Five years ago Gregor Samsa’s family fell on hard times when his father’s business went bust, owing a lot of money. Gregor had been working as a clerk, but stepped into the breach by becoming a travelling salesman and was soon earning enough money to cover all the family’s costs. During those years his father grew old and fat and used to trudging round the apartment in his dressing gown, his mother grew frail and increasingly prone to asthma attacks, and his little sister, Grete, went from being a schoolgirl to a young woman of 17. Only Gregor’s hard work and iron discipline kept the little family afloat, financially.

Then, one morning, Gregory awoke from a bad night’s sleep to discover he had been transformed into a man-sized insect, something like a wood louse.

As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect. (Willa and Edwin Muir, 1933)

Gregor Samsa woke from uneasy dreams one morning to find himself changed into a giant bug. (J.A. Underwood, 1981)

One morning, when Gregor Samsa woke from troubled dreams, he found himself transformed in his bed into a horrible vermin. (David Wyllie, 2002)

Thus begins one of the most famous short stories ever written, The Metamorphosis. The plot, as such, is easily summarised. His family is horrified at his transformation but, once they’ve overcome their initial shock and repugnance, the main impact is financial: they realise they’ll have to go out to out to work, and so Grete takes a job as a shop assistant, Gregor’s father gets a job as a bank commissionaire and his mother takes in lingerie to darn and repair.

Gregor, for his part, on the first day of his change, is mostly concerned that he’s going to be late for work i.e. keeps on thinking the harassed thoughts of a much put-upon employee in a big firm. So he is mortified when the Chief Clerk from his office turns up to find out why he’s late. The striking feature of this early section, as of the work as a whole, is how everyone accepts the miraculous fact of the metamorphosis, and continues thinking their mundane anxious thoughts.

Quite quickly a pattern settles onto the little household: Gregor’s sister brings in leftover food for him to eat before leaving for work, then removes the leftovers in the evenings. (Kafka gives some thought to what a giant insect would eat, thus he completely ignores the initial offering of bread in milk, and he, and they, learn that he prefers rotten vegetables.)

The Samsa’s cleaning woman quits in horror, but another, more working class one is brought in, who treats Gregory phlegmatically, threatening him with a broom or a chair if he comes out from under his sofa (his favourite hiding place) when she’s trying to clean his room.

Although Gregory can perfectly understand what everyone else is saying about him, when he tries to speak it comes out as an unpleasant squeaking sound and they understand nothing. Thus, from the moment of waking that fateful morning, he continues to have entirely human thoughts and feelings but can express them to no-one. They think he has become an animal and thinks like an animal.

The third-person narrator continually explains Gregory’s feelings to us, and the striking thing about them is how little he is changed, how utterly unfreaked-out he is by what’s happened to him, but instead how he tries to make it up to his family, continues to feel guilty that he is no longer the bread-winner, wishes he could join them at the family dinner table like in the old days, and so on.

But in reality, his new body has other plans. Just as it prevents him from speaking and from expressing his human thoughts, so it foils his human wishes. Only slowly does Gregor learn what makes it happy, namely scurrying all over the walls and even the ceiling of his room, leaving sticky tracks everywhere.

In one scene half way through, his sister realises he’ll be happier if they remove all the furniture getting in his way and so gets their frail old mother to give her a hand manoeuvring heavy wardrobes and tables out of his room. Although it is also marks a psychological turning point, marking the moment when he and his family realise the old Gregor is never coming back.

It’s during the furniture moving that Gregor unwisely comes out of the bedroom, the sight of him making his mother hysterical (she has mostly refused to enter his room or accept what’s happened). And it’s at this moment that his father, much revived and invigorated by his new job as a bank commissionaire, arrives home from work, and chases Gregory round the family living room, before starting to pelt him with apples from the fruit bowl.

One of these apples lodges in Gregory’s back (it’s not explicitly described how but this fact only really makes sense if Gregory has a highly segmented shell like a woodlouse) and, over the coming weeks, rots and seems to spread infection through his body.

In the final act the Samsa family take in three lodgers, and there is some characteristically dry Kafka humour at the expense of these three pompous, formal, grey-bearded old men, exactly the kind of dry pompous nitwits he satirises in the later novels. Their role here is to demand that breakfast and dinner are served precisely on time and exactly as they like it, while the Samsa family are forced to go and eat their meals in the kitchen.

