KAFKA – YOSL BERGNER Yiddish HAND SIGNED Hebrew MELECH RAVITCH Jewish ART BOOK

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DESCRIPTION : Up for auction is a HAND SIGNED and INSCRIBED Jewish ART book by the renowned Israeli – Jewish artist YOSL BERGNER , Being his THRILLING and EXPRESSIVE interpretation to FRANZ KAFKA stories. BERGNER has dedicated this ARTISTIC CYCLE to his father, The great yet unfortunately somewhat neglected YIDDISH Jewish POET and AUTHOR – MELECH RAVITCH who translated KAFKA’s pieces to YIDDISH . This rare copy was personaly HAND SIGNED and INSCIBED by Ravitch son , The acclaimed Jewish painter YOSL BERGNER who wrote in Hebrew and English . A profusion of around 130 paintings and drawings . Original cloth HC. Gilt embossed headings. Original illustrated chromo DJ . 12 x 10 ” . Extremely heavy chromo 136 pp. Excellent condition. Absolutely clean. Tightly bound . Hardly used. ( Pls look at scan for accurate AS IS images ) Books will be sent inside a protective packaging . PAYMENTS : Payment method accepted : Paypal & All credit cards. SHIPPMENT : Shipp worldwide via registered airmail is $ 35 ( an extremely heavy volume ) . Will be sent in a special protective rigid package. Handling around 5-10 days after payment. Melech Ravitch (1893-1976), (1) an important Yiddish poet and essayist, was the author of Meyn Leksikon (2) a three-volume collection of brief essays or sketches of Yiddish authors, actors, and cultural activists. (Melekh Ravitsh; pseudonym of Zekharye-Khone Bergner; 1893–1976); Yiddish poet, essayist, playwright, and cultural activist. Melech Ravitch was born in Radymno, eastern Galicia, into a home where the main spoken languages were Polish and German. Ravitch received a secular general education, including business school, as well as a limited traditional Jewish education. Influenced by the Czernowitz Language Conference, he began to write in Yiddish; his initial pieces appeared in 1910 in Yiddish publications in Galicia. He lived in Lemberg and Vienna, where he worked in a bank, and during World War I served in the army. Israel Joshua Singer (left), Melech Ravitch (right), Ravitch’s wife, and their two children, Yosl and Ruth, ca. 1925. (YIVO) The first decade of Ravitch’s creativity, starting with his earliest book of poetry, Af der shvel (On the Threshold; 1912), reflected the neoromantic trend that characterized Yiddish poetry in Galicia at that time, under the aegis of Shmuel Yankev Imber. The long poem Shpinoza (Spinoza), published in 1918, exhibited the essential elements of Ravitch’s later work, such as his predilection for lengthy poetic genres (later, also ballads), an interest in philosophical themes, and a stress on meditative elements. The book Nakete lider (Naked Poems; 1921) signaled Ravitch’s turn toward modernism in its expressionist form. The main features of this work are its broad thematic range, sharp imagery, and predomination of free verse. Ravitch created a poetic persona who is consciously intellectual, socially engaged, and who speaks out against the accepted truths of bourgeois society in the name of his own ideological values. Taken as a whole, Nakete lider is one of the most representative achievements of the modernist revolution in East European Yiddish poetry. In 1921, Ravitch settled in Warsaw, where for a brief and intense period of time he became very close to Perets Markish and Uri Tsevi Grinberg, the poet who, as Ravitch did, made the transition from late neoromanticism to modernism. Although one does not have to consider these poets as a close-knit literary group with a common literary credo, they did collaborate on endeavors that popularized Yiddish modernist poetry for a wider audience, and were known as Di Khalyastre (The Gang). Ravitch was editor of the journal Di vog (The Scale; 1922, three issues) and also printed pamphlets against the opponents of modernist Yiddish poetry, including Dovid Eynhorn and Hillel Zeitlin. Masthead of Literarishe bleter: Ilustrirte vokhnshrift far literatur, teater, un kunst-fragn (Literary Pages: Illustrated Weekly of Literature, Theater, and Art), no. 5 (6 June 1924), Warsaw. (YIVO) Between 1924 and 1934, Ravitch served as executive secretary of the Fareyn fun Yidishe Literatn un Zhurnalistn in Varshe (Association of Jewish Writers and Journalists in Warsaw), located at 13 Tłomackie Street. Thanks to his organizational skills, that site was transformed into the central address for Yiddish literature in Poland and one of the symbols of secular Yiddish culture in general. Along with Israel Joshua Singer, Markish, and Nakhmen Mayzel, Ravitch was a cofounder of the main literary journal in interwar Poland, Literarishe bleter (Literary Pages), which he also coedited from 1924 to 1926. Later he edited the literature page of the Bundist daily Folks-tsaytung, using his position to encourage young Yiddish writers and writing numerous reviews of Yiddish books. In the 1920s and 1930s, Ravitch’s poetry was characterized by its wide thematic, emotional, and linguistic range. In his Di fir zaytn fun mayn velt (The Four Sides of My World; 1929), the influence of Walt Whitman is striking. The work combines the topics of sensual primitiveness, the contemporary problems of Jewish nationalism, and metaphysical explorations. Kontinentn un okeanen (Continents and Oceans; 1937) creates the image of a Yiddish poet as a citizen of the world who writes poems on a wide geographic, human, and cultural canvas that