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The story of The Trial’s publication is almost as fascinating as the novel itself. Kafka intended his parable of alienation in a mysterious bureaucracy to be burned, along with the rest of his diaries and manuscripts, after his death in 1924. Yet his friend Max Brod pressed forward to prepare The Trial and the rest of his papers for publication.
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Book ID Asin: 1451578644
Book Title: The Trial
Book Author: Franz Kafka
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Book Category: Books, Literature & Fiction, World Literature and unknown
Book Rating: 1,190 ratings
The Trial by Franz Kafka Book Review
Name: Rlotz
Rating: 5.0 out of 5 stars
Title: Everything You’d Expect
Date: Reviewed in the United States on March 27, 2014
Review: Back in university, I had a part-time job at a research center. It was nothing glamorous: I conducted surveys over the phone. Some studies were nation-wide, others were only in Long Island. A few were directed towards small businesses. There I would sit in my little half-cubicle, with a headset on, manipulating a multiple-choice click screen.
During the small business studies, a definite pattern would emerge. I would call, spend a few minutes navigating the badly recorded voice menu, and then reach a secretary. Then my menu instructed me to ask for the president, vice-president, or manager. “Oh, sure,” the receptionist would say, “regarding?” I would explain that I was conducting a study. “Oh…” their voice would trail off, “let me check if he’s here.” Then would follow three to five minutes of being on hold. Finally, she would pick up: “Sorry, he’s out of the office.” “When will he be back?” would be my next question. “I’m not sure…” “Okay, I’ll call back tomorrow,” I would say, and the call would end.
Now imagine this process repeating again and again. As the study went on, I would be returning calls to dozens of small businesses where the owners were always mysteriously away. I had no choice what to say — it was all on the menu — and no choice who to call — the computer did that. By the end, I felt like I was getting to know some of these secretaries. They would recognize my voice, and their announcement of the boss’s absence would be given with a strain of annoyance, or exhaustion, or pity. I would grow adept at navigating particular voice menus, and remembered the particular sounds of being on hold at certain businesses. It was strait out of this novel.
When I picked up The Trial, I was expecting it to be great. I had read Kafka’s short stories — many times, actually — and he has long been one of my favorite writers. But by no means did I expect to be so disturbed. Maybe it was because I was groggy, because I hadn’t eaten yet, or because I was on a train surrounded by strangers. But by the time I reached my destination, I was completely unnerved. For a few moments, I even managed to convince myself that this actually was a nightmare. No book could do this.
What will follow in this already-too-long review will be some interpretation and analysis. But it should be remarked that, whatever conclusions you or I may draw, interpretation is a second-level activity. In Kafka’s own words: “You shouldn’t pay too much attention to people’s opinions. The text cannot be altered, and the various opinions are often no more than an expression of despair over it.” Attempts to understand Kafka should not entail a rationalizing away of his power. This is a constant danger in literary criticism, where the words sit mutely on the page, and passages can be pasted together at the analyst’s behest. This is mere illusion. If someone were to tell you that Picasso’s Guernica is about the Spanish Civil War, you may appreciate the information; but by no means should this information come between you and the visceral experience of standing in front of the painting. Just so with literature.
To repeat something that I once remarked of Dostoyevsky, Kafka is a great writer, but a bad novelist. His books do not have even remotely believable characters, character development, or a plot in any traditional sense. Placing The Trial alongside Jane Eyre or Lolita will make this abundantly clear. Rather, Kafka’s stories are somewhere in-between dream and allegory. Symbolism is heavy, and Kafka seems to be more intent on establishing a particular visceral feeling than in telling a story. The characters are tools, not people
So the question naturally arises: what does the story represent? Like any good work of art, any strict, one-sided reading is insufficient. Great art is multivalent — it means different things to different people. The Trial may have meant only one thing to Kafka (I doubt it), but once a book (or symphony, or painting) is out in the world, all bets are off.
The broadest possible interpretation of The Trial is as an allegory of life. And isn’t this exactly what happens? You wake up one day, someone announces that you’re alive. But no one seems to be able to tell you why or how or what for. You don’t know when it will end or what you should do about it. You try to ignore the question, but the more you evade it, the more it comes back to haunt you. You ask your friends for advice. They tell you that they don’t really know, but you’d better hire a lawyer. Then you die like a dog.
Another interpretation is based on Freud. Extraordinary feelings of guilt is characteristic of Kafka’s work, and several of his short stories (“The Judgment,” “The Metamorphosis”) portray Kafka’s own unhealthy relationship with his father. Moreover, the nightmarish, nonsensical quality of his books, and his fascination with symbols and allegories, cannot help but remind one of Freud’s work on dreams. If I was a proper Freudian, I would say that The Trial is an expression of Kafka’s extraordinary guilt at his patricidal fantasies.
A different take would group this book along with Joseph Heller’s Catch-22 as a satire of bureaucracy. And, in the right light, parts of this book are hilarious. Kafka’s humor is right on. He perfectly captures the inefficiency of organizations in helping you, but their horrifying efficiency when screwing you over. And as my experience in phone surveys goes to show, this is more relevant than ever.
