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By René Marill-Albérès, Pierre de Boisdeffre, Margaret C. O'Riley, Wade Baskin

This is a research of Kafka's tragic imaginative and prescient of existence, his profoundly hectic know-how of man's utter loneliness in a pitiless universe, and his artistry in effecting a wierd intimate fusion among symbolism and realism—between anguished poetic narration and the terrifying fact of an absurd and ambiguous atmosphere. The e-book discusses the historic surroundings, the literary currents, and the private information affecting the advance of Kafka's genius: his isolation in a labyrinthine universe; his sufferings, illness and loss of life; his impression and survival via his artwork. The significant thought of the ebook is summed up in a citation from Jean-Paul Sartre: "I don't have anything to claim approximately Kafka other than that he's one of many rarest and maximum writers of our time." The authors are experts in modern literature.

Translated from the French through Wade Baskin.

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12. Ibid. (English edition), p. 166. Italics added. 13. ” Quoted from the French translation by A. Viallate, in La métamorphose (Paris: Gallimard, 1955), p. 130. 14. Janouch, op. , p. 27. 2 What I have to do, I can do only alone. 3 In 1912 Kafka not only began enthusiastically to compose his first great works but also met F. B. and came to grips with the problem of marriage. To say that he took the problem seriously is an understatement: he recognized it immediately as the dramatic choice of his life.

The next day he went to work at the office. And the office itself, his boring bureaucratic job, provided him with the myth of solitude. ”7 He also had to suffer, like Flaubert, in order to create: “What anguish I suffered at first (not to be compared, of course, with my present anguish)! ” Before 1911 Kafka did not give to his writings the legendary value and symbolic character which were to characterize the works of his maturity. For him writing is indissolubly linked to the Passion of men doomed to the tortures associated with clairvoyance and poetry.

Who has been listening to him from the bank, makes no move to save him. Afterwards K. again finds the Friend who had accompanied him as he left the party the previous night and returns to town with him. But the Friend plunges a knife into his own arm as he says goodbye, and goes away, disheartened. The narrator rarely, except for a brief lyrical passage, abandons the simple, somewhat pedantic tone of a man telling a logical tale. Here we see Kafka’s involuntary procedure: without abandoning the tone of realism—each episode has the ring of truth—he links together episodes which do not form a coherent story in the mind of a rational man.

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