Abstract

Few twentieth century novelists have been subjected to as exhaustive and self-confident interpretations of the ultimate meaning of their work as was Franz Kafka. Veritable regiments of men of letters, psychoanalysts, sociologists, philosophers, and just plain busybodies followed the urge to formulate theories on Kafka’s concern with the alienation of Western man. Personal friends like Max Brod, dramatizers of the loveless world of The Trial, André Gide and Jean-Louis Barrault, analyzers of parental stunting of the child psyche like Josef Rattner, observers of Kafka’s Austro-Bohemian world like Pavel Eisner and Peter Demetz, investigators of traditional themes in Kafka’s fiction—notably of their Hebraic and Chasidic ingredients—like André Nemeth and Hartmut Binder, hunters of allegorical and parabolic semantics like Norbert Fuerst and Clements Heselhaus, all seem to share one common trait in their vastly differing approaches: a singular disrespect for the frequent hints made by the author himself as to his ultimate objectives.