extends from European capitals to the deserts of Oceania. In that period, Ravitch tried his hand at writing plays, but in that genre never matched the level of his other work. From the 1930s on, Ravitch lived in Australia, Argentina, and Mexico, until finally settling in Montreal. His comprehensive anthology of his own work, Di lider fun mayne lider (The Poems of My Poems), was published in that city in 1954. The first two volumes of the series Mayn leksikon (My Lexicon; 1945–1947) offer intimate portraits of Yiddish writers in Poland. His memoirs, Dos mayse-bukh fun mayn lebn (The Storybook of My Life; 3 vols., 1962–1975), describe his life in Galicia, Vienna, and Warsaw. ****** Melech Ravitch (1893-1976) One of the greatest Yiddish writers of the twentieth century, poet, essayist, playwright and cultural activist, Melech Ravitch (pseudonym of Zekharye-Khone Bergner) was born in Radymno, eastern Galicia in 1893. He received a general secular education with a limited traditional Jewish education. By the age of fourteen, he left home to begin a life of travel that would take him to the four corners of the earth. By 1910 he began writing in Yiddish, his initial pieces appeared in Galician publications. As a young man, he lived in Lemberg and Vienna. At the outbreak of the First World War, he was drafted into the Austrian army and wounded at the front. Melech Ravitch with a young Aboriginal woman in the outback By 1921 he had moved to Warsaw where he was strongly influenced by the writers Peretz Markish and Uri Zvi Greenberg. The three writers were at the vanguard of Yiddish expressionist literature that struggled against realism. In 1929 his expressionist poetry was published in Di fir Zaytn fun mayn Velt (“The Four Sides of my World”). During his period in Warsaw, Ravitch also edited the journal Di Vog (The Scale) and also printed pamphlets against the opponents of modern Yiddish poetry, including Dovid Eynhorn and Hillel Zeitlin. Between 1924 and 1933, Ravitch served as executive secretary of the Fareyn fun Yidishe Literatn un Zhurnalistn in Varshe (Association of Jewish Writers and Journalists in Warsaw)where he was at the centre of Yiddish literary life in Warsaw. After witnessing the rise of Hitler and anti-Semitism, Ravitch persuaded a group of Jewish businessmen and intellectuals to send him to Australia in search of a site for a Jewish homeland. In 1933 Ravitch left Poland for Australia where he would explore the possibility of a Jewish settlement in what seemed to him the furthest and safest place in the world – the Kimberley region in Western Australia. With official permission from the Australian federal government, a letter from Einstein and a Kodak camera, Ravitch accompanied by a young Aboriginal assistant and an Italian truck driver, slowly and laboriously travelled across the desert to the Kimberley and back again. But despite further interest from the London-based Freeland League and the presence in Australia from 1939 to 1943 of its co-founder, Dr Isaac Steinberg, the plan to establish a Jewish settlement in the “never-never” did not eventuate.Ravitch documented his journey in a diary that described his encounters with the outback. He tells of farblondszetter camlan (lost camels) , kanguru gayug (kangaroo hunting), and a naches tzu zayen vi ehr fligt mein boomerang ( the pleasure of seeing a boomerang fly). He thought that the problems of the outback could be solved with mehr vasser, veiniker bier (more water, less beer)! Melech Ravitch in the outback with his Italian driver and Aboriginal assistant Ravitch stayed in Australia until 1938 in which time he was instrumental in helping to establish the first Yiddish school in Melbourne, the I.L. Peretz school in 1937, also serving as its inaugural Headmaster for one year. Despite a fear of travelling, he declared himself a citizen of the world and subsequently travelled to Argentina, Mexico and New York before settling in Montreal in 1941, where he became a catalyst for Yiddish literature, education and cultural activities. He remained in Montreal until his death in 1976. Melech Ravitch was married and he was the father of painter Yosl Bergner and the dancer Ruth Bergner. His brother, the Yiddish writer Herz Bergner, settled in Melbourne in 1938. **** Yosl Bergner (Hebrew: יוסל ברגנר‎; born 1920) is an Israeli painter Biography Yosl Bergner was born in Vienna in 1920 and grew up in Warsaw. With rampant anti-Semitism in Europe, the Freeland League for Jewish Territorial Colonisation was formed in July 1935, to search for a potential Jewish homeland. Soon afterwards a pastoral firm offered the League c16,500 square ks in the Kimberleys, stretching from the north of Western Australia into the Northern Territory. As history showed, the plans went nowhere. But for a time, the Australian idea was at least worth considering. Bergner’s father, Melech Ravitch, became involved in a serious investigation of the Kimberleys. Thus the Bergner family moved to Australia. Yosl emigrated to Australia in 1937 and studied in the National Gallery Art School until the outbreak of War World II. He served for four and a half years in the Australian Army, and later continued his studies at the Art School. In Melbourne from 1937–48, Bergner befriended many of the local artists who now epitomise modern Australian art: Sidney Nolan, Albert Tucker, John Perceval and Arthur Boyd. Adrian Lawlor moved with his wife to a cottage at Warrandyte where they lived for 30 years. Bergner