On Writing: How to Avoid Materials

Western book stack

Currently I’m working on the first of a series of essays that deal with the idea of tolerating the intolerant. For the first one, I’ll be using some old family stories. I’ve also picked out some recent headlines and current events for it. I plan to weave them in and make it all freshly relevant. Some literary comparisons from Camus and Cervantes will also be used.

And even though Kafka’s The Metamorphosis (Die Verwandlung) (1915) can be read in ways quite relevant to the topic of tolerating the intolerant, I don’t want to use it for this project, and I have refrained from rereading it.

Yes, Kafka’s story is in most English language short story anthologies. It’s often the first story by Kafka that students in the United States are exposed to. Yes, as the story progresses Gregor Samsa’s family grows less and less tolerant as their son changes into an insect. They grow so intolerant that, by the end, they celebrate Gregor’s demise by having a picnic. Yes, Kafka had a tremendous influence on Camus,[1] and Kafka took Cervantes very seriously, yes, yes, yes….

So Kafka’s tale might seem relevant to use.

But I don’t want to. In this particular story–or at least my multiple memories of reading it–Kafka exhausts me in a way Camus and Cervantes do not.

Maybe it’s that drab Prague apartment … and that dry humor … dry like the crust and crunch of salt crystals. Abrasive….

Restoration versus reservation: Perhaps if one leaves Kafka’s story in mental reserve for a while, its relevance will one day be restored and written about.  Or perhaps the tale is musty–like an old rug that’s been in the family for generations. Perhaps Kafka’s story needs to be taken to the yard and beaten with a broomstick until it is properly aired out.

Yet I don’t feel like the one to do the butler’s duties.


[1] Le Mythe de Sisyphe (The Myth of Sisyphus) (1942), trans. Justin O’Brien, (New York: Vintage Books, 1959) pp. 127, 130, 138; LÉtranger (The Stranger) (1942), trans. Stuart Gilbert, (New York: Vintage, 1954) pp. 11, 21, 99–100.

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