming trunks: an exclusive extract from Kafka's uncensored diaries". Y! Entertainment. Retrieved 3 May 2024.
• Bury, Liz (3 July 2013). "Franz Kafka's Metamorphosis Becomes Google Doodle". The Guardian. London. Archived from the original on 4 July 2019. Retrieved 4 July 2013.
• Coker, Rachel (4 January 2012). "Kafka Expert Links Teaching, Research". Binghamton: State University of New York. Archived from the original on 4 July 2019. Retrieved 30 August 2012.
• Ernst, Nathan (2010). "The Judgement". The Modernism Lab. Yale University. Archived from the original on 21 May 2013. Retrieved 9 October 2012.
• Ghosh, Pothik (13 March 2009). "A Note on Kafka and the Question of Revolutionary Subjectivity". Hindu College – Delhi University. Archived from the original on 24 October 2010. Retrieved 6 August 2012 – via Radical Notes.
• Horstkotte, Silke (2009). "Kunst und Künstlerverständnis in Kafkas 'Josefine, die Sängering oder Das Volk der Mäuse'" (in German). University of Leipzig. Archived from the original on 22 November 2017. Retrieved 31 August 2012.
• Kafka, Franz (2012). "Franz Kafka Letter to his Father". Kafka-Franz. Archived from the original on 13 July 2011. Retrieved 3 August 2012.
• Keynes, Laura (August 2005). "Kafka's Dick". Times Literary Supplement. Archived from the original on 19 February 2012. Retrieved 4 August 2012.
• Köhler, Manfred (2012). "Franz Kafka und Felice Bauer" (in German). Protemion. Archived from the original on 3 March 2016. Retrieved 6 August 2012.
• Kreis, Steven (28 February 2006). "Franz Kafka, 1883–1924". History Guide. Archived from the original on 25 September 2017. Retrieved 5 August 2012.
• Milner, Catherine (27 August 2005). "If Kafka Made the Dinner..." The Telegraph. Archived from the original on 5 November 2014. Retrieved 25 August 2012.
• Miron, Dan (24 November 2008). "Sadness in Palestine". Haaretz. Archived from the original on 20 December 2008. Retrieved 1 August 2012.
• Ozorio, Anne (18 November 2010). "György Kurtág – Kafka Fragments, London". Opera Today. Archived from the original on 24 June 2017. Retrieved 4 August 2012.
• Prinsky, Norman (2002). "Humn. 2002: World Humanities II. Notes and Questions on Franz Kafka's "The Metamorphosis" / "The Transformation"". Augusta State University. Archived from the original on 11 October 2012. Retrieved 2 September 2012.
• Rahn, Josh (2011). "Existentialism". Online Literature. Archived from the original on 29 September 2017. Retrieved 5 August 2012.
• Rastalsky, Hartmut M. (1997). "The Referential Kafka". University of Michigan. Archived from the original on 22 June 2012. Retrieved 22 August 2012.
• Samuelson, Arthur. "A Kafka for the 21st Century". Jewish Heritage. Archived from the original on 5 May 2012. Retrieved 2 August 2012.
• Seubert, Harald. "Bauer, Felice" (in German). Kulturportal-west-ost.eu. Archived from the original on 15 July 2014. Retrieved 2 August 2012. Knochiges leeres Gesicht, das seine Leere offen trug. Freier Hals. Überworfene Bluse ... Fast zerbrochene Nase. Blondes, etwas steifes, reizloses Haar, starkes Kinn.
• Stone, Peter H. (1981). "Gabriel Garcia Marquez, The Art of Fiction No. 69". The Paris Review. Vol. Winter 1981, no. 82. Archived from the original on 10 May 2014. Retrieved 4 August 2012.
• B.S. (4 April 1930). "Allegory". The Guardian (review of The Castle translated Willa and Edwin Muir). London. Archived from the original on 4 July 2019. Retrieved 22 August 2012.
• "Disappearing Act". American Repertory Theatre. 2005. Archived from the original on 1 May 2008. Retrieved 3 August 2012.
• "Drama on BBC Radio 3, Kafka the Musical". BBC. 2012. Archived from the original on 14 April 2016. Retrieved 1 August 2012.
• "Franz Kafka" (in Czech). The Research Library of South Bohemia in České Budějovice. 2011. Archived from the original on 19 September 2017. Retrieved 3 October 2012.