If we dip into Kafka’s biography, we can read this book as a depiction of the anguish caused by his relationship with Felice Bauer. (For those who don’t know, Kafka was engaged with her twice, and twice broke it off. Imagine dating Kafka. Poor woman.) This would explain the odd current of sexuality that undergirds this novel.
Here is one idea that I’ve been playing with. I can’t help but see The Trial as a response to Dostoyevsky’s Crime and Punishment. As their names suggest, they deal with similar themes: guilt, depression, alienation, the legal system, etc. But they couldn’t end more differently. Mulling this over, I was considering whether this had anything to do with the respective faiths of their authors. Dostoyevsky found Jesus during his imprisonment, and never turned back. His novels, however dark, always offer a glimmer of the hope of salvation. Of course, Kafka’s universe is devoid of hope. Kafka was from a Jewish family, and was interested in Judaism throughout his life. Is this book Crime and Punishment without a Messiah?
I can go on and on, but I’ll leave it at that. There can be no one answer, and the book will mean something different to all who read it. And what does that say about Kafka?
Name: theboombody
Rating: 2.0 out of 5 stars
Title: Might be fun to interpret, but it’s boring as heck to read
Date: Reviewed in the United States on November 25, 2006
Review: When I hear adjectives like absurd and surreal being used to describe an artistic work, I get all happy and excited. Carroll’s my favorite author and Magritte’s my favorite painter, so there was no doubt in my mind that I would fall in love with The Trial after the first page or two. That didn’t happen. No matter…maybe within the first few chapters I’d warm up to the book. Still didn’t happen. About halfway through I realized I wasn’t going to like The Trial at all, but continued to the end anyway so that I might post an informed review of the book right here on amazon.com.
Humor? Forget about it. Two laughs at the most. Kafka appears to have been a depressed, depressed individual. Now, if you’re heavily into pathos and criminal justice, Kafka might be a great author for you, but if you’re like me, and looking for the type of absurd that’s funny, Carroll’s the way to go.
The type of absurd in this book is limited to the dreary kind which lacks any kind of wondrous magic. The protagonist appears to be so completely apathetic, that when he’s killed by court order in the last chapter, a thought hits me — “Here lies a boring man.” I feel that his apathetic attitude didn’t contribute much to the book. Not a good trait to have in a main character.
Since this work was never finished, I don’t feel too bad about making editorial comments. In my opinion chapter 4 and the entire Fraulein Burstner character could be completely removed from the book without affecting anything. I see nothing but padding as far as these items are concerned. Perhaps they were meant to be developed more fully, but the author didn’t live long enough to complete the task. I also think chapters 2, 3, 8, and the first part of 7 are in need of severe abridgement. It shouldn’t take two whole pages to say, “This trial thing is getting in the way of the apathetic hero’s bank career.”
Chapter 9 is by far the best chapter, with an interesting parable about the doors one must enter to access the law. If you read this chapter alone and skip everything else, you won’t miss much. You might miss a guy in a bullfighter costume in a fragmented chapter somewhere, but that’s alright.
I think what Kafka was trying to do was make The Trial as real as possible and, at the same time, make it as weird as possible. It was an interesting idea, but unfortunately the result turned out to be an Alice in Wonderland without the magic and humor. Far more dull than I would have ever expected.
Kafka doesn’t seem like a bad guy. He seems nice, and I’m glad a lot of people like his work, but I’d be lying if I said, “Oh yeah, this book was awesome. I highly recommend it.” It just didn’t put a smile on my face, whereas many other books I’ve read in the past have done just that.
But perhaps I’m not the best person to consult for a review. Honestly, if the hero were something silly like a giant rooster, I might have given this book five stars.
Name: The Huntington Book Depository
Rating: 4.0 out of 5 stars
Title: Kafka’s tough, but this is a great hardcover edition
Date: Reviewed in the United States on June 19, 2020
Review: I decided to give this classic a read given my interest overall in the Everyman’s Library collection. These books come with an insightful introduction (which you are really going to find helpful with Kafka), as well as a biographical timeline of the author’s life and work. In short, you get a handsome and durable hardcover edition — at the same time you get the information to have the work and the author’s inspiration for the work placed into a broader context. If you’re going to read something, buy a nice quality edition like this and learn a little along the way.
I’ll warn you right now — Kafka’s not an easy read, and you don’t get a Deep Literature merit badge or anything for gutting it out through this book. There are parts that are insightful, parts that are weird, parts that are downright boring. But if you have to pick a Kafka novel this is actually a great place to start — the plot is pretty understandable, the feelings are relatable for those who have to deal with bureaucratic absurdity and frustration on a daily basis, the book is not all that long. You will definitely find the introduction to be helpful in explaining Kafka and his writing style, which will help you here as you wade into the shallow end of this particular author, so I’d strongly endorse this Everyman’s Library hardcover edition.
Name: Inquiring minds…
Rating: 4.0 out of 5 stars
Title: Interesting read
Date: Reviewed in the United States on August 27, 2022
Review: Very well written
