Recently released by Princeton University Press, Kafka’s Office Writings may well be the last of the last of the Kafka texts to appear in English. Kafka’s writings as a professional lawyer with the Workmen’s Accident Insurance Institute, may not seem to hold a lot of promise, but the description of the contents sounds strangely intriguing (though I may just be seduced by the jacket copy):
These documents include articles on workmen’s compensation and workplace safety; appeals for the founding of a psychiatric hospital for shell-shocked veterans; and letters arguing relentlessly for a salary adequate to his merit. In adjudicating disputes, promoting legislative programs, and investigating workplace sites, Kafka’s writings teem with details about the bureaucracy and technology of his day, such as spa elevators in Marienbad, the challenge of the automobile, and the perils of excavating in quarries while drunk.
(And I always heard you excavate quarries better after having a few . . . )
To celebrate this release, Nextbook has been running a five-part series by Joshua Cohen about the office writings and its relation to Kafka’s other works:
Kafka’s office writings, as presented here, cannot be read on their own (they are incomprehensibly boring) but, instead, must be read as companions, to demystify the three novels and stories (which are anything but boring). Taken together, though, both workaday fact and masterwork fiction create a network of connections that exposes not just the concerns of a single writer, but also that of a singular culture—the culture of the Office, which has imposed itself on what used to be our lives.
[Update: Part 5 — Conclusion is now available.]
Over the next week or so, I’ll be unveiling all six of Open Letter’s spring 2009 titles. Our finished catalog will be back from the printer in the not-too-distant future, and on our website before that, but I thought it would be fun to give a bit of special attention to each of the titles.
First up is a reprint of Jakov Lind’s Landscape in Concrete, which will come out in March. (We’re also bringing out Ergo next fall, around the same time that the New York Review Books brings out Soul of Wood.)
Lind died last February, and it was the wave of fascinating obituaries that caught our editorial interest. Before picking up a single title, I was intrigued by his very strange biography. From the eulogy Anthony Rudolf gave at Lind’s funeral:
Where does the story begin? Jakov was born in 1927 in Vienna into an assimilated Jewish family. A few months after the Anschluss in 1938, his parents sent him on a children’s transport to Holland. There he joined one of many Zionist farms or training centres across Europe, in preparation for kibbutz life in the Yishuv, the pre-state Jewish community in Palestine. As we know from his fascinating and sophisticated autobiographies written in English, the tough-minded teenager, at odds with those Dutch Jews who did not resist deportation, went underground. He survived the war in Germany as a Dutch merchant seaman on a barge. He tells us that it was safer for a Jew to be in Germany “inside the lion’s mouth” rather than in Holland, where you would feel “its teeth and claws”. He even survived a physical examination when he checked into a hospital for venereal disease. “What, that too?” said the male nurse with a laugh, after inspecting the culprit.
The mutability of identity is a common theme throughout Lind’s life and work. In fact, Jakov Lind is actually a pseudonym—as Sasha Weiss details in her excellent essay, he was born Heinz Landwirth, changed his name to Jan Overbeek when he pretended to be Dutch seaman, and then became the author Jakov Lind.
In addition to his works of fiction—which are strange, brilliant books that can be a bit disturbing, but are also very funny in a sort of Beckettian way—he also wrote a “memoir trilogy” consisting of Counting My Steps, Numbers, and Crossing. And relating to his shifting identity and background, he wrote all of these in English.
Landscape in Concrete is set during World War II and features Sergeant Gauthier Bachmann, a totally unhinged German soldier who was discharged for insanity. The book opens with him wandering the forests searching for any company that will take him and let him participate in the war—as a German man it’s his duty to fight. Along the way he literally stumbles into Schnotz, a deserter and poisoner who is hiding in a hole in the woods waiting for the war to end. This excerpt features the beginning of their conversation.
The book gets darker and more odd as it develops, and as various people manipulate the hapless Bachmann. He’s very innocent at the beginning of the novel, but war can change people . . .
For more information about Lind and his works I’d also recommend checking out Joshua Cohen’s article Paying Tribute to a Living Legend, written shortly before Lind’s passing.
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .