Book Description
This is the first of a three-volume, definitive biography of Franz Kafka. Eighty years after his death in 1924, Kafka remains one of the most intriguing figures in the history of world literature. Now, after more than a decade of research, working with over four thousand pages of journal entries, letters, and literary fragments, Reiner Stach re-creates the atmosphere in which Kafka lived and worked from 1910 to 1915. These are the years of Kafka's fascination with early forms of Zionism despite his longing to be assimilated into the minority German culture in Prague; of his off-again, on-again engagement to Felice Bauer; of the outbreak of World War I; and above all of the composition of his seminal works-The Metamorphosis, Amerika, The Judgment, and The Trial.
Kafka:The Decisive Years-at once an extraordinary portrait of the writer and an original contribution to the art of literary biography.
Customer Reviews:
Kafka: The Decisive Years.......2006-06-29
Leaving description to Amazon and other reviewers, I wanted to leave only a few words of praise for this fine book, which oftentimes itself reads as lovely prose. Kafka's biography unfolds clearly; parallels between his work and the occurrences in his personal and professional life (Kafka was a lawyer and civil servant in the insurance industry) are presented honestly and convincingly. The book reveals a highly neurotic man that defied early 20th century Prague jewish community conventions, in the process leaving behind a profound footprint on world literature.
I enthusiastically recommend this book!
"All's well that ends well".......2006-06-17
This book itself is superb. The writing of Reiner Stach, at least as tranlated here by Frisch, is a wholly enveloping affair: sure enough, Kafka was a pessimist. Learning of his existence through the years 1910-15, I can't but think its a down-right shame the vegetarian hypochondriac with such a fragile psychology got no more satisfaction out of life than he did. There were fleeting glimses of ecstasy but on the whole, his was a sad, tortured life which has given me pause and cause to abandon dreams of ever wanting to cling to such high aesthetic standards as did Franz Kafka. Our tall, skinny genius became enmeshed and swallowed whole - very seldom was he able to emerge from underneath his crushing ambitions of literary perfection.
Stach makes you feel for the guy without for a second resorting to pithy sentiment and thinly veiled excuse-making. This book makes me want to enjoy life in so many more ways than Kafka seemed to have denied himself. Tragic (sort of). Crushing. It seemed preventable - as though he chose to suffer for his writing - but I live in America c. 2006.
I mark this book right up there with Joseph Frank's Dostoevsky (though I got a good deal more satisfaction out of Frank's work; it could have been simply the nature of the subjects being written about). As for the book itself -- Five Stars. Certainly.
Stellar biography (and translation).......2006-04-08
This is a dense, but very enjoyable, examination of the life and work of one of the more intriguing minds in literary history. Every page seems to offer something extraordinary, a detail so jarring, yet right, somehow, that it might have been lifted from a tale by Kafka himself.
The description of Kafka's father's workers casually brushing asbestos off their clothes after their factory shifts, as if primping for an evening on the town, is just one compelling, Kafkaesque detail in a book that's replete with them. The result is fascinating reading.
Along the way, many myths are debunked, including the wellworn cliche of how the writer's famous story, "The Metamorphosis," was born. The oft-told story of Kafka spying a roach crossing a page at a critical creative moment is roundly dismissed. Instead, Stach offers a more plausible version, masterfully recounted, beginning with the words: "Kafka lay on his back and let his eyes wander across the walls and ceiling. It was cold, and a gloomy gray November light was creeping in, as it had for days. Condensation dripped from the window."
As this quote indicates, this volume is a sustained glimpse into a fascinating writer and mind, made even more haunting by its superb translation (by Shelley Frisch).
Kafka: The Decisive Years.......2005-12-12
>Washington Post, November 27, 2005
>Translated from the German by Shelley Frisch
>
> Like Pascal, Kierkegaard and Baudelaire, Franz Kafka (1883- 1924) is one of the great masters of spiritual desolation. We don't actually read his work, we are harrowed by it. In German of classical directness and purity, this desk functionary of the Prague Workers' Accident Insurance Institute presents tableau after tableau of what Pascal called " la misre de l'homme sans Dieu ," the misery of man without God. All of Kafka's unfortunate protagonists -- Georg Bendemann in "The Judgment," Gregor Samsa in "The Metamorphosis," Josef K. in The Trial -- struggle against the one great, serious truth about life: Each of us is fundamentally and inescapably alone, especially in the face of death.
>
> Oh, we may hope to lose ourselves in love, family or work, but these are just Potemkin villages, little more than flimsy movie sets. They can be knocked down with a single sharp blow. After all, a man could wake up one morning to find himself transformed into a gigantic cockroach or suddenly arrested without having done anything wrong. Far-fetched? By no means. Some sunny afternoon, the X-ray will unexpectedly reveal a shadow no bigger than a baby's hand; one evening, after a pleasant dinner with wine, the phone will ring. And then, we, in our turn, will twitch and twist and finally give in to the inevitable, like the tormented prisoner of "In the Penal Colony."
>
> Kafka's stories are all parables of despair and helplessness, sorrowful emblems of the human condition. The all-important message from the emperor will never reach our ears, the hunger artist must die because he can't find anything he'd like to eat, the mole-like digger will always fail to construct a burrow, impregnable to his enemies, the door into the castle isn't ever, ever going to open. Is no redemption possible in this world? Of course it is -- just not for us.
>
> Kafka's work is, famously, susceptible to interpretations of all kinds. Nonetheless, most readers still tend to see the stories as fundamentally existential or theological, the modern equivalents to Plato's fables about caves and the origins of love or of Kierkegaard's many brief philosophical fictions. But, since the death (in 1968) of Kafka's literary executor, Max Brod, who pushed a sacerdotal view of his friend's writing, modern scholarship has turned to examining the actual life of this enigmatic artist. Certainly nobody, with one celebrated exception, actually creates ex nihilo . And so, we have now seen the careful publication of Kafka's holograph manuscripts, the scholarly editing of his every scrap, commentaries stressing his links to gesture-rich Yiddish theater and to cultural Zionism, speculation about his sexual life -- did he really have a son by Grete Bloch? -- and research into his actual daily work at the insurance office (he was a recognized authority on industrial accidents).
>
> Reiner Stach's Kafka builds on much of this research. By focusing on 1910 through 1915 -- the time in his late twenties and early thirties when Kafka fell in love with Felice Bauer and began to produce his first great stories -- Stach aims to tell us all that can be known about the writer, avoiding the fancies and extrapolations of earlier biographers. The result is an enthralling synthesis, one that reads beautifully, in part thanks to the excellence of Shelley Frisch's English.
>
> Though he avoids invention, Stach knows too much simply to present the facts and just the facts. With the kind of lan we associate with European intellectuals, he actively engages with his material, commenting or reflecting on its meaning. Take the correspondence with Felice Bauer. Stach admits that Kafka would have been appalled by the publication of these letters, but he then reflects on letter-writing as "one of the essential forms of modern individuality," goes on to note that mail posted on a Saturday night in Berlin (where Bauer lived) would be delivered on Sunday morning in Prague, and that Kafka so fetishized this young woman's letters that he carried them along on business trips. All this, and more, then serves to enhance a patient presentation of an agonized epistolary romance, the central thread of these crucial years.
>
> The evening that Kafka met Bauer -- August 13, 1912 -- is, Stach asserts, one of those landmark days in intellectual and literary history, like the October afternoon in 1749 when Rousseau suddenly grasped the corrupting nature of civilization during a walk to Vincennes or the night of Oct. 4, 1892, when Paul Valry decided to renounce poetry. A few days after that casual meeting, Kafka composed -- in a single night from 10 p.m. to 6 a.m. -- his first masterpiece, "The Judgment," in which a father unexpectedly condemns his son to death. Stach aptly summarizes its importance:
>
> "Suddenly -- without guide or precedent, it seemed -- the Kafka cosmos was at hand, fully equipped with the 'Kafkaesque' inventory that now gives his work its distinctive character: the father figure who is both overpowering and dirty, the hollow rationality of the narrator, the juridical structures imposed on life, the dream logic of the plot, and last but not least, the flow of the story perpetually at odds with the hopes and expectations of the hero."
>
> Many months go by before Kafka again sees Bauer. During this time he confesses in his letters that he lives for literature alone, that he is unsociable, fearful, sickly, unhealthily thin, self-pitying, obsessive, neurotic, without interest in children and probably incapable of sexual intercourse. He has nothing to offer her, except his devotion -- and he's not even sure about that, since it might interfere with his writing.