• "Franz Kafka – Articles". European Graduate School. 2012. Archived from the original on 27 October 2012. Retrieved 22 August 2012.
• "Franz Kafka – Biography". European Graduate School. 2012. Archived from the original on 15 September 2012. Retrieved 7 August 2012.
• "Ein Landarzt Rundfunkoper auf die Erzählung von Franz Kafka" (in German). Hans Werner Henze Stiftung. Archived from the original on 7 February 2019. Retrieved 6 February 2019.
• "Franz Kafka and Libertarian Socialism". Libertarian-Socialism. 14 December 2008. Archived from the original on 12 October 2017. Retrieved 3 August 2012.
• "Franz Kafka Museum". Franz Kafka Museum. 2005. Archived from the original on 19 November 2018. Retrieved 7 August 2012.
• "The Franz Kafka Prize". Franz Kafka Society. 2011. Archived from the original on 13 January 2017. Retrieved 1 August 2012.
• "Franz Kafka Writing". Kafka-Franz. 2011. Archived from the original on 20 December 2010. Retrieved 1 August 2012.
• "Franz Kafka: Writing of the System's Despair and Alienation". Socialist Worker (Britain). Socialist Worker Online. 17 March 2007. Archived from the original on 3 October 2015. Retrieved 6 August 2012.
• "Faksimiles der Kafka-Drucke zu Lebzeiten (Zeitschriften und Zeitungen)" (in German). ITK Institut für Textkritik. 2008. Archived from the original on 24 September 2017. Retrieved 28 August 2012.
• "Grete Bloch" (in German). S. Fischer Verlag. Archived from the original on 20 September 2020. Retrieved 24 August 2012.
• "Kafka". New York State Writer's Institute. State University of New York. Archived from the original on 23 January 2020. Retrieved 4 August 2012.
• "Lothar Hempel". Atlegerhardsen. 2002. Archived from the original on 24 September 2005. Retrieved 2 August 2012.
• "Musils 'Mann ohne Eigenschaften' ist 'wichtigster Roman des Jahrhunderts'" (in German). LiteraturHaus. 1999. Archived from the original on 7 June 2001. Retrieved 22 August 2012.
• "Orson Welles on The Trial (BBC interview)". Welles Net. 1962. Archived from the original on 17 November 2017. Retrieved 22 September 2012.
• "Oxford Kafka Research Centre". University of Oxford. 2012. Archived from the original on 18 October 2017. Retrieved 8 October 2012.
• "Poul Ruders Biography – 06/2005". Poul Ruders. June 2005. Archived from the original on 4 February 2012. Retrieved 4 August 2012.
• "Solving a Literary Mystery". Kafka Project, San Diego State University. 2012. Archived from the original on 19 March 2018. Retrieved 25 August 2012.
• "Sound Interpretations – Dedication To Franz Kafka". HAZE Netlabel. 2012. Archived from the original on 9 October 2012. Retrieved 4 October 2012.
• "Who Is Citizen? Guide to Czech Citizenship in 1918–1949". Embassy of the Czech Republic in Tel Aviv. 25 October 2012. Archived from the original on 25 August 2017. Retrieved 17 June 2013.
• "Doctor of Law 18 June 1906 – Registry books of the German University in Prague, inventory No. 3, Registry book of doctors of the German Charles-Ferdinand University in Prague/German University in Prague (1904–1924), page 42". Charles University Prague. Retrieved 28 May 2022.
• "Exam 22 March 1906 – Faculty of Law of the German University in Prague, Books of examination protocols of State Examination Commissions, inventory No. 75, State Scientific State Examination Commission at the German Charles-Ferdinand University in Prague (1905-1906), page 8595". Charles University Prague. Retrieved 28 May 2022.
• "Exam 23 (Nov?) 1905 – Faculty of Law of the German University in Prague, Books of examination protocols of State Examination Commissions, inventory No. 44, Judicial State Examination Commission at the German Charles-Ferdinand University in Prague (1905-1907), page 10639". Charles University Prague. Retrieved 28 May 2022.
• "Exam 18 July 1903 – Faculty of Law of the German University in Prague, Books of examination protocols of State Examination Commissions, inventory No. 10, Juridical Historical State Examination Commission at the German Charles-Ferdinand University in Prague (1902-1903), page 12789". Charles University Prague. Retrieved 28 May 2022.

