The Impossibility of Translating Kafka

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The Impossibility of Translating Kafka
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If Franz Kafka, who was born on this day in 1883, deemed it impossible to be himself, then what chance can a translator have to snare his mind?

That Kafka breathed and thought and aspired and suffered in German may be the ultimate exegesis of everything he wrote.Franz Kafka is the twentieth century’s valedictory ghost. In two incomplete yet incommensurable novels, “The Trial” and “The Castle,” he submits, as lingering spirits will, a ghastly accounting—the sum total of modern totalitarianism. His imaginings outstrip history and memoir, incident and record, film and reportage.

Nor was modern Czech anti-Semitism without its melancholy history. Anti-Jewish demonstrations broke out in 1848, when the Jews were granted civil rights, and again in 1859, in 1861, and in 1866. In 1897, the year after Kafka’s bar-mitzvah observance, when he was fourteen, he was witness to a ferocious outbreak of anti-Jewish violence which had begun as an anti-German protest.

“I’ve often thought that the best way of life for me would be to have writing materials and a lamp in the innermost room of a spacious locked cellar,” he ruminated to Felice Bauer. When he spoke of the impossibility of writing German, he never meant that he was not a master of the language; his wish was to be consecrated to it, like a monk with his beads. His fear was that he was not entitled to German—not that the language did not belong to him but that he did not belong to it.

But this is not an argument that can be decided only on the ground of textual faithfulness. The issues that seize, grab, fall upon, overwhelm, or waylay translation are not matters of language in the sense of word-for-word. Nor is translation to be equated with interpretation; the translator has no business sneaking in what amounts to commentary. Ideally, translation is a transparent membrane that will vibrate with the faintest shudder of the original, like a single leaf on an autumnal stem.

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