داستان‌های پس از مرگ

by Franz Kafka, علی‌اصغر حداد

184 pages

First published February 29, 2000

About the author

Franz Kafka was a German-speaking writer from Prague whose work became one of the foundations of modern literature, even though he published only a small part of his writing during his lifetime. Born into a middle-class Jewish family in Prague, then part of the Austro-Hungarian Empire, Kafka grew up amid German, Czech, and Jewish cultural influences that shaped his sense of displacement and linguistic precision. His difficult relationship with his authoritarian father left a lasting mark, fostering feelings of guilt, anxiety, and inadequacy that became central themes in his fiction and personal writings.
Kafka studied law at the German University in Prague, earning a doctorate in 1906. He chose law for practical reasons rather than personal inclination, a compromise that troubled him throughout his life. After university, he worked for several insurance institutions, most notably the Workers Accident Insurance Institute for the Kingdom of Bohemia. His duties included assessing industrial accidents and drafting legal reports, work he carried out competently and responsibly. Nevertheless, Kafka regarded his professional life as an obstacle to his true vocation, and most of his writing was done at night or during periods of illness and leave. Kafka began publishing short prose pieces in his early adulthood, later collected in volumes such as Contemplation and A Country Doctor. These works attracted little attention at the time but already displayed the hallmarks of his mature style, including precise language, emotional restraint, and the application of calm logic to deeply unsettling situations. His major novels The Trial, The Castle, and Amerika were left unfinished and unpublished during his lifetime. They depict protagonists trapped within opaque systems of authority, facing accusations, rules, or hierarchies that remain unexplained and unreachable. Themes of alienation, guilt, bureaucracy, law, and punishment run throughout Kafka’s work. His characters often respond to absurd or terrifying circumstances with obedience or resignation, reflecting his own conflicted relationship with authority and obligation. Kafka’s prose avoids overt symbolism, yet his narratives function as powerful metaphors through structure, repetition, and tone. Ordinary environments gradually become nightmarish without losing their internal coherence. Kafka’s personal life was marked by emotional conflict, chronic self-doubt, and recurring illness. He formed intense but troubled romantic relationships, including engagements that he repeatedly broke off, fearing that marriage would interfere with his writing. His extensive correspondence and diaries reveal a relentless self-critic, deeply concerned with morality, spirituality, and the demands of artistic integrity. In his later years, Kafka’s health deteriorated due to tuberculosis, forcing him to withdraw from work and spend long periods in sanatoriums. Despite his illness, he continued writing when possible. He died young, leaving behind a large body of unpublished manuscripts. Before his death, he instructed his close friend Max Brod to destroy all of his remaining work. Brod ignored this request and instead edited and published Kafka’s novels, stories, and diaries, ensuring his posthumous reputation.
The publication of Kafka’s work after his death established him as one of the most influential writers of the twentieth century. The term Kafkaesque entered common usage to describe situations marked by oppressive bureaucracy, absurd logic, and existential anxiety. His writing has been interpreted through existential, religious, psychological, and political perspectives, though Kafka himself resisted definitive meanings. His enduring power lies in his ability to articulate modern anxiety with clarity and restraint.

Reviews

[Vahid · Rating 4 out of 5]

 این مجموعه؛ از داستان‌های خیلی کوتاه شروع می‌شود  نوشته‌هایی که بیشتر به شعر می‌ماند و به رمان‌های کافکا شباهتی ندارد کتاب تا صفحه ۴۰، هجده داستان را در بر می‌گیرد(این توضیحات مربوط به جلد دوم است). کم‌کم ماجراها طولانی‌تر می‌شود و از دل متن، کافکایی که می‌شناسیم ظهور می‌کند.
۵ داستان تیره‌روزی، حکم، آتش‌انداز، مسخ و در سرزمین محکومین از جمله بهترینهای کتاب بودند و فضاهای خاص و موضوعات عجیبی داشتند نکته مهم در داستان مسخ این بود که ظاهراً موجود مسخ شده گرگور سامسا است اما خانواده و اطرافیان او بیشتر از خود گرگور مسخ شده‌اند!
اگر سامسا از لحاظ موجودیت و جسم دچار استحاله شده خانواده او از جنبه خلق و خو و رفتارشان به تدریج تغییر می‌کنند و فاجعه اصلی اینجاست!
و در ادامه...
کتاب‌ها علاوه بر همه خوبی‌ها یک مزیت جالبی هم دارند و آن خاطره سازی است هر زمان اسمی از کتاب یا نویسنده و یا قسمتی از متن را می‌بینیم یا می‌شنویم کلی خاطره خوب زنده می‌شود وقتی داستان آتش‌انداز را می‌خواندم یاد کتاب ناتمام آمریکا افتادم و رمان محاکمه و قصر؛ عجیب است آدم دلش برای کتاب هایی که خوانده‌است هم تنگ می‌شود و با یادآوری آنها حس خوبی به انسان دست می‌دهد.
سوال:
آیا در دوباره خوانی، همان احساسات و همان لذت‌ها و مفهوم ها و برداشت‌های بار اول را داریم یا درک دیگری از کتاب خواهیم داشت؟
آیا خوبست که به یکبار خواندنشان بسنده کنیم و اولین تصویرهای نقش بسته در خیالمان را برای همیشه نگهداریم(به شرط از دست ندادن حافظه به هر دلیلی یا هر اتفاق دیگر ) یا برای باز شدن دریچه‌های جدیدی به دنیای دیگر یا دیدن ظرافت‌های دیده نشده، دوباره در این بحر عمیق فرو رویم؟

[فؤاد · Rating 2 out of 5]

باورم نمی شه نویسنده ی "مسخ" و "محاکمه" چنین داستان هایی نوشته باشه. البته باید مثل نظریه ی داروین نگاه کرد. چون "مسخ" و "محاکمه" و "قصر" شاهکار بودن، ماندگار شدن. نه این که هر اثری که خلق کرده شاهکار بوده.
کتاب رو تا نصفه خوندم و از خوندن بقیه ش منصرف شدم، با این که من یکی از عاشقان سینه چاک کافکا هستم.