Further reading

• Anderson, Mark, ed. (1989). Reading Kafka: Prague, Politics, and the Fin de Siècle. New York: Schocken Books.
• Baruffi, Alessandro (2016). The Tales of Franz Kafka: English Translation with Original Text in German. Philadelphia, Pennsylvania: LiteraryJoint Press. ISBN 978-1-329-82109-5.
• Begley, Louis (2008). The Tremendous World I Have Inside My Head, Franz Kafka: A Biographical Essay. New York: Atlas & Co. ISBN 978-1-934633-06-9.
• Calasso, Roberto (2005). K. Translated by Geoffrey Brock. 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; Wagner, Benno (2011). Franz Kafka: The Ghosts in the Machine. Evanston, Illinois: Northwestern University Press. ISBN 978-0-8101-2769-2.
• 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 wydarzeń w KL Auschwitz (in Polish). Oświęcim: Wydawn.
• Deleuze, Gilles; Guattari, Félix (1986). Kafka: Toward a Minor Literature. Theory and History of Literature. Vol. 30. Minneapolis: University of Minnesota Press. ISBN 978-0-8166-1515-5.
• Duttlinger, Carolin (2007). Kafka and Photography. Oxford: Oxford University Press. ISBN 978-0-19-921945-2.
• Duttlinger, Carolin (2013). The Cambridge Introduction to Franz Kafka. Cambridge: Cambridge University Press. ISBN 978-0-521-75771-3.
• Frenkel, Sheera (30 May 2012). "Kafka's Final Absurdist Tale Plays Out in Tel Aviv". NPR. Archived from the original on 18 April 2018. Retrieved 28 September 2012.
• Gray, Ronald (1962). Kafka: A Collection of Critical Essays. Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 978-1-199-77830-7.
• Gilman, Sander L. (1995). Franz Kafka: The Jewish Patient. New York: Routledge. ISBN 041591177X.
• Gilman, Sander L. (2005). Franz Kafka. London: Reaktion Books Ltd. ISBN 1 86189 254 3.
• Greenberg, Martin (1968). The Terror of Art: Kafka and Modern Literature. New York: Basic Books. ISBN 978-0-465-08415-9.
• Glatzer, Nahum Norbert (1986). The Loves of Franz Kafka. New York: Schocken Books. ISBN 978-0-8052-4001-6.
• Glasauer, Willi (1986). Exposición Kafka & CIA.: Hitos y Mitos de la Cultura Dibujos (in Spanish). Barcelona: Círculo de Lectores.
• Glasauer, Willi (1986). Kafka Gesamtwerk. Barcelona: Círculo de Lectores.
• Montalbán, Manuel Vázquez; Glasauer, Willi (1988). Escenas de la Literatura Universal y Retratos de Grandes Autores (in Spanish). Barcelona: Círculo de Lectores.
• Heller, Paul (1989). Franz Kafka: Wissenschaft und Wissenschaftskritik (in German). Tübingen: Stauffenburg. ISBN 978-3-923721-40-5.
• Kopić, Mario (1995). "Franz Kafka and Nationalism". Erewhon: An International Quarterly. 2 (2). Amsterdam.
• Hayman, Ronald (1981). K: A Biography of Kafka. London: Phoenix Press. ISBN 978-1-84212-415-4.
• Lundberg, Phillip (2011). Essential Kafka: Rendezvous with Otherness. Authorhouse. ISBN 978-1-4389-9021-7.
• Mairowitz, David Zane, and Crumb, Robert (1993). Kafka for Beginners. Cheltenham, England: Icon Publishing Ltd; also published as Introducing Kafka (1994). Northampton, Massachusetts: Kitchen Sink Press.
• Major, Michael (2011). Kafka ... For Our Time. San Diego, California: 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 978-0-8122-4371-0.
• Thiher, Allen (1990). Franz Kafka: A Study of the Short Fiction. Twayne's Studies in Short Fiction. Vol. 12. Boston: Twayne Publishers. ISBN 0805783237.
• Thiher, Allen (2018). Understanding Franz Kafka. Columbia, South Carolins: University of South Carolina Press. ISBN 9781611178289.
• Robertson, Ritchie (2004). Kafka: A Very Short Introduction. Oxford: Oxford University Press; illustrated edition titled Kafka: A Brief Insight (New York: Sterling Publishing Co., Inc., 2010).
