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What Color Were Kafka’s Eyes?
By Avi Steinberg
http://www.newyorker.com/books/page-turner/what-color-were-kafkas-eyes?intcid=mod-latest
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In “Is that Kafka? 99 Finds,” Reiner Stach curates a collection of artifacts
from the author’s life, including half-finished stories that are known to
scholars but haven’t quite found their rightful place in the canon.
In “Is that Kafka? 99 Finds,” Reiner Stach curates a collection of artifacts
from the author’s life, including half-finished stories that are known to
scholars but haven’t quite found their rightful place in the canon. Credit
Photograph by Fine Art Images / Heritage Images / Getty
The stories of Franz Kafka have long since passed into the proverbial, the
kind of work you need not have read in order to know. Just as we speak of
high-stakes intrigues as “Shakespearean,” and storms as possessing “Biblical
proportions”—whether or not we’ve read “Julius Caesar” or the Book of Job—the
qualities of the “Kafkaesque” are familiar to us not from reading Kafka’s
stories but from the stories we experience every day. We use “Kafkaesque”
to describe encounters with banally evil customer-service agents; it’s the
shorthand that op-ed writers use to protest the dark dealings of the state.
For a writer, it’s a dubious honor to be thus referenced but not quite read:
it’s a way to remain forever present and forever misunderstood.
To help reverse this drift of Kafka’s reputation, Reiner Stach has curated
a collection of artifacts from the author’s life in his latest book, “Is
that Kafka? 99 Finds.” The book, translated from the German by Kurt Beals,
is a crowd-pleasing encore to Stach’s monumental three-volume biography of
the writer. Along with minimal commentary, he submits ninety-nine numbered
exhibition items—documents, photographs, objects, scribbles, and doodles—for
our consideration. The result is a box of fancy Austro-Hungarian chocolates:
the floor-plan to the Kafka family apartment (the setting for “The Metamorphosis”);
facsimiles of Freudian slips in Kafka’s handwritten manuscripts; a diagram
of his workout regimen; his sincere proposal for a utopian commune; an advertisement
for his first book that includes such catchy marketing pitches as “until
now, his compulsive tendency to continually revise his literary works has
prevented him from publishing any books.” We get a reprint of an adorable
postcard Kafka wrote to his little sister, and the lyrics to his favorite
song, “Now Farewell, You Little Alley.” Kafka was a charmer and a flirt,
the kind of guy who gave his parents’ housekeeper a gift of an umbrella with
candies hanging from the tips. One of his girlfriends nicknamed him Frank.
He was adored, apparently, by all—with the exception of one man, a physician
named Ernst, who appears in this volume wearing a white lab coat over a military
uniform, and clutching a sinister turn-of-the-century medical device. (No.
12: “Kafka’s Only Enemy.”)
There are masterpieces in this book. Stach gives us the full text of a 1917
letter from a reader, one Dr. Siegfried Wolff, who complains that he can’t
understand the meaning of “The Metamorphosis,” and, what’s worse, his whole
extended family is similarly perplexed about the story, and they look to
him, as “the Doctor in the family,” for an explanation. “Only you can help
me,” he writes to Kafka. “You must; because you’re the one who got me into
this mess.” Stach, aware that this letter sounds like a joke from one of
Kafka’s friends, has done the legwork to track down this Siegfried Wolff,
and can confirm that he was a real person.
Even amateur Kafkaists, who may already know about most of these finds, will
get their first chance to see faithful reprints and transcripts of the things
themselves, and draw their own conclusions. Perhaps you already know that
Kafka, along with his friend Max Brod, invented the concept of budget travel
guides for tourists. But how many of us have had the pleasure of reading
the full six-part outline of their book proposal for this series? (Title:
“On the Cheap,” complete with a proto-Nike motto: “Just Dare.”) Readers familiar
with “Amerika”—Kafka’s unfinished novel that includes a description of a
bridge that connects New York City with Boston—will be delighted to find
this note from the “On the Cheap” outline: “No comprehensive geography, only
routes.”
But the gems of this collection are the half-finished Kafka stories that
are known to scholars but haven’t quite found their rightful place in the
canon. Item No. 61, which Stach titles “Kafka Dreams of an Olympic Victory,”
is a must-read for Kafka buffs and fans of existential bewilderment alike.
Here is a fragment of that fragment:
Honored guests at this banquet! It is true that I have
a set a world record, but if you were to ask me how I achieved it, I would
be unable to answer you to your satisfaction. You see, I actually cannot
swim at all. I have always wanted to learn, but I have never found the opportunity.
So how did it happen that my fatherland sent me to the Olympiad? That is
exactly the question that concerns me, too.
