Jorge Luis Borges on Franz Kafka (1981)

In 1981 Cardinal published a collection of all the short stories which Kafka published during his lifetime, from the first story in 1904, to the last ones published just after his death in 1924 – a working life of precisely 20 years. They are all here in new translations by J.A. Underwood. The edition is interesting because it gives a brief textual explanation before the major stories, explaining when they were written, and when published.

It also contains a brief three-page essay on Kafka by the great Argentinian writer Jorge Luis Borges, which can be summarised as follows:

Why Kafka wanted his works destroyed

Borges starts with Kafka’s injunction to Max Brod to burn his works. He compares this to Virgil’s request to his friends to destroy the manuscript of the Aeneid. As a practising author Borges gives a nice interpretation of both men’s wishes to destroy their masterworks, namely they didn’t want them actually to be destroyed, but

longed to disburden themselves of the responsibility that a literary work imposes on its creator.

Anyone familiar with The Trial or The Castle can immediately see how this applies to Kafka; they’re great works but they’re nowhere near finished and the effort to review, reorder and restructure them, and then to write all the linking passages and the final chapters required to bring them to a successful conclusion would daunt a lesser man and was clearly beyond Kafka. All he felt was the guilt and shame of failure.

Kafka’s works are like:

a parable or series of parables on the theme of the moral relationship of the individual with his God and with  his God’s incomprehensible universe.

They are less like what we call literature and closer to an ancient religious work like the Book of Job. Borges emphasises Kafka’s religious, and specifically Jewish, motivation. He thinks Kafka saw his work as an act of faith, and he did not want his writings to demotivate others (as they surely must have).

Borges goes further and suspects Kafka could a) only dream nightmares and b) was interested or hypnotised by delay and failure, which is why he produced a body of work solely about nightmares, and about nightmares which never reach a conclusion but are endlessly delayed… Borges thinks Kafka’s own imaginative vision wore him out.

And knowing how it wore him down, is why Kafka wanted the works burned, so as not to discourage others from seeking for happiness. (This is the same sort of terminology Brod uses in his defence of not burning the works in his afterword to The Trial).

When Borges first read Kafka

Borges slips in a memory of his own youth when he first came across Kafka; He was reading an avant-garde magazine full of modish experiments with text and font and layout but which also included a story by Kafka which, to his eternal shame, he thought insipid and so ignored.

Kafka’s Jewishness

He thinks Kafka’s Judaism is central. He thinks Kafka was as much in awe of his father as Israel is of its punishing God. He thinks Kafka’s Jewishness ‘set him apart from humanity’ and was ‘a torment to him’. So far so fairly basic.

Hierarchy and infinity

More interestingly, Borges goes on to speculate that Kafka’s work is underpinned by two big ideas, subordination and infinity. In almost all his stories we find hierarchies and those hierarchies tend to be infinite. Thus:

  • the hero of America roams across the land of the free until he is admitted to the great Nature-Theatre of Oklahoma which is an infinite stage, no less populous than the world
  • the hero of The Trial tries to understand the nature of the hierarchy of the Court and the authorities who have arrested him and are managing his case, but every step of the investigation only reveals how impenetrably vast and never-ending the hierarchy is
  • the hero of The Castle is summoned to work for authorities at a castle who never acknowledge him or his task

Infinity and incompletion

Borges says some critics complain about the fact that all three novels are unfinished and lament the absence of the chapters which would complete them. Borges says this is to misunderstand Kafka, to misunderstand that his subject was precisely the infinity of obstacles his heroes had to overcome. The novels are incomplete because it is ‘essential’ to their artistic purpose that they remain incomplete.

Borges compares the impossibility of completing a Kafka novel to Zeno’s paradox about the impossibility of movement.

Suppose Zeno wishes to walk to the end of a path. Before he can get there, he must get halfway there. Before he can get halfway there, he must get a quarter of the way there. Before traveling a quarter, he must travel one-eighth; before an eighth, one-sixteenth; and so on. Describing the task in this way requires Zeno to perform an infinite number of tasks which is, of course, impossible. (Wikipedia)

Intolerable situations

Moving swiftly on Borges suggests that Kafka’s greatest gift was for inventing intolerable situations. Anyone thinking of The Metamorphosis or In the Penal Colony would agree.

But Borges instances something a little different, which is the tremendous imaginative power of some of his ideas, which engrave themselves on our minds.

Leop­ards break in­to the tem­ple and drink all the sac­ri­fi­cial ves­sels dry; this happens over and over and, in the end, it can be predicted in ad­vance and so becomes in­cor­po­rat­ed in­to the rit­ual. (The Zürau Aphorisms)

These short parables from early in his career describe something different from the longer works: it is something to do with infinity and paradox, but harder to define, and less amenable to the kind of sociological interpretations which the novels are routinely subjected to.

Invention over craft

Borges makes a few controversial claims right at the end of this short essay:

Kafka’s craft is perhaps less admirable than in his invention, certainly in the way that all the stories feature basically the same character, Homo domesticus, ‘so Jewish and so German’, so desperate to keep his place in his bank or office or profession or employment.

He says ‘plot and atmosphere are the essential characteristics of Kafka’s work and not the convolutions of the story or the psychology of the hero.

We can quickly agree that few of the novels or stories have a ‘plot’ in the conventional sense of a beginning, middle and an end. His most famous stories tend to record a steady decline in circumstances and psychology until the protagonist dies.

When Borges writes that Kafka’s work doesn’t bother much with the psychology of the hero, I suppose what he means is that none of his protagonists are changed by events in the way that a classical novel is all about the change and growth in thinking and opinions of its main characters. The protagonists psychologise at very great length indeed, but, in a sense, it is always the same problem they are worrying over, and they are permanently caught in the same predicament or trap which shows no real psychological development or change.

Which is why Borges concludes that the short stories are superior to the novels, because they capture this atmosphere and this plight with greater purity and force.

Personally, I disagree. I think everyone should read The Trial because it gives you the essence of the Kafkaesque – and that the stories, being far more diverse, strange, varied and complex than the novels, tend to confuse and perplex your view of who Kafka is: the more you read of him, the less confident you become about being able to make useful generalisations.


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Dates are dates of composition.

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