• Robertson, Ritchie, ed. (2024). Kafka: Making of an Icon. Oxford, UK: Bodleian Library Publishing.
• Wagenbach, Klaus (1984). Franz Kafka: Pictures of a Life. New York: Pantheon Books.

Books on Kafka and Prague

• Eisner, Pavel (1950). Franz Kafka and Prague. New York: Golden Griffin Books.
• Frynta, Emanuel (1960). Kafka and Prague. London: Batchworth Press Limited.
• Hatefutsoth, Beth (1980). Kafka–Prague. Tel Aviv: The Nahum Goldman Museum of the Jewish Diaspora.
• Kállay, Karol (2005). Franz Kafka and Prague. Bratislava: Slovart Publishing Ltd. (Chicago, Illinois: Independent Publishers Group).
• Salfellner, Harald (1998). Franz Kafka and Prague: Third greatly revised and enlarged edition. Prague: Vitalis.
• Salfellner, Harald (2011). Franz Kafka and Prague: A Literary Guide. Prague: Vitalis.
• Wagenbach, Klaus (1996). Kafka's Prague: A Travel Reader. Translated by Shaun Whiteside. Woodstock, New York: The Overlook Press. ISBN 9780879516444 – via Internet Archive. See also Wagenbach (2019), listed in "Sources".
• Železná, Marta, ed. (1998). Kafka and Prague. Third revised edition. Prague: Franz Kafka Publishers.

Journals

• Danta, Chris (April 2008). "Sarah's Laughter: Kafka's Abraham". Modernism/modernity. 15 (2). Baltimore, Maryland: 343–359. doi:10.1353/mod.2008.0048. S2CID 170492502.
• Jirsa, Tomáš (2015). "Reading Kafka Visually: Gothic Ornament and the Motion of Writing in Kafka's Der Process" (PDF). Central Europe. 13 (1–2). London: 36–50. doi:10.1080/14790963.2015.1107322. S2CID 159892429. Archived from the original (PDF) on 9 February 2020.
• Kopić, Mario (2004). "Kafka and Nationalism". Odjek. Archived from the original on 12 October 2013. Retrieved 10 September 2013.
• McGee, Kyle. "Fear and Trembling in the Penal Colony". Kafka Project. Archived from the original on 28 June 2010. Retrieved 26 April 2013.
• Ryan, Michael P. (1999). "Samsa and Samsara: Suffering, Death and Rebirth in 'The Metamorphosis'". The German Quarterly. 72 (2). Durham, North Carolina: 133–152. doi:10.2307/408369. JSTOR 408369. S2CID 59481029.

External links

• Literature by and about Franz Kafka in the German National Library catalogue
• Works by Franz Kafka at Project Gutenberg
• Franz Kafka at the Internet Speculative Fiction Database
• Works by or about Franz Kafka at the Internet Archive
• Franz Kafka at IMDb 
• Works by Franz Kafka at LibriVox (public domain audiobooks)
• Oxford Kafka Research Centre – information on ongoing international Kafka research
• Translated excerpts from Kafka's Diaries 1910–1923
• The Album of Franz Kafka, Franz Kafka receives a tribute in this album of "recomposed photographs".