was a frequent visitor at this Warrandyte home. All the men socialised together. Bergner encouraged them to go beyond their traditional landscape style and he introduced a more radical concern for working families, thus having an important impact on Australian art. Bergner may not have been prepared for the plight of many struggling Australians. Yet he felt a strong connection between the suffering of people everywhere, whether they were the Jews that he remembered from Europe, landless blacks in the heart of Australia or hungry children in inner urban Melbourne. He left Australia in 1948 and after two years of travelling and exhibiting in Paris, Montreal and New York, he settled in Israel. He lived in Safed until moving to Tel Aviv in 1957. Works Bergner has designed scenery and costumes for the Yiddish and Hebrew Theatres, particularly for the plays of Nissim Aloni, and has illustrated many books. The acme of Bergner’s paintings is his allegorical works; he uses kitchen tools such as squashed pots, oil lamps, wrecks and cracked jugs and he anthropomorphizes them. These old instruments symbolize distorted and poor world of wars, secrets and darkness. Awards In 1956, Bergner was a co-recipient of the Dizengoff Prize for Painting.[1] In 1980, he was awarded the Israel Prize, for painting. *** YOSL BERGNER DEAD AT 96 BYGREER FAY CASHMAN JANUARY 18, 2017 18:22 Yosl joined the army where he served for four and a half years, after which he resumed his art studies. Theater Masks. (photo credit:INGIMAGE / ASAP) Artist, theater set and costume designer, book illustrator and Israel Prize laureate Yosl Bergner, perhaps best known for his individual and group portraits in which the subjects are featured with long pale faces, pointed chins and huge dark, soulful eyes that mirror both the sadness and the joy of the Jewish experience, died in Tel Aviv on Wednesday at age 96. Much of his work for the theater was for plays by Nissim Aloni. He also designed sets and costumes for Yiddish Theater. Be the first to know – Join our Facebook page. · CLASSICAL REVIEW: ASHDOD ANDALUSIAN ORCHESTRA Nini and More His father, Melech Ravitch, was a famous Yiddish journalist, poet and novelist, and his uncle Hertz Bergner was an internationally renowned Yiddish novelist and playwright who had a close friendship with Isaac Bashevis Singer despite the geographic distance between them. During World War I, the Bergner family left their Polish township and settled in Vienna where Melech met Yosl’s mother, a singer from Lodz. Yosl was born in Austria. Antisemitism was rife in Europe, so Yosl’s father went to Australia in 1933, initially to raise funds for Jewish schools in Poland. While he was there, he became interested in the Kimberley Project, which was similar to the Uganda Proposal, namely that it provided a settlement option for Jews where they could be free of persecution. Like the Uganda Proposal, it was buried beneath the dust of history. Melech returned to Warsaw with exotic photographs of Australia which generated great excitement and curiosity in his family and then went back down under. The rest of the Bergner family soon followed. Yosl had already displayed an aptitude for art in Poland and had studied with Hirsch Altman in Warsaw. After arriving in Melbourne, in 1937, he enrolled at the National Gallery Art School where the future icons of the Australian art scene were his fellow students and friends. His studies were disrupted by the outbreak of World War II. Like many young Jewish immigrants from Europe who felt that they owed something to Australia, Yosl joined the army where he served for four-and-a-half years, after which he resumed his art studies. In 1948, he decided to leave Australia and traveled for two years in Europe and North America. In 1950, he came to Israel, settling initially in Safed where he lived for seven years before moving to Tel Aviv. Within four years of settling in Israel, he won the Herman Struck Prize. A year later he was awarded the Dizengoff Prize. Over the years, he won several other prizes and was named an honored citizen of Tel Aviv. His studio was adjacent to his apartment, and he was very disciplined about going there each day to paint, and did so almost to the last day of his life. In 1987, after an absence of half a century, he went back to Australia for a retrospective exhibition which largely featured scenes of the Warsaw and the Melbourne of his youth. Inasmuch as he was a great artist, Bergner was also an engaging raconteur and could keep people spellbound for hours. His funeral will be held Thursday, at 2 p.m., at Kibbutz Einat. ****** Yosl Bergner Back to represented artists>> Born in Vienna in 1920,to singer Fania Bergner and poet Melech Ravitch. studied with the painter Hirsch Altman in Warsaw and at the Academy of Art of the Victoria National Gallery,Melbourne. Took part in numerous one-person and collective exhibition, in Museums and galleries, both in Israel and abroad. Represented Israel in several of the Venice and San Paulo Biennales. Yosl Bergner Exhibitions >> The Tel Aviv Museum of Art has recently held a retrospective exhibition of his works. Bergner has illustrated books and designed sceneries as well as costumes for the theater, in particular for Nisim Alloni’s plays. 