>
> Meanwhile, Bauer is dealing with problems of her own. Kafka doesn't know that her father once abandoned her mother to live with another woman, that her sister is about to give birth to an illegitimate daughter and that her brother is a swindler (who eventually flees to America to avoid his creditors). Bauer has compensated by becoming a serious career woman, the sales representative for a dictation system called Parlographs. Her family counts on her, expects her to make a good match. So, naturally she falls more and more in love with this loser from Prague.
> Whenever the two meet, they are tongue-tied, and yet before long there is uncertain talk of marriage, eventually followed by a painful engagement ceremony. Not surprisingly, Kafka finally realizes that he simply can't face the prospect of a wedding and suddenly calls the whole thing off, at almost the last moment. Though Stach ends his book shortly after this, in 1915, Kafka fans know, Felice and Franz eventually started seeing each other again and, in 1917, they announced a second engagement. Kafka cancelled a second time, this time for good: By then, he was spitting up blood and diagnosed with tuberculosis. Nonetheless, he still had eight years to live and, surprisingly, there would be other women, as well as work on stories like "The Hunter Gracchus" and "A Hunger Artist" and the never-completed masterpiece The Castle .
>
> I can't say enough about the liveliness and richness of Stach's book. Even his chapter epigraphs, while apposite, are delightfully original. When he discusses Kafka's official duties, he heads the chapter with a quotation from the Portuguese writer (and sometime office worker) Fernando Pessoa: "What are desires compared to a promotion?" When he discusses "The Metamorphosis," he opens with a line from the pulp detective Charlie Chan: "Strange events permit themselves the luxury of occurring." In short, every page of this book feels excited, dynamic, utterly alive. My copy is now covered with pencilings and marginalia.
>
> Above all, though, Stach repeatedly underscores that Kafka never valued incompleteness or endorsed a romantic cult of the fragment. "The opposite is true. He greatly admired perfect formal unity and was determined to achieve it, a resolution evident in every one of his endeavors. His pursuit of formal perfection meant, his literary texts had to develop organically from their fictional and visual seed. There could be no arbitrary plot twists." After reminding us of Kafka's need to work in sustained bursts, he zeroes in on the author's creative problem: "Kafka suffered not from a lack of ideas but from a lack of continuations . . . . He demanded much more from his texts than formal unity; he sought. a seamless linking of all motifs, images, and concepts. . . . Not one detail of Kafka's descriptions, whether the color of a piece of clothing, a gesture, or simply the time of day, is merely illustrative. Everything carries meaning, refers to something, and recurs." Little wonder, almost everything fell short, in this quest for perfection.
>
> Near the end of these "decisive years" Kafka was working on The Trial. By now, he had written a handful of masterpieces -- and important professional reports for his insurance company; he had fallen in and out of love with Bauer while also flirting with (or even succumbing to) her close friend Grete Bloch; he had talked with Martin Buber about Zionism, dealt with the novelist Robert Musil as his editor, and attended a ballet in which Nijinksy danced. Though we must imagine Kafka in his noisy family apartment, living on vegetables and hidden in his room, we shouldn't forget, he also traveled to Venice and once stopped in Trieste, where he could have glimpsed Italo Svevo and James Joyce. (As he had learned Italian for his insurance work, he might have spoken to them.) And even this introspective and solipsistic genius eventually noticed when Europe went to war in 1914, though not for a while. His diary entry for August 2, 1914, reads: "Germany has declared war on Russia. --Swimming in the afternoon."
>
> Could this last, I have long wondered, be an example of Kafka's wit? (He could supposedly set his friends roaring with laughter when he read some of his stories aloud.) Certainly, one suspects a smile behind this passage in a letter to Bauer from 1913: "Are you finding any meaning in 'The Judgment,' I mean some straightforward, coherent meaning that can be followed? I am not finding any and I am also unable to explain anything in it." Many feel just as puzzled even now when they first finish reading the story.
>
> Such a strange man. But, this fine book helps us better understand that apparently-inexhaustible strangeness. Right now, Kafka even seems a useful counter-example to the ongoing cult of celebrity authors and bright, edgy writing. He destroys more than he publishes, he takes art as serious and life-changing; he views writing as a vocation of dissatisfaction, unhappiness and sacrifice. As he writes to Bauer: "I have no literary interests; I am made of literature. I am nothing else and cannot be anything else." This certainly sounds grandiose and exaggerated, but, in Kafka's case, it's also true.
> Michael Dirda is a critic for Book World.
'Lives on every page' according to Michael Dirda .......2005-11-29
Michael Dirda reviewed this book is the 'Washington Post' and found it to be a biography that lives on every page, and truly captures the spirit of its subject. The biography concentrates on the period 1910-1915 when Kafka writes some of his greatest work including the breakthrough story, 'The Judgment'. The 'Judgment'is written immediately after Kafka's first meeting with the woman who is to be one of his most important correspondents, and his two- time fiancee, Felice Bauer.
Dirda makes the case for Kafka as strange genius of human desolation and loneliness, of the message from the Emperor which never arrives, and the burrow which does not defend its inhabitant against invaders.
According to Dirda, Stach captures the spirit of Kafka who aimed at wholeness and became against his will the master of fragments. His great genius my own sense is in the smaller writings, a parable, a diary enter, a story and not in the longer narratives which seem to be too unrelentingly self- enclosed.
I would make one more comment about Kafka which is not about the excellent review of what the review claims is an outstanding biography.
Kafka had in his writing a kind of rare ability to make the very movings of the human mind, the very apprehensions present his own clear and deep lines, extraordinarily beautiful
In this Kafka is not the writer of Despair, but rather the great lover of Literature who makes us love life more because we see the greatness and Beauty which the human being can make with words.
Kafka in this sense I would maintain is the writer of hope for so many of us who need and love and find our refuge and rescue in words and more words.
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Reiner Stach Kafka: The Decisive Years.(Shorter notices)(Book review) : An article from: New Criterion
Courtney Andree
Manufacturer: Thomson Gale
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ASIN: B000FJGTEC
Release Date: 2006-04-29 |
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This digital document is an article from New Criterion, published by Thomson Gale on April 1, 2006. The length of the article is 437 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Reiner Stach Kafka: The Decisive Years.(Shorter notices)(Book review)
Author: Courtney Andree
Publication:
New Criterion (Magazine/Journal)
Date: April 1, 2006
Publisher: Thomson Gale
Volume: 24
Issue: 8
Page: 79(1)
Article Type: Book review
Distributed by Thomson Gale
Book Description
The period 1865-90 was one of unparalleled change in American frontier history. This span of 25 years witnessed the end of the traditional nomadic lifestyle of the plains Indians, the colonisation of the West by white settlers, and the first experience of the US army in fighting a form of irregular warfare for which its soldiers and commanders were untrained, and its equipment unsuited. That they acquitted themselves so well in the face of bureaucratic meddling, poor supply and appalling climatic conditions, speaks highly of the tenacity and physical toughness of the volunteers who served in the West.
Book Description
This illustrated 1941 technical manual was written by the War Department for cavalry farriers. Beginning with a discussion on anatomy and physiology of the equine hoof and leg, this manual goes on to describe forging and shoeing practices, traction devices and hoof care for hardworking horses. This 128-page reprint contains plenty of invaluable information, diagrams and historical value.
Book Description
Two events in the 19th century turned the minds of Americans westwards towards eventual and inevitable conflict with the Plains Indians. The first was victory in the Mexican-American War, which brought millions of acres of new land in the West. The second was the discovery of gold in California. One of the results of this migration was conflict with the Indians who inhabited the Plains. So it was natural that the Army, the nation's armed peace-keepers, should be sent to garrison the West. This book by Philip Katcher tells the absorbing story of the US cavalrymen who patrolled the Plains from 1850-90.
Customer Reviews:
Amazing book!.......2001-11-14
A great book about the development of uniforms, military organization and equipment of the US Cavalry in the XIX century. Incredible detailed and superb color plates by Ron Volstad. Excelent to complement other related titles about US Cavalry and American Plain Wars.
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- A compelling, informative primary source
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Let Us Meet in Heaven: The Civil War Letters of James Michael Barr, 5th South Carolina Cavalry
James Michael Barr
Manufacturer: McWhiney Foundation Press
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ASIN: 1893114244 |
Book Description
The most revealing and touching passages written during the American Civil War are found in letters exchanged by loved ones. The letters of South Carolina Cavalryman James Michael Barr to his wife Rebecca offer an excellent example. Barr enlisted as a private in the 5th S.C. Cavalry Regiment in January 1863, just as the fortunes of war began to turn against the South. After serving more than a year in its native state--away from the great battles farther north--the 5th S.C. Cavalry was called to the killing fields of Virginia.