• Journeys of Franz Kafka Photographs of places where Kafka lived and worked
• Franz Kafka: Manuscripts, drawings and personal letters BBC
• Společnost Franze Kafky a nakladatelství Franze Kafky Archived 30 June 2017 at the Wayback Machine Franz Kafka Society and Publishing House in Prague
• What makes something "Kafkaesque"? A Ted talk on Kafka, his works and his legacy, by Noah Tavlin
• Franz Kafka's papers and the Bodleian Libraries
• Kafka: Making of an Icon, Exhibition at the Bodleian Libraries, Oxford from 30 May - 27 October 2024
• "New Centenary Exhibition Explores Kafka’s Life, Work and Influence", 1 April 2024, finebooksmagazine.com. "Kafka: Making of an Icon ... After the exhibition’s run at the Weston Library, Bodleian Libraries, Oxford, from May 30 until October 27, it will move to the Morgan Library in New York running November 22 through April 13, 2025". Review: Hutchinson, Ben, "The author as adjective", The Times Literary Supplement, 13 June 2024. Review: Williams, James, "The endless mystique of Franz Kafka", Apollo, July/August 2024
• "Franz Kafka", exhibit at the Morgan Library & Museum in Manhattan from 22 November 2024 through 13 April 2025

Links to related articles

v t e Modernism Movements Acmeism Art Deco Art Nouveau Ashcan School Constructivism Cubism Dada Expressionism Der Blaue Reiter Die Brücke Music Fauvism Functionalism Bauhaus Futurism Imagism Lettrism Neoplasticism De Stijl Orphism Surrealism Symbolism Synchromism Tonalism Literary arts Literature Apollinaire Barnes Beckett Bely Breton Broch Bulgakov Chekhov Conrad Döblin Forster Faulkner Flaubert Ford Gide Hamsun Hašek Hemingway Hesse Joyce Kafka Koestler Lawrence Mann Mansfield Marinetti Musil Dos Passos Platonov Porter Proust Stein Svevo Unamuno Woolf Poetry Akhmatova Aldington Auden Cavafy Cendrars Crane H.D. Desnos Eliot Éluard Elytis George Jacob Lorca Lowell (Amy) Lowell (Robert) Mallarmé Moore Owen Pessoa Pound Rilke Seferis Stevens Thomas Tzara Valéry Williams Yeats Works In Search of Lost Time (1913–1927) The Metamorphosis (1915) Ulysses (1922) The Waste Land (1922) The Magic Mountain (1924) Mrs Dalloway (1925) The Sun Also Rises (1926) The Master and Margarita (1928–1940) The Sound and the Fury (1929) Visual arts Painting Albers Arp Balthus Bellows Boccioni Bonnard Brâncuși Braque Calder Cassatt Cézanne Chagall Chirico Claudel Dalí Degas Kooning Delaunay Delaunay Demuth Dix Doesburg Duchamp Dufy Ensor Ernst Gauguin Giacometti Goncharova Gris Grosz Höch Hopper Kahlo Kandinsky Kirchner Klee Kokoschka Léger Magritte Malevich Manet Marc Matisse Metzinger Miró Modigliani Mondrian Monet Moore Munch Nolde O'Keeffe Picabia Picasso Pissarro Ray Redon Renoir Rodin Rousseau Schiele Seurat Signac Sisley Soutine Steichen Stieglitz Toulouse-Lautrec Van Gogh Vuillard Wood Film Akerman Aldrich Antonioni Avery Bergman Bresson Buñuel Carné Cassavetes Chaplin Clair Cocteau Dassin Deren Dovzhenko Dreyer Edwards Eisenstein Epstein Fassbinder Fellini Flaherty Ford Fuller Gance Godard Hitchcock Hubley Jones Keaton Kubrick Kuleshov Kurosawa Lang Losey Lupino Marker Minnelli Murnau Ozu Pabst Pudovkin Ray (Nicholas) Ray (Satyajit) Resnais Renoir Richardson Rossellini Sirk Sjöström Sternberg Tarkovsky Tati Trnka Truffaut Varda Vertov Vigo Welles Wiene Wood Architecture Breuer Bunshaft Gaudí Gropius Guimard Horta Hundertwasser Johnson Kahn Le Corbusier Loos Melnikov Mendelsohn Nervi Neutra Niemeyer Rietveld Saarinen Steiner Sullivan Tatlin Mies Wright Works A Sunday Afternoon on the Island of La Grande Jatte (1886) Mont Sainte-Victoir (1887) The Starry Night (1889) Les Demoiselles d'Avignon (1907) The Dance (1909–1910) Nude Descending a Staircase, No. 2 (1912) Black Square (1915) The Cabinet of Dr. Caligari (1920) Ballet Mécanique (1923) Battleship Potemkin (1925) Metropolis (1927) Un Chien Andalou (1929) Villa Savoye (1931) Fallingwater (1936) Citizen Kane (1941) Meshes of the Afternoon (1943) Performing arts Music Antheil Bartók Berg Berio Boulanger Boulez Copland Debussy Dutilleux Falla Feldman Górecki Hindemith Honegger Ives Janáček Ligeti Lutosławski Milhaud Nono Partch Russolo Satie Schaeffer Schoenberg Scriabin Stockhausen Strauss Stravinsky Szymanowski Varèse Villa-Lobos Webern Weill Theatre Anderson Anouilh Artaud Beckett Brecht Chekhov Ibsen Jarry Kaiser Maeterlinck Mayakovsky O'Casey O'Neill Osborne Pirandello Piscator Strindberg Toller Wedekind Wilder Witkiewicz Dance Balanchine Cunningham Diaghilev Duncan Fokine Fuller Graham Holm Laban Massine Nijinsky Shawn Sokolow St. Denis Tamiris Wiesenthal Wigman Works Don Juan (1888) Ubu Roi (1896) Verklärte Nacht (1899) Pelléas et Mélisande (1902) Salome (1905) The Firebird (1910) Afternoon of a Faun (1912) The Rite of Spring (1913) Fountain (1917) Six Characters in Search of an Author (1921) The Threepenny Opera (1928) Waiting for Godot (1953) Related American modernism Armory Show Avant-garde Ballets Russes Bloomsbury Group Buddhist modernism Classical Hollywood cinema Degenerate art Ecomodernism Experimental film Film noir Fourth dimension in art Fourth dimension in literature Grosvenor School of Modern Art Hanshinkan Modernism High modernism Hippie modernism Impressionism Music Literature Post- Incoherents International Style Late modernism Late modernity List of art movements List of avant-garde artists List of modernist poets Maximalism Modernity Neo-primitivism Neo-romanticism New Hollywood New Objectivity Poetic realism Pulp noir Reactionary modernism Metamodernism Remodernism Second Viennese School Structural film Underground film Vulgar modernism ← Romanticism Postmodernism → Category v t e Existentialism Variants Atheistic Christian Jewish Islamic Nihilist Phenomenological Concepts Abandonment Absurdism Angst Authenticity Bad faith Being in itself Dasein Existence precedes essence Existential crisis Facticity Leap of faith Meaning Nihilism Other Ressentiment Thrownness People Artists Buzzati Camus Cioran Dostoevsky Ellison Fondane Giacometti Ionesco Kafka Mahfouz Marcel Sartre Unamuno Wilson Wright Philosophers Abbagnano Arendt Barth Berdyaev Buber Bultmann Camus Carlyle Cioran Beauvoir Fanon Flusser Fondane Heidegger Husserl James Jaspers Kaufmann Kierkegaard Levinas Marcel May Merleau-Ponty Nietzsche Ortega y Gasset Rosenzweig Sartre Shestov Soloveitchik Tillich Unamuno Wilson Wright Zapffe Related Continental philosophy German idealism Marxist humanism Phenomenology Transcendentalism Western Marxism v t e German-language literature Related articles German language History of Germany History of Austria History of Switzerland History of Liechtenstein Old High German literature Middle High German literature Early New High German literature Sturm und Drang Weimar Classicism Romanticism Literary realism Weimar culture Exilliteratur Austrian literature Swiss literature German studies Related categories Austrian writers German writers Liechtenstein writers Swiss writers in German Category:Translators of William Shakespeare Reformation era literature Medieval Minnesang Courtly romance Der von Kürenberg Dietmar von Aist Reinmar von Hagenau Hartmann von Aue Walther von der Vogelweide Wolfram von Eschenbach Albrecht von Johansdorf Heinrich von Morungen Gottfried von Strassburg Dietrich von Bern Nibelungenlied Early modern Simon Dach Paul Fleming Hans Folz Hans Jakob Christoffel von Grimmelshausen Andreas Gryphius Christian Hoffmann von Hoffmannswaldau Johann Michael Moscherosch Martin Opitz Hans Sachs Angelus Silesius Anthony Ulrich, Duke of Brunswick Georg Wickram 18th century Barthold Heinrich Brockes Christian Gellert Johann Wolfgang von Goethe Johann Christoph Gottsched Johann Christian Günther Friedrich Hölderlin Friedrich Gottlieb