One evening Gregory’s sister Grete starts practicing her violin in her bedroom, which prompts the three worthies to ask Mr Samsa to ask her to come out and perform for them in the living room (everyone dressed, remember, in Edwardian frocks and top hats). Unfortunately, the door to Gregory’s room has been left open and he lets himself be so entranced by the music that he inches into the living room on numerous scrappy little woodlouse legs.

Suddenly the lodgers spot him. Now what makes this moment very Kafkaesque is that you or I, if we were in a room listening or playing music with friends, and a giant, human-sized insect slowly nudged its way through the door, you or I might start screaming and run for the window. But I think the most telling fact I know about all Kafka’s work is that, when he read his stories out loud to his small coterie of literary friends, they would often laugh out loud at various incidents and Kafka himself often had tears of laughter streaming down his face.

Kafka didn’t know there was going to be a Holocaust, that the Bolshevik experiment would lead to mass famine and show trials, that concentration camps would be set up across Europe from Alsace to Archangel within a few years of his death. In other words Kafka wasn’t privy to the enormous weight of historical, sociological, political and cultural weight which was going to be assigned to his writings by later, especially post-war, critics and readers.

If you do read all this catalogue of disaster back into his writings then it is easy to make them prophetic of the bureaucratic dehumanisation of human beings which was the central characteristic of the twentieth century, and make him into a prophet of anxiety and alienation.

On the other hand, if you try to put to one side the enormous freight of existential angst with which the works are now cluttered, then that allows you to be more flexible in your response – for example, to see that it is genuinely funny that the three pompous old men don’t run screaming out the room when they see a giant insect aproaching, but immediately turn to Mr Samsa senior and, not only give him formal notice that they are quitting his rooms, but also insist that they are not going to pay a penny of the rent they owe, knowing as they now do, that they have been living next to a monster!

In the end Gregory dies. He stops eating and wastes away. Is it due to the infection caused by the rotten apple lodged in the plates of his back? Or to the subtler process, which Kafka records slowly coming over him, whereby he slowly loses his vision and becomes more and more insect-like in his behaviour?

Or is it because, after the three tenants serve notice to quit, Gregor for the first time overhears his family discussing what to do with it, and realises that for the first time his sister, who had been so quietly sympathetic and thoughtful (realising what kind of food a giant insect would want, clearing the furniture out of his room) has given up on him, no longer recognises the inset as Gregor, and now regards him as just an insect, a piece of vermin which needs to be eradicated.

Whatever the reason, the story has to end and the only way Kafka can think of doing so is by killing off his protagonist. As he does in The Trial and intended to do in The Castle.

Summary

So what does the Metamorphosis tell us about the ‘Kafkaesque’, what does it have in common with The Trial or The Castle?

1. It has one central male protagonist.
2. He is lower-middle-class but has a respectable white collar job (i.e. is not a writer or poet etc).
3. He is oppressed by the squabbles and rivalries and office politics and pressures of his job.
4. One day his life is changed by a catastrophic event.
5. But the nature and meaning and character of this event remain puzzlingly obscure.
6. But what is almost more puzzling is the way everyone carries on acting as if things are more or less normal. For example, Gregory’s main thoughts aren’t at all about finding a ‘cure’ for his condition, but, initially, are guilt about being late for work, or not turning up day after day as he has become so used to doing – and then almost entirely about wishing he could help the family with the ensuing financial crisis. So the ‘Kafkaesque’ is something to do with the clash or juxtaposition between the Weird and the extremely mundane, boring, quotidian setting and concern of the characters. For example, I was struck by the way the Samsa family doesn’t consider consulting a doctor, let alone bringing in scientists or informing the authorities – no, they just carry on life as before except that, irritatingly, they now have to go out and get jobs and, oh yes, there’s a giant insect living in one of their bed rooms.

And 6. as mentioned above, the only way the story can really end – as with most of his other stories – is with the death of the protagonist because the plights they are condemned to are lifelong, are existential, are unalterable.

Kafka’s verbosity

One of the other really consistent characteristics of Kafka’s fiction is the astonishing verbosity of the characters. They never say something in a sentence when they could take a page and a half.

This extreme verbosity also allows for another Kafkaesque quality, which is the hand-wringing-, hyper-sensitive way the characters over-think and super-worry about even simple situations, even about whether to speak to someone else, or what someone else meant when they just said something, they can agonise for paragraphs.