1954- Herman Struck Prize: 1955- Dizengoff Prize for Painting 1980- Israel Prize for the Art of Painting 1985 – Honorary Life Membership at the Victoria National Gallery,Melbourne:1996- Sheiber Prize for Literature and the Arts,The Shalom Aleichem House, Tel Aviv. 2000– Retrospective exhibition, Tel Aviv Museum of Art (curated : Carmela Rubin).2006– Yosl Bergner was awarded the title of honoured citizen of Tel Aviv. 2016- died in his home in Tel Aviv ***** Franz Kafka[a] (3 July 1883 – 3 June 1924) was a German-speaking Bohemian novelist and short-story writer based in Prague, who is widely regarded as one of the major figures of 20th-century literature. His work fuses elements of realism and the fantastic.[4] 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.[5] His best known works include the novella The Metamorphosis and novels The Trial and The Castle. The term Kafkaesque has entered English to describe absurd situations like those depicted in his writing.[6] Kafka was born into a middle-class German-speaking Czech Jewish family in Prague, the capital of the Kingdom of Bohemia, then part of the Austro-Hungarian Empire (today the capital of the Czech Republic).[7] He trained as a lawyer, and after completing his legal education was employed full-time by an insurance company, forcing him 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 in the night. He burned an estimated 90 per cent of his total work due to his persistent struggles with self-doubt. Much of the remaining 10 per cent is lost or otherwise unpublished. Few of Kafka’s works were published during his lifetime: the story collections Contemplation and A Country Doctor, and individual stories (such as his novella The Metamorphosis) were published in literary magazines but received little public 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 their literature, and its influence spread elsewhere in the world in the 1960s. It has also influenced artists, composers, and philosophers. Life Early life Hermann Kafka Julie Kafka His parents, Hermann and Julie Kafka Franz Kafka’s sisters, from the left Valli, Elli, Ottla 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,[8][9] a shochet or ritual slaughterer in Osek, a Czech village with a large Jewish population located near Strakonice in southern Bohemia.[10] 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.[11] Kafka’s mother, Julie (1856–1934), was the daughter of Jakob Löwy, a prosperous retail merchant in Poděbrady,[12] and was better educated than her husband.[8] Kafka’s parents probably spoke a German influenced by Yiddish that was sometimes pejoratively called Mauscheldeutsch, but, as German was considered the vehicle of social mobility, they probably encouraged their children to speak Standard German.[13] Hermann and Julie had six children, of whom Franz was the eldest.[14] Franz’s two brothers, Georg and Heinrich, died in infancy before Franz was seven; his three sisters were Gabriele (“Elli”) (1889–1944), 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.[15] Hermann is described by the biographer Stanley Corngold as a “huge, selfish, overbearing businessman”[16] and by Franz Kafka as “a true Kafka in strength, health, appetite, loudness of voice, eloquence, self-satisfaction, worldly dominance, endurance, presence of mind, [and] knowledge of human nature”.[17] 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,[18] 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;[19] his mother, in contrast, was quiet and shy.[20] The dominating figure of Kafka’s father had a significant influence on Kafka’s writing.[21] 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.[22] Education From 1889 to 1893, Kafka attended the Deutsche Knabenschule 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 a year.[17][23][24] An ornate four-storey palatial building Kinský Palace where Kafka attended gymnasium and his father owned a shop 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, within the Kinský Palace. German was the language of instruction, but Kafka also spoke and wrote in Czech.[25][26] He studied the latter at the gymnasium for eight years, achieving good grades.[27] Although Kafka received compliments for his Czech, he never considered himself fluent in the language, though he spoke German with a Czech accent.[1][26] He completed his Matura exams in 1901.[28] Admitted to the Deutsche Karl-Ferdinands-Universität of Prague in 1901, Kafka began studying chemistry but switched to law after two weeks.[29] 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.[30] 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.[31] 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.[32] At the end of his first year of studies, Kafka met Max Brod, a fellow law student who became a close friend for life.[31] 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.[33][34] Brod soon noticed that, although Kafka was shy and seldom spoke, what he said was usually profound.[35] Kafka was an avid reader throughout his life;[36] 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.[37] Kafka considered Fyodor Dostoyevsky, Gustav Flaubert, Nikolai Gogol, Franz Grillparzer,[38] and Heinrich von Kleist to be his “true blood brothers”.[39] Besides these, he took an interest in Czech literature[25][26] and was also very fond of the works of Goethe.[40][41] Kafka was awarded the degree of Doctor of Law on 18 June 1906[b] and performed an obligatory year of unpaid service as law clerk for the civil and criminal courts.[6] Employment Former home of the Worker’s Accident Insurance Institute On 1 November 1907, Kafka was hired 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[48][49]—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. 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.[50] The management professor Peter Drucker credits Kafka with developing the first civilian hard hat while employed at the Worker’s Accident Insurance Institute, but this is not supported by any document from his employer.[51][52] 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.[53] 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.[54] 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.[55] Kafka’s father also expected him to help out at and take over the family fancy goods store.[56] 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.[57] 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”.[58] This interest also served as a starting point for his growing exploration of Judaism.[59] It was at about this time that Kafka became a vegetarian.[60] 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,[61] with which he was diagnosed in 1917.[62] 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.[6] Private life Kafka never married. According to Brod, Kafka was “tortured” by sexual desire,[63] 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”.[64] Kafka visited brothels for most of his adult life[65][66][67] and was interested in pornography.[63] 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.[68][69] Shortly after this meeting, Kafka wrote the story “Das Urteil” (“The Judgment”) in only one night and worked in a productive period on Der Verschollene (The Man Who Disappeared) and Die Verwandlung (The Metamorphosis). Kafka and Felice Bauer communicated mostly through letters over the next five years, met occasionally, and were engaged twice.[70] Kafka’s extant letters to Bauer were published as Briefe an Felice (Letters to Felice); her letters do not survive.[68][71][72] 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.[70][73] Although the two 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, who objected to Julie because of her Zionist beliefs. Before the date of the intended marriage, he took up with yet another woman.[74] 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.[6] 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,[75] 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.[76][77] 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.[78][79] Stach points out that there is a great deal of contradictory evidence around the claim that Kafka was the father.[80] 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 Oktavhefte (octavo). From the notes in these books, Kafka extracted 109 numbered pieces of text on Zettel, single pieces of paper in no given order. They were later published as Die 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).[81] In 1920, Kafka began an intense relationship with Milena Jesenská, a Czech journalist and writer. His letters to her were later published as Briefe an Milena.[82] 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.[83] He worked on four stories, including Ein Hungerkünstler (A Hunger Artist),[82] which were published shortly after his death. Personality Kafka had a lifelong suspicion that people found him mentally and physically repulsive. However, many of those who met him invariably found him to possess obvious intelligence and a sense of humour; they also found him handsome, although of austere appearance.[84][85][86] Brod compared Kafka to Heinrich von Kleist, noting that both writers had the ability to describe a situation realistically with precise details.[87] Brod thought Kafka was one of the most entertaining people he had met; Kafka enjoyed sharing humour with his friends, but also helped them in difficult situations with good advice.[88] According to Brod, he was a passionate reciter, able to phrase his speech as though it were music.[89] Brod felt that two of Kafka’s most distinguishing traits were “absolute truthfulness” (absolute Wahrhaftigkeit) and “precise conscientiousness” (präzise Gewissenhaftigkeit).[90][91] He explored details, the inconspicuous, in depth and with such love and precision that things surfaced that were unforeseen, seemingly strange, but absolutely true (nichts als wahr).[92] Although Kafka showed little interest in exercise as a child, he later developed a passion for games and physical activity,[36] and was an accomplished rider, swimmer, and rower.[90] On weekends, he and his friends embarked on long hikes, often planned by Kafka himself.[93] His other interests included alternative medicine, modern education systems such as Montessori,[90] and technological novelties such as airplanes and film.[94] Writing was vitally important to Kafka; he considered it a “form of prayer”.[95] He was highly sensitive to noise and preferred absolute quiet when writing.[96] Pérez-Álvarez has claimed that Kafka may have possessed a schizoid personality disorder.[97] His style, it is claimed, not only in Die Verwandlung (The Metamorphosis), but in various other writings, appears to show low to medium-level schizoid traits, which Pérez-Álvarez claims to have influenced much of his work.[98] His anguish can be seen in this diary entry from 21 June 1913:[99] Die ungeheure Welt, die ich im Kopfe habe. Aber wie mich befreien und sie befreien, ohne zu zerreißen. Und tausendmal lieber zerreißen, als in mir sie zurückhalten oder begraben. Dazu bin ich ja hier, das ist mir ganz klar.