Klopstock Jakob Michael Reinhold Lenz Gotthold Ephraim Lessing Novalis (Friedrich von Hardenberg) Jean Paul Friedrich Schiller Johann Gottfried Schnabel Christoph Martin Wieland 19th century Bettina von Arnim Achim von Arnim Clemens Brentano Georg Büchner Adelbert von Chamisso Annette von Droste-Hülshoff Marie von Ebner-Eschenbach Joseph von Eichendorff Theodor Fontane Gustav Freytag Jeremias Gotthelf Franz Grillparzer Jacob Grimm Wilhelm Grimm Gerhart Hauptmann Christian Friedrich Hebbel Johann Peter Hebel Heinrich Heine Georg Herwegh Paul Heyse E. T. A. Hoffmann Friedrich Hölderlin Gottfried Keller Heinrich von Kleist Nikolaus Lenau Karl May Conrad Ferdinand Meyer Eduard Mörike Johann Nestroy Wilhelm Raabe Adalbert Stifter Theodor Storm Ludwig Tieck Ludwig Uhland 20th century May Ayim Ingeborg Bachmann Hermann Bahr Vicki Baum Johannes R. Becher Gottfried Benn Thomas Bernhard Heinrich Böll Thomas Brasch Volker Braun Bertolt Brecht Rolf Dieter Brinkmann Hermann Broch Arnolt Bronnen Hermann Burger Elias Canetti Paul Celan Alfred Döblin Heimito von Doderer Friedrich Dürrenmatt Lion Feuchtwanger Marieluise Fleißer Erich Fried Max Frisch Stefan George Günter Grass Peter Handke Marlen Haushofer Hermann Hesse Georg Heym Wolfgang Hilbig Hugo von Hofmannsthal Ödön von Horváth Ricarda Huch Peter Huchel Ernst Jandl Uwe Johnson Ernst Jünger Franz Kafka Erich Kästner Hermann Kesten Irmgard Keun Sarah Kirsch Egon Erwin Kisch Siegfried Kracauer Karl Kraus Else Lasker-Schüler Kurd Laßwitz Gert Ledig Siegfried Lenz Heinrich Mann Klaus Mann Thomas Mann Friederike Mayröcker Christian Morgenstern Erich Mühsam Heiner Müller Adolf Muschg Robert Musil Erich Maria Remarque Rainer Maria Rilke Joseph Roth Nelly Sachs Ernst von Salomon Paul Scheerbart Arthur Schnitzler Helga Schubert Kurt Schwitters W. G. Sebald Anna Seghers Berta von Suttner Ernst Toller Georg Trakl Kurt Tucholsky Robert Walser Josef Weinheber Peter Weiss Franz Werfel Christa Wolf Fritz Zorn (Fritz Angst) Stefan Zweig Contemporary writers Zsuzsa Bánk Thomas Brussig Jenny Erpenbeck Rainald Goetz Durs Grünbein Peter Handke Judith Hermann Elfriede Jelinek Reinhard Jirgl Wladimir Kaminer Daniel Kehlmann Esther Kinsky Alexander Kluge Barbara Köhler Christian Kracht Monika Maron Clemens Meyer Terézia Mora Herta Müller Sharon Dodua Otoo Emine Sevgi Özdamar Teresa Präauer Julya Rabinowich Rafik Schami Ingo Schulze Lutz Seiler Clemens J. Setz Botho Strauss Yoko Tawada Uwe Timm Ilija Trojanow Jan Wagner Martin Walser Peter Wawerzinek Wolf Wondratschek Feridun Zaimoğlu Juli Zeh German-language Nobel laureates Theodor Mommsen Rudolf Christoph Eucken Paul Heyse Gerhart Hauptmann Carl Spitteler Thomas Mann Hermann Hesse Nelly Sachs Heinrich Böll Elias Canetti Günter Grass Elfriede Jelinek Herta Müller Peter Handke German-language literary awards Ingeborg Bachmann Prize Georg Büchner Prize Sigmund Freud Prize Adelbert von Chamisso Prize Hans Fallada Prize Goethe Prize Heinrich Heine Prize Kleist Prize Leipzig Book Fair Prize Nelly Sachs Prize

• Franz Kafka
• 1883 births
• 1924 deaths
• 19th-century Austrian people
• 20th-century Austrian novelists
• 20th-century deaths from tuberculosis
• Absurdist writers
• Aphorists
• Jews from Austria-Hungary
• Austrian atheists
• Austrian civil servants
• Austrian male novelists
• Austrian socialists
• Austrian surrealist writers
• Charles University alumni
• Czech atheists
• Czech diarists
• Czechoslovak Jews
• Czech surrealist writers
• Czech writers in German
• Czechoslovak writers
• Fabulists
• Jewish atheists
• Jewish Czech writers
• Jewish existentialists
• Jewish novelists
• Jewish socialists
• Jewish surrealist writers
• Magic realism writers
• Modernist writers
• 20th-century Czech Jews
• Tuberculosis deaths in Austria
• Writers from Austria-Hungary
• Writers from Prague
• 20th-century Austrian male writers