Franz Kafka : The Trial


According to Harold Bloom's The Western Canon, Kafka's The Trial is the greatest novel of the twentieth century.  What are the criteria for such a claim to make it justifiable?

Kafka had a "Never again psychology!" He also said "Psychology is impatience." His sentiments were very anti-Freud.  He, however, was not religious.  He said man is god-like in that he imposes meaning on his existence--but a barren one--for there is never character development in his stories and novels.  It is very hard to develop sympathy for the protagonists of his novels.  Joseph K. is the modern man, who is basically anonymous and remote in his affect.  He is certainly sane but does not understand the nature of the bureaucratic machinery in which he has become enmeshed.  Basically, he is indicted on a capital charge by an anonymous prosecutor in which he is not informed of the particulars.  Hence, he stands for every man in the twentieth century who has fallen to the violence of totalitarian governments.

Kafka enjoyed his marginality as a Jewish writer.  He was a very literal and factual man who expected no rescue or hope for a better future.  He lived for the here and now rather indifferently and purely intellectually.

The "indestructible" is a key theme in all of Kafka's writings.  There is an individual union that exists between human beings in which you simply are what you are with just a fundamental belief in one's self.  Freud, his adversary, does not know of an "indestructible" in us; the will to live finally falters in him.  Kafka is different.  Life itself has value, irrespective of personal circumstances.  Unlike Nietzsche and Kafka, Freud believed that an innermost self can be enhanced and fortified against the death drive, particularly through psychoanalysis. 


Consciousness, for Freud, is as false and wrongly hopeful as it is in Nietzsche and in Kafka.  Although Freud declines the mystical concept of being--the "oceanic sense", he nobly and desperately substitutes for it his own benign authority and tenders a "talking" cure for false consciousness.  Through transference, the psychoanalyst creates a secondary neurosis in which he instructs in the therapy room the client of his conflicts by acting them out in the office.  Kafka rejects all authority, including Freud's, and offers himself, and us, no cure whatsoever.  You have no right to expect anything in life, that is, the promise of heaven and/or earthly rewards and social justice.

His works are an allegory of Jewish fate in the twentieth century.  His characters are always victimized and never overcome adversity but accept it.  The situations he presents are very nightmarish and go far beyond being simply neurotic. His characters are never portrayed sympathetically.  There is a fixation on all of life's negativities.  His characters are basically paralyzed in their exercise of will by anxiety.


What are some of the defining traits of his themes?  There are several, listed below.

1. An eternally present tense.  Nothing really happens or changes.
2. What happens is fatalistic and inevitable.

3.There is a dream-like, paranoid presentation of reality, which is very unpleasant for the reader to experience.  He want to make us feel uncanny or uncomfortable in the world.
4. In his characters and story lines, there is an upsurge of repressed wishes which are often infantile in nature.  But these "monsters" from the unconscious are never given fulfillment in reality.
5. He has no beliefs or ideologies.  That is he is not selling you a bill of goods.  Rather, he is presenting a complex of affects that interact to frustrate the individual in the pursuit of his goals.
6. Kafka has a covenant with writing.  This is the "indestructible" element to which he is alluding.
7. No afterlife promised.
8. If you are to have redemption, the individual has to work it through in the here and now.  He has that possibility but nothing ever happens.  The antagonists are needlessly perverse in their behaviors.  There is much anxiety and sadomasochism in his stories.
9. What Kafka affirms is a primal human attribute of being godlike but secular, that is there is a knowing in which the indestructibility of reality is known, however perverted the situation in which an individual finds himself.  He must resign himself to it in order to adjust to reality.
10. There is a dialectical negativity at work in which writing is religion for Kafka.  Writing leaves a permanence beyond the individual.  Hence, writing is real and the individual
 transitory.  Again, we have at work the principle of indestructibility.
11. There is the priority of the unconscious sense of guilt which permeates Kafka, causing an arrest in character development.  His adults are not really mature but dependent in a childlike way on fate.
12. The "indestructible" is the will to power to overcome adversity--self destructive and self-hating force in Kafka based on patience, awaiting a savior/rescuer.  His individuals await a new dawn without a plan of action; his patience is based on the hope that things will right themselves in a chaotic universe where the rules of the game are not determinable to reason.  In actuality, he creates a situational ethics whose hell is other people who are malicious for their own sake.

