The Trial

by Franz Kafka, Mike Mitchell (Translator), Ritchie Robertson (Editor)

Overview

The Trial is one of the central works of modern literature. This meticulous new translation includes the chapters Kafka left incomplete and is accompanied by a biographical preface, detailed introduction, chronology, bibliography and notes.

Product Details

ISBN-13:	9780191579851
Publisher:	OUP Oxford
Publication date:	07/09/2009
Series:	Oxford World's Classics Series
Sold by:	Barnes & Noble
Format:	eBook
File size:	2 MB

About the Author

Mike Mitchell taught at the universities of Reading and Stirling before becoming a full-time literary translator. He is the co-author of Harrap's German Grammar and the translator of numerous works of German fiction for which he has been eight times shortlisted for prizes; his translation of Rosendorfer's Letters Back to Ancient China won the Schlegel-Tieck Prize in 1998. He translated Rodenbach's The Bells of Bruges for Dedalus in 2007. Ritchie Robertson is the author of the Very Short Introduction to Kafka. For Oxford World's Classics he has translated Hoffmann's The Golden Pot and Other Stories and introduced editions of Freud and Schnitzler. He is the editor of The Cambridge Companion to Thomas Mann.

Date of Birth:

July 3, 1883

Date of Death:

June 3, 1924

Place of Birth:

Prague, Austria-Hungary

Place of Death:

Vienna, Austria

Education:

German elementary and secondary schools. Graduated from German Charles-Ferdinand University of Prague.

Table of Contents

	Introduction	vii
Chapter 11
	The Arrest
	Conversation with Frau Grubach
	Then Fraulein Burstner
Chapter 231
	First Interrogation
Chapter 349
	In the Empty Courtroom
	The Student
	The Offices
Chapter 474
	Fraulein Burstner's Friend
Chapter 583
	The Whipper
Chapter 691
	K.'s Uncle
	Leni
Chapter 7113
	Lawyer
	Manufacturer
	Painter
Chapter 8166
	Block, the Tradesman
	Dismissal of the Lawyer
Chapter 9197
	In the Cathedral
Chapter 10223
	The End
Appendix I	The Unfinished Chapters
	On the Way to Elsa	233
	Journey to His Mother	235
	Prosecuting Counsel	239
	The House	245
	Conflict with the Assistant Manager	250
	A Fragment	256
Appendix II	The Passages Delected by the Author	257
Appendix III	Postscripts
	To the First Edition (1925)	264
	To the Second Edition (1935)	272
	To the Third Edition (1946)	274
Appendix IV	Excerpts from Kafka's Diaries	275

What People are Saying About This

Albert Camus

We are taken to the limits of human thought. Indeed, everything in this work is, in the true sense, essential. It states the problem of the absurd in its entirety.

W.H. Auden

Had one to name the author who comes nearest to bearing the same kind of relation to our age as Dante, Shakespeare, and Goethe bore to theirs, Kafka is the first one would think of.

Walter Abish

An accomplishment of the highest order — one that will honor Kafka, perhaps the most singular and compelling writer of our time, far into the 21st century.
— Author of How German Is It

Introduction

This short novel has passed into far more than classical literary status...In more than 100 languages, the epithet 'kafkaesque' attaches to the central images, to the constants of inhumanity and absurdity in our times...In this diffusion of the kafkaesque into so many recesses of our private and public existence, The Trial plays a commanding role.
— From the Introduction

Editorial Reviews

The Barnes & Noble Review
This classic novel by Kafka tells the terrifying tale of Joseph K., a respectable banker who is suddenly arrested and must defend his innocence against a charge about which he can get no information. The Trial stands as one of the great novels of modern times, as it rings with a chilling truth about modern bureaucracy and the mad agendas of 20th century totalitarian regimes.

The Trial is not for everybