In the Sun, Ben Lytal provides a brief overview to the new translation of Kafka’s stories by Michael Hofmann. It certainly sounds like it’s worth picking up, as are the Shocken translations he mentions, if you don’t have them already.
Now a new volume, “Metamorphosis and Other Stories” (Penguin, 320 pages, $14), also translated by Mr. Hofmann, rounds out this generation of major Kafka translations. By positioning this volume as a collection of everything that Kafka published in his lifetime, Mr. Hofmann pokes another hole in the old image of Kafka as “someone we are encouraged to think of as a publication-averse recluse.” Many of the stories collected here, especially the title story, are extremely well-known. But by packaging “The Metamorphosis” — which has lost the definite article in this translation — with 42 other stories and prose sketches in a Penguin Classics Deluxe Edition, the publishers make a bid to change the way new readers are introduced to Kafka.
Like many recent Penguin Classics Deluxe Editions, the cover of “Metamorphosis” has been illustrated by a well-known graphic artist (“Candide” got Chris Ware, “Metamorphosis” gets Sammy Harkham). The stark, modernist faces of yesterday’s Kafka paperbacks are gone. One of Harkham’s drawings, for instance, shows a messy bourgeois scene: Three men sit grumpily at dinner, while a young woman plays a violin and an older man snores in his armchair. A preponderance of detail — armchair, side whiskers, grandfather clock — combines to give the illustration a 19th-century, rather than modern, ambience. And over the whole image looms what seems at first to be a giant willow tree, massing in wavy black bunches that somehow droop, dividing into tendrils, over the bourgeois furniture — until we realize that the black bunches are no tree but, quite sensibly, hordes of little black beetles.
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Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .
From the late 1940s to the early 1950s, Egypt was going through a period of transition. The country’s people were growing unhappy with the corruption of power in the government, which had been under British rule for decades. The Egyptians’. . .
Miruna is a novella written in the voice of an adult who remembers the summer he (then, seven) and his sister, Miruna (then, six) spent in the Evil Vale with their grandfather (sometimes referred to as “Grandfather,” other times as. . .
Kamal Jann by the Lebanese born author Dominique Eddé is a tale of familial and political intrigue, a murky stew of byzantine alliances, betrayals, and hostilities. It is a well-told story of revenge and, what’s more, a serious novel that. . .