It’s a question that concerns all of us, or it ought to—and Stach gives it
pride of place here. He also uses this piece to offer us a useful look at
Kafka’s editorial process. Stach points out that in the first draft of this
story, Kafka identifies the narrator as the winner of the fifteen-hundred-metre
event at the games in Antwerp—the real-life setting of the 1920 Summer Olympics.
But in a second draft, Kafka substituted an “X” for Antwerp, and omitted
any mention of fifteen-hundred metres. It’s a juicy Kafka edit, a small look
at how he artfully tweaked literary realism.
Many of these ninety-nine finds may indeed help “overturn the stereotypical
version of the tortured neurotic,” as the cover copy puts it, but there are
also those that reinforce it. Kafka’s letter describing a harrowing “night
of mice,” for instance, and his diary entry, written in code, lamenting that
“s. [sex] crushes me.” And then there’s item No. 96, the full texts of his
notorious last wills, in which he requested not only the burning of his unpublished
work (which was most of his work at that time), but added that he would ideally
like his few published works also destroyed so that he would be forgotten
completely. Still, this book does show us that Kafka was more than a tortured
neurotic—or, rather, it demonstrates that even tortured neurotics can be
great company. As if to prove that Kafka was, as we say these days, the kind
of guy you’d want to have a beer with, Stach dutifully catalogues Kafka’s
beer drinking history. (No. 9: “Kafka Drinks Beer.”)
This is one of the challenges of Kafka biography: humanizing a writer who
wasn’t terribly attached to conventionally human points of view. Kafka, after
all, is a writer who thoroughly destabilized the line between human and critter.
In his biography, Stach makes a convincing argument for the pervasive, yet
unspoken, influences of the First World War on Kafka’s work; and yet it’s
exactly that seemingly ahistorical—because purely animal—consciousness that
makes Kafka’s art feel uncannily true. Situating Kafka in history can have
the unfortunate quality of explaining a joke: even if it doesn’t spoil the
effect, it still seems mostly beside the point. As thrilling, and sometimes
enlightening, as it might be for Kafka readers to meet the “real” Kafka,
handsome suits and all, they will probably continue to hold the belief that
the truest Kafka was the mind who shut the door on the wide world and recorded
the thoughts of an inquisitive dog.
The good news for this kind of reader is that the voice of the human-animal,
heard in Kafka’s stories, was never too far from Kafka’s own, everyday voice.
Regarding the mice who kept him awake one night, Kafka sees them as “an oppressed
proletarian people” (the prototype, it would seem, for the working masses
of his final story, “Josephine the Singer, or the Mouse Folk”). And then
there’s Stach find No. 55, the cover page of a 1916 edition of “The Judgment,”
which Kafka signed, for his sister, “from the rat of Schönborn Palace.”
Animal eyes peek out regularly in Kafka’s day-to-day dealings, not just in
his stories. There can be no retrieval of Kafka, the man, without uncovering
more evidence of Kafka, the creature.
And, by the way, what color were that creature’s eyes? In find No. 13, one
of the most suggestive items in his cabinet of curiosities, Stach presents
the statements of fifteen witnesses. Four people described Kafka’s eyes as
“dark,” four as “gray,” three as “blue,” and three as “brown.” Kafka’s passport
had them as “dark blue-gray.” I’m personally inclined to trust the testimony
of Kafka’s girlfriend, Dora. She described them as “shy, brown,” which may
be its very own shade.
But there’s a more pressing question: what exactly is at stake in the puzzle
of Kafka’s ambiguous eye color? To a certain sort of reader, questions like
this matter because they get us closer, or seem to get us closer, to the
person, and thus to the origins of the published stories; these explorations
allow us to reënter the physical circumstances that preceded even the
first drafts, and to partake in the exact moments when the life began to
be art. This kind of literary fandom, as Geoff Dyer once wrote, in his case,
about D. H. Lawrence, involves a backward reading in which “the finished
works serve as prologue to the jottings.” Having reached the end of art,
such readers begin a reverse quest: from the published material, back to
the manuscripts, to the notes, to the letters, to the books and newspapers
that the writer read, to the shopping lists he made. And it doesn’t stop
there. It can go further, to the pre-literate realm of the relic—the desk
where the author wrote those manuscripts, the hair brush he used before he
sat down to write, the leaves that grew next to his childhood home.
Somewhere along the way, probably the result of falling a bit in love, those
of us who indulge in this kind of backward reading may have come to believe
that we need to look into Kafka’s eyes. But, in the end, that gaze is misdirected:
what we really want is to look with those eyes, to share that vision. Biography
works, as this strange little volume does, when it points us forward again,
to the art itself, and forward from there, giving us a few more ways with
which to see for ourselves.