His works are the product of a mass society and overdeveloped bureaucracy in modern times, anticipating totalitarianism with all its random violence and arbitrariness.  He is a prescient man but impotent in the face of life's challenges, for instance, in finding a woman.  He had one failed relationship in his whole life, which reflects itself in his thought experiments in his stories.  There is a lack of courage to overcome obstacles in life which, after all, are man-made and hence can be undone by man, too.


Kafka's The Trial  : The Parable of the Doorkeeper


The prison chaplain relates to Joseph K. the story of the doorkeeper and the country man.  The country man is trying to obtain the Law.  There is no law but only a web of undefined power relationships in a bureaucratic machinery which swallows up the individual.  No one is responsible.  In this matrix of power relationships, there is a dialectical tension between the doorkeeper and the country man leading nowhere over the lifetime of the petitioner for justice.  An Oedipal relationship develops between the two in which the man becomes increasingly dependent on the arbitrary authority of the doorkeeper who actually is the lowest level functionary in the System. 


There is an eternally recurring present in which the country man never develops a plan of action.  He asks questions that are theoretical and argumentative rather than practical.  In Freudian terms, there is a repetition compulsion at work of stereotypical behaviors that have no purposeful end.  A hellish world is presented in which there is a reversal of reality by assuming the guilt rather than the innocence of the supplicant.  It is a metaphysical type of guilt since there are not even formal charges against the country man.  Apparently, he comes there seeking definitive answers to the Law--which is mythic or nonexistent, much like in totalitarian societies.  The Law is the Unconscious, that is the will to power in conjunction with pure, unadulterated aggression.

The doorkeeper is in a state of delusion, for he, too, is a victim in that he must wait on the petitioner for him to be relieved of his duty to guard the door.  He has no idea how the hierarchy of authority works; he simply follows orders.  Again, this presentation of reality is an allegory for oppressed minority groups and mass man.  His job is over when the country man dies; hence, who is dependent on whom?  They have a mutually interdependent relationship, but they are not helpful to one another.  Both are flat and dull in their affect, and they use words insincerely in a double speak in which there is no attempt to arrive at the truth of the matter. 

Both basically are ignorant of the laws, because without a working definition the laws are meaningless and keep people resigned to their fate.  Hence, the whole scenario is one of predestination.  There is no compulsion or overt violence manifested.  Rather, free will operates with necessity (love and death) to cancel each other out.  The scene, then, celebrates the nihilism inherent in existence.  There is the mood of sadomasochism, once again, pervasive through this master/slave relationship.  The country man as the victim/slave sees the "radiance" emanating from behind the door.  He at least knows more than the guardian, although both will never know it in an empirical sense.  Again, the picture of a "botched" universe comes up.

We have a representation of a representation of a representation in which the Unconscious is the ultimate subjectivity.  The first representation is the doorman and the countryman; the second is the priest and Joseph K.; the third representation is of Kakfa and the Jews, who are anticipating totalitarian societies with the subject being the unconscious in all its plenitude.  A frightening nihilism results leaving existence suspended.

"The Law is beyond human judgment," according to the priest.  But laws are man-made, unless he is alluding to a higher law of necessity in which everything decays and dies.  The Unconscious turns against the ego, the doorkeeper, and the superego, the country man, to destroy both.  You can be too civilized in your conduct, leading to an inability to be proactive in willing your life to affirmative decisions.

"Lying is a universal principle," according to the country man.  The unconscious does not lie or tell the truth; it merely wills itself to power and annihilates life.  So, the law and lying are only derivative from an existence which has so much in-built tension and then implodes.  But to this existence we cannot give meaning.

The principle of indestructibility resides in the powers of the Unconscious--the Law is Das Es in which human lives transmit the energy of the death instinct.  The only traces left are in the script, the Law.  Hence, writing is permanence only in a very transcendental sense.  Life is futility.  The Unconscious and aggression fuse into a Subjectivity in forging a secular god creating hell on earth for humans.