Franz Kafka's final novel tells the haunting tale of a man known only as K. and of his relentless, unavailing struggle with an inscrutable authority in order to gain entrance to the Castle. Although Kafka seemed to consider The Castle a failure, critics, in wrestling with its enigmatic meaning, have recognized it as one of the great novels of our century.
Unfinished at Kafka's death in 1924, the manuscript of The Castle was edited for publication by Kafka's friend and literary executor, Max Brod. Both Brod's edition and the English-language translation of it that was prepared by Willa and Edwin Muir in 1930 have long been considered flawed.
This new edition of Kafka's terrifying and comic masterpiece is the product of an international team of experts who went back to Kafka's original manuscript and notes to create an edition that is as close as possible to the way the author left it. The Times Literary Supplement hailed their work, saying that it will "decisively alter our understanding of Kafka and render previous editions obsolete."
Mark Harman's brilliant translation closely follows the fluidity and breathlessness of the sparsely punctuated original manuscript, revealing levels of comedy, energy, and visual power that have not been previously accessible to
English-language readers.
W. H. Auden likened Kafka to Dante, Shakespeare, and Goethe as the single most important writer of his age. Here, in this new edition, is a Kafka for the twenty-first century.
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They are perhaps the most famous literary instructions never followed: "Dearest Max, my last request: Everything I leave behind me ... in the way of diaries, manuscripts, letters (my own and others'), sketches, and so on, [is] to be burned unread...." Thankfully, Max Brod did not honor his friend Franz Kafka's final wishes. Instead, he did everything within his power to ensure that Kafka's work would find publication--including making some sweeping changes in the original texts. Until recently, the world has known only Brod's version of Kafka, with its altered punctuation, word order, and chapter divisions. Restoring much of what had previously been expunged, as well as the fluid, oral quality of Kafka's original German, Mark Harman's new translation of The Castle is a major literary event.
One of three unfinished novels left after Kafka's death, The Castle is in many ways the writer's most enduring and influential work. In Harman's muscular translation, Kafka's text seems more modern than ever, the words tumbling over one another, the sentences separated only by commas. Harman's version also ends the same way as Kafka's original manuscript--that is, in mid-sentence: "She held out her trembling hand to K. and had him sit down beside her, she spoke with great difficulty, it was difficult to understand her, but what she said--." For anyone used to reading Kafka in his artificially complete form, the effect is extraordinary; it is as if Kafka himself had just stepped from the room, leaving behind him a work whose resolution is the more haunting for being forever out of reach.
Mark Harman's new translation of "The Castle" was the winner of the Modern Language Association's Lois Roth Award (1999). The jury's citation read as follows:
"Mark Harman has produced a worthy successor to the long-established 1930 translation by Edwin Muir and Willa Muir. While maintaining high standards of literal accuracy and employing an English that is contemporary in its vocabulary and idiom, he has also fashioned a style that expressively re-creates Kafka's unsettling blend of the mundane and the unnerving, the wryly comic and the obliquely menacing. Harman's syntax in particular, with its controlled and grammatically subversive use of comma splices, captures the narrative's progressive mood of disorientation and bafflement. Mark Harman's translation has recharged the imaginative energy and impact of Kafka's novel, ensuring that its influence in English-speaking countries will in the next century be as powerful as it has been in this."
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