All the while James Barr sent letters home. According to editor Thomas D. Mays, the most valuable of these concern the family farm--a middling operation supported by several slaves. Through his vigorous correspondence, Barr participated in his farm's operation, asking for details and providing instructions.
But Barr also supplied news from the front and described his life as a soldier, including word of the clash at Trevilian Station, where Barr was wounded.
Barr's letters have been preserved over the years by family members and were originally transcribed and compiled for publication by his granddaughter Ruth Barr McDaniel. This new and thoroughly researched volume springs from the efforts of her sons Raymond and Robert McDaniel to bring this unique and informative story to a wider audience.
Customer Reviews:
A compelling, informative primary source.......2001-12-13
Let Us Meet In Heaven is a compendium of letters written by James Michael Barr of the 5th South Carolina Cavalry, during the American Civil War. Editorial notes explaining place names and the like help make the letters instantly and immediately understandable to any reader; extensive familiarity with the battles of the Civil War is not needed to read and understand Barr's testimony. Let Us Meet in Heaven also includes an index makes for quick and easy reference. Let Us Meet In Heaven is a compelling, informative primary source and an invaluable contribution to Civil War studies reading lists and historical reference collections.
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The Fighting 10th: The History of the 10th Missouri Cavalry US
Len Eagleburger
Manufacturer: 1st Books Library
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Binding: Hardcover
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ASIN: 141403296X |
Product Description
Kurt H. Keller, co-author of "United States Army Shoulder Patches", continues the definitive study of military insignia with "Emblems of Honor", Volume IV of the US Army Patches series but the first of a new series of titles which will document the development of US Shoulder Patches from World War I to the Cold War. A valuable reference for collector's and students of military history.
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History Of US Cavalry
Rh Value Publishing
Manufacturer: Crescent
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ASIN: 0517460831
Release Date: 1985-08-27 |
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- collectors point of view
- Standard Work on this Subject
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Horse Soldier, 1776-1943, Us Cavalryman His Uniforms, Arms, Accoutrements, and Equipments. Vol 2: The Frontiers, the Mexican War, the Civil War, the (United States Cavalryman Series, His)
Randy Steffen
Manufacturer: Univ of Oklahoma Pr
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Binding: Hardcover
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Similar Items:
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The Horse Soldier, 1776-1850: The Revolution, the War of 1812, the Early Frontier (Horse Soldier, 1776-1943)
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The United States Cavalry: An Illustrated History, 1776-1944
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United States Military Saddles, 1812-1943
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ASIN: 0806114509 |
Customer Reviews:
collectors point of view.......2007-01-11
as a collector of militaria this book is one of the indispensable tools that i need to identify historicaly significant US cavalry uniforms and accoutriments.
Standard Work on this Subject.......1999-07-23
I was a friend of Randy from meeting him in 1991 til his death. He was one of the most persistent men I ever knew. Born in Oklahoma of mixed descent, Anglo and Native American, he attended the Naval Academy and served for many years. He became an accomplished artist and illustrator. He spent many years preparing his monumental work. Just when it was finished and ready to submit, he went to town on an errand, upon returning, he discovered his entire collection gone--the studio had burned to the ground. And he had to begin all over again. It is a testimony that he finished it and sent it in. Even though Volume Four was published post-humously. Not every man gets to fulfil his life's ambition as Randy did. Every illustration in this multi-volume work has been drawn by him from original materiel. Where relevent the complete text of regulations is quoted. For example, in the period which I research, that from the 1880s to today, the volume three, reprints the complete uniform regulations in the teens, not just the portion on mounted men. Thus, the work is useful also for those interested in the military up to 1943. One must elucidate on the title a bit. As stated, it is not just on the mounted horse cavalry so celebrated in John Wayne movies, but covers all the mounted troops, dragoons, mounted rifles, and cavalry in the period of the frontier expansion, before the Civil War, then both North and South, and the post war frontier patrolling days. Not only is the equipment, both individual and horse, of the cavalryman covered, so is that of the artillery man where it differed. The coverage is relevent to all mounted men--engineers, signalers, and hospital corpsmen, and their clothing and equipment.
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