To me, he is a kind of everyman, a person in pain, protesting too much about his sense of security, but going through a metamorphosis. He does not seem to know where he stands with people, and Fraulein Burstner seems to wearily tolerate him. At the start, Joseph is kind of like Gregor in THE METAMORPHOSIS—his family is proud of him, and he had learned to maintain his status, at some cost to his self-esteem. Read More
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Kafka's _The Trial_: what it really takes to make that prepare for that passage to "The True World" Roth visited after his 1936 trial.
November 27, 2015
Joseph K changes his identity completely in the course of the novel. One might say it is changed for him, but the very distant narrator avoids not only emotional involvement, but anything definite about what is going on (or even how things began or ended). He says “someone must have slandered Joseph” on the first page and “It seems the shame was to outlive him” at the end. It’s like the comedian’s shrug of the shoulders after telling a howler.
To me, he is a kind of everyman, a person in pain, protesting too much about his sense of security, but going through a metamorphosis. He does not seem to know where he stands with people, and Fraulein Burstner seems to wearily tolerate him. At the start, Joseph is kind of like Gregor in THE METAMORPHOSIS—his family is proud of him, and he had learned to maintain his status, at some cost to his self-esteem. Read More
To me, he is a kind of everyman, a person in pain, protesting too much about his sense of security, but going through a metamorphosis. He does not seem to know where he stands with people, and Fraulein Burstner seems to wearily tolerate him. At the start, Joseph is kind of like Gregor in THE METAMORPHOSIS—his family is proud of him, and he had learned to maintain his status, at some cost to his self-esteem. Read More
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Lilith, Hasidic Folklore in a Pulp Crime Paperback, 1952
September 8, 2015
David Goodis’ _Of Tender Sin_ (1952) was published as a mass-market pulp novel of mean streets, crime, and forbidden love (“strange bypaths of his own twisted emotions”). Beyond those selling points are sexual desire thwarted by a primordial sense of guilt, sado-masochism, incest, romantic idealism contrasted with demeaning lust, and a vivid picture of slum life in post-war America. These topics appeared in many crime novels by writers such as Charles Willeford, Jim Thompson, Dorothy B Hughes, Horace McCoy, and others. What is exceptional in Of Tender Sin is not, therefore, his allusions to Freud, Faulkner, Hemingway, or Kafka, or that Goodis used folklore and myth to drive his narrative pace. What was unique was that Goodis chose biblical and Hasidic story involving deadly storms, doppelgangers and demons, especially Lilith. If there is a more noirish work of literature than the Old Testament (Tanack), shout it out.
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