[100] The tremendous world I have inside my head, but how to free myself and free it without being torn to pieces. And a thousand times rather be torn to pieces than retain it in me or bury it. That, indeed, is why I am here, that is quite clear to me.[101] and in Zürau Aphorism number 50: Man cannot live without a permanent trust in something indestructible within himself, though both that indestructible something and his own trust in it may remain permanently concealed from him.[102] Alessia Coralli and Antonio Perciaccante of San Giovanni di Dio Hospital have posited that Kafka may have had borderline personality disorder with co-occurring psychophysiological insomnia.[103] 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.”[104] Though Kafka never married, he held marriage and children in high esteem. He had several girlfriends and lovers across his life.[105] 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”,[106] and that Kafka was not just lonely and depressed but also “occasionally suicidal”.[85] 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”.[107] Kafka considered suicide at least once, in late 1912.[108] Political views Before World War I,[109] Kafka attended several meetings of the Klub mladých, a Czech anarchist, anti-militarist, and anti-clerical organization.[110] Hugo Bergmann, who attended the same elementary and high schools as Kafka, fell out with Kafka during their last academic year (1900–1901) because “[Kafka’s] socialism and my Zionism were much too strident”.[111][112] Bergmann said: “Franz became a socialist, I became a Zionist in 1898. The synthesis of Zionism and socialism did not yet exist.”[112] Bergmann claims that Kafka wore a red carnation to school to show his support for socialism.[112] In one diary entry, Kafka made reference to the influential anarchist philosopher Peter Kropotkin: “Don’t forget Kropotkin!”[113] 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.[114] 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.[115] Whether or not Kafka was a political writer is still an issue of debate.[116] Judaism and Zionism Further information: Franz Kafka and Judaism Kafka in 1910 Kafka grew up in Prague as a German-speaking Jew.[117] 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.[118] Yet he was at times alienated from Judaism and Jewish life. On 8 January 1914, he wrote in his diary: Was habe ich mit Juden gemeinsam? Ich habe kaum etwas mit mir gemeinsam und sollte mich ganz still, zufrieden damit daß ich atmen kann in einen Winkel stellen.[119] (What have I in common with Jews? I have hardly anything in common with myself and should stand very quietly in a corner, content that I can breathe.)[120][121] In his adolescent years, Kafka declared himself an atheist.[122] 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.[123][124][125] In the opinion of literary critic Harold Bloom, although Kafka was uneasy with his Jewish heritage, he was the quintessential Jewish writer.[126] Lothar Kahn is likewise unequivocal: “The presence of Jewishness in Kafka’s oeuvre is no longer subject to doubt”.[127] 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”.[128] 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.”[118] 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[118] and attending Rabbi Julius Grünthal[129] and Rabbi Julius Guttmann’s classes in the Berlin Hochschule für die Wissenschaft des Judentums (College for the Study of Judaism).[130] Livia Rothkirchen calls Kafka the “symbolic figure of his era”.[128] 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”.[128] 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.[131] Death A tapering six-sided stone structure lists the names of three deceased persons: Franz, Hermann, and Julie Kafka. Each name has a passage in Hebrew below it. Franz Kafka’s grave in Prague-Žižkov designed by Leopold Ehrmann Kafka’s laryngeal tuberculosis worsened and in March 1924 he returned from Berlin to Prague,[70] 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,[82] 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.[132][133] 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.[134] His body was brought back to Prague where he was buried on 11 June 1924, in the New Jewish Cemetery in Prague-Žižkov.[66] Kafka was virtually unknown during his own lifetime, but he did not consider fame important. He rose to fame rapidly after his death,[95] particularly after World War II. The Kafka tombstone was designed by architect Leopold Ehrmann.[135] Works Further information: Franz Kafka bibliography an old letter with text written in German First page of Kafka’s Letter to His Father All of Kafka’s published works, except some letters he wrote in Czech to Milena Jesenská, 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,[136][137] much of it during the period he lived in Berlin with Diamant, who helped him burn the drafts.[138] 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.[139] Kafka drew and sketched extensively. Until May 2021, only about 40 of his drawings were known.[140][141] In 2022, Yale University Press published Franz Kafka: The Drawings.[142] Stories Kafka’s earliest published works were eight stories which appeared in 1908 in the first issue of the literary journal Hyperion under the title Betrachtung (Contemplation). He wrote the story “Beschreibung eines Kampfes” (“Description of a Struggle”)[c] in 1904; he showed it to Brod in 1905 who advised him to continue writing and convinced him to submit it to Hyperion. Kafka published a fragment in 1908[143] and two sections in the spring of 1909, all in Munich.