For example, on the first day of the transformation, a few hours after Gregory has failed to turn up for work, the Chief Clerk from his office pays the Samsa family a visit. As soon as Gregory hears the Chief Clerk’s voice through the door, he is thrown into a (characteristic) state of anxiety and resentment:

Gregor only needed to hear the visitor’s first words of greeting and he knew who it was – the chief clerk himself. Why did Gregor have to be the only one condemned to work for a company where they immediately became highly suspicious at the slightest shortcoming? Were all employees, every one of them, louts, was there not one of them who was faithful and devoted who would go so mad with pangs of conscience that he couldn’t get out of bed if he didn’t spend at least a couple of hours in the morning on company business? Was it really not enough to let one of the trainees make enquiries – assuming enquiries were even necessary – did the chief clerk have to come himself, and did they have to show the whole, innocent family that this was so suspicious that only the chief clerk could be trusted to have the wisdom to investigate it? And more because these thoughts had made him upset than through any proper decision, he swung himself with all his force out of the bed.

Wherever you look it up, you’ll find definitions of the ‘Kafkaesque’ invoking ideas of the nightmareish struggle of the individual against a huge, faceless bureaucracy.

Kafkaesque – characteristic or reminiscent of the oppressive or nightmarish qualities of Franz Kafka’s fictional world.

But just as important and intrinsic to his style is the extreme long-windedness of the dialogue, the extraordinary inability of the characters to say in a sentence what can’t be stretched out into a couple of pages of tortuous, shifting, ambiguous and anxiously self-interrogating prose. It’s this quality more than anything else – more than the ‘meaning’ or the symbolism or even the oppressive atmosphere – which makes the novels so hard to read.

Here is (part of) the exchange between the Chief Clerk speaking through the door to Gregory.

The chief clerk now raised his voice, ‘Mr. Samsa,’ he called to him, ‘what is wrong? You barricade yourself in your room, give us no more than yes or no for an answer, you are causing serious and unnecessary concern to your parents and you fail – and I mention this just by the way – you fail to carry out your business duties in a way that is quite unheard of. I’m speaking here on behalf of your parents and of your employer, and really must request a clear and immediate explanation. I am astonished, quite astonished. I thought I knew you as a calm and sensible person, and now you suddenly seem to be showing off with peculiar whims. This morning, your employer did suggest a possible reason for your failure to appear, it’s true – it had to do with the money that was recently entrusted to you – but I came near to giving him my word of honour that that could not be the right explanation. But now that I see your incomprehensible stubbornness I no longer feel any wish whatsoever to intercede on your behalf. And nor is your position all that secure. I had originally intended to say all this to you in private, but since you cause me to waste my time here for no good reason I don’t see why your parents should not also learn of it. Your turnover has been very unsatisfactory of late; I grant you that it’s not the time of year to do especially good business, we recognise that; but there simply is no time of year to do no business at all, Mr. Samsa, we cannot allow there to be.’

‘But Sir’, called Gregor, beside himself and forgetting all else in the excitement, ‘I’ll open up immediately, just a moment. I’m slightly unwell, an attack of dizziness, I haven’t been able to get up. I’m still in bed now. I’m quite fresh again now, though. I’m just getting out of bed. Just a moment. Be patient! It’s not quite as easy as I’d thought. I’m quite alright now, though. It’s shocking, what can suddenly happen to a person! I was quite alright last night, my parents know about it, perhaps better than me, I had a small symptom of it last night already. They must have noticed it. I don’t know why I didn’t let you know at work! But you always think you can get over an illness without staying at home. Please, don’t make my parents suffer! There’s no basis for any of the accusations you’re making; nobody’s ever said a word to me about any of these things. Maybe you haven’t read the latest contracts I sent in. I’ll set off with the eight o’clock train, as well, these few hours of rest have given me strength. You don’t need to wait, sir; I’ll be in the office soon after you, and please be so good as to tell that to the boss and recommend me to him!’

It seems to me that the oppressive or nightmareish quality of the stories is conveyed just as much by the long-winded verbosity and over-elaborate articulacy and self-justifying loquaciousness of the dialogue as it is by the actual ‘plots’.

Related links

• The Trial on Amazon
• Metamorphosis online, translated by David Wyllie

Related reviews

Dates are dates of composition.

• The Stoker (1911-12)
• America (1911-12)
• The Metamorphosis (1912)
• In the penal colony (1914)
• The Trial (1914-15)
• Max Brod’s afterword to the Trial
• The Castle (1922)