[144] 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.[145] 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.[146][147] Kafka later described writing it as “a complete opening of body and soul”,[148] a story that “evolved as a true birth, covered with filth and slime”.[149] The story was first published in Leipzig in 1912 and dedicated “to Miss Felice Bauer”, and in subsequent editions “for F.”[82] In 1912, Kafka wrote Die Verwandlung (The Metamorphosis, or The Transformation),[150] 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.[151][152][153] The story “In der Strafkolonie” (“In the Penal Colony”), dealing with an elaborate torture and execution device, was written in October 1914,[82] 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.[154] 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.[155] Franz Kafka Notebook with words in German and Hebrew. from the Collection of the National Library of Israel. Franz Kafka notebook with words in German and Hebrew. From the Collection of the National Library of Israel. Novels Kafka began his first novel in 1912;[156] 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 Man), but when Brod published it after Kafka’s death he named it Amerika.[157] 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.[158] 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.[159] It uses many details of experiences from his relatives who had emigrated to America[160] and is the only work for which Kafka considered an optimistic ending.[161] In 1914 Kafka began the novel Der Process (The Trial),[144] 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 winner and Kafka scholar Elias Canetti, Felice is central to the plot of Der Process and Kafka said it was “her story”.[162][163] 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.[163] 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.”[163] 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.[144] 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”.[164] 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.”[165] Publishing history A simple book cover displays the name of the book and the author First edition of Betrachtung, 1912 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.[166] Franz Blei published two dialogues in 1909 which became part of “Beschreibung eines Kampfes” (“Description of a Struggle”).[166] 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.[166][167] On 27 March 1910, several stories that later became part of the book Betrachtung were published in the Easter edition of Bohemia.[166][168] 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.[169] 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.[166] 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;[170] Wolff published Betrachtung in the Rowohlt Verlag at the end of 1912 (with the year given as 1913).[171] 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”).[172] 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.[171] Another story collection, Ein Landarzt (A Country Doctor), was published by Kurt Wolff in 1919,[171] dedicated to Kafka’s father.[173] 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.[174] Max Brod A simple book cover in green displays the name of the author and the book First edition of Der Prozess, 1925 Kafka left his work, both published and unpublished, to his friend and literary executor Max Brod with explicit instructions that it should be destroyed on Kafka’s death; Kafka wrote: “Dearest Max, my last request: Everything I leave behind me … in the way of diaries, manuscripts, letters (my own and others’), sketches, and so on, [is] to be burned unread.”[175][176] 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”.[177] Brod took many of Kafka’s papers, which remain unpublished, with him in suitcases to Palestine when he fled there in 1939.[178] 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.[179] As Brod published the bulk of the writings in his possession,[180] 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.[181][182] 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;[182] Brod rearranged chapters, copy-edited the text, and changed the punctuation. Der Process appeared in 1925 in Verlag Die Schmiede. Kurt Wolff published two other novels, Das Schloss in 1926 and Amerika in 1927. In 1931, Brod edited a collection of prose and unpublished stories as Beim Bau der Chinesischen Mauer (The Great Wall of China), including the story of the same name. The book appeared in the Gustav Kiepenheuer Verlag. Brod’s sets are usually called the “Definitive Editions”.[183] Modern editions In 1961 Malcolm Pasley acquired for the Oxford Bodleian Library most of Kafka’s original handwritten works.[184][185] The text for Der Process was later purchased through auction and is stored at the German Literary Archives in Marbach am Neckar, Germany.[185][186] Subsequently, Pasley headed a team (including Gerhard Neumann, Jost Schillemeit and Jürgen Born) which reconstructed the German novels; S. Fischer Verlag republished them.[187] 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”.[188] In 2023, the first unexpurgated edition of Kafka’s diaries was published in English,[189] “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”.[190] 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.[191] 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.[192][193] 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.[194] 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”.[194] The National Library also suggests that Brod bequeathed the papers to them in his will.[195] 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.[196] Critical response Critical interpretations The poet W. H. Auden called Kafka “the Dante of the twentieth century”;[197] the novelist Vladimir Nabokov placed him among the greatest writers of the 20th century.[198] Gabriel García Márquez noted the reading of Kafka’s The Metamorphosis showed him “that it was possible to write in a different way”.[121][199] A prominent theme of Kafka’s work, first established in the short story “Das Urteil”,[200] is father–son conflict: the guilt induced in the son is resolved through suffering and atonement.[19][200] Other prominent themes and archetypes include alienation, physical and psychological brutality, characters on a terrifying quest, and mystical transformation.[201] 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.[202] The nature of Kafka’s prose allows for varied interpretations and critics have placed his writing into a variety of literary schools.[116] Marxists, for example, have sharply disagreed over how to interpret Kafka’s works.[110][116] Some accused him of distorting reality whereas others claimed he was critiquing capitalism.[116] The hopelessness and absurdity common to his works are seen as emblematic of existentialism.[203] 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.[204] Others, such as Thomas Mann, see Kafka’s work as allegorical: a quest, metaphysical in nature, for God.[205][206] 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 Kafka’s work is more deliberate and subversive—and more joyful—than may first appear. They point out that reading the Kafka work while focusing on the futility of his characters’ struggles reveals Kafka’s play of humour; he is not necessarily commenting on his own problems, but rather pointing out how people tend to invent problems. In his work, Kafka often created malevolent, absurd worlds.[207][208] Kafka read drafts of his works to his friends, typically concentrating on his humorous prose. The writer Milan Kundera suggests that Kafka’s surrealist humour may have been an inversion of Dostoyevsky’s presentation of characters who are punished for a crime. In Kafka’s work, a character is punished although a crime has not been committed. Kundera believes that Kafka’s inspirations for his characteristic situations came both from growing up in a patriarchal family and living in a totalitarian state.[209] Attempts have been made to identify the influence of Kafka’s legal background and the role of law in his fiction.[210][211] Most interpretations identify aspects of law and legality as important in his work,[212] in which the legal system is often oppressive.[213] 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.[212] 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.[214] 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.[215] Although he worked in insurance, as a trained lawyer Kafka was “keenly aware of the legal debates of his day”.[211][216] In an early 21st-century publication that uses Kafka’s office writings as its point of departure,[217] Pothik Ghosh states that with Kafka, law “has no meaning outside its fact of being a pure force of domination and determination”.[218] 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.[219] Eugene Jolas translated Kafka’s “The Judgment” for the modernist journal transition in 1928.[220] 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.[221] A 1941 edition, including a homage by Thomas Mann, spurred a surge in Kafka’s popularity in the United States during the late 1940s.[222] 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,[223] 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,[224] that had been deleted by earlier publishers.[187] 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.[225] Published in 1961 by Schocken Books, Parables and Paradoxes presented in a bilingual edition by Nahum N. Glatzer selected writings,[226] 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),[185] The Trial, Critical by Breon Mitchell (Schocken Books, 1998),[227] and Amerika: The Man Who Disappeared by Michael Hofmann (New Directions Publishing, 2004).[228] Translation problems to English Further information: Franz Kafka bibliography § English translations 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.[229] German’s more flexible word order and syntactical differences provide for multiple ways in which the same German writing can be translated into English.[230] An example is the first sentence of Kafka’s The Metamorphosis, which is crucial to the setting and understanding of the entire story:[231] Als Gregor Samsa eines Morgens aus unruhigen Träumen erwachte, fand er sich in seinem Bett zu einem ungeheuren Ungeziefer verwandelt. As Gregor Samsa one morning from restless dreams awoke, found he himself in his bed into a monstrous vermin transformed. —original—literal word-for-word translation[232] 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.[233][234] English translators often render the word Ungeziefer as ‘insect’; in Middle German, however, Ungeziefer literally means ‘an animal unclean for sacrifice’;[235] 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.[151][152] Another example of this can be found in the final sentence of “Das Urteil” (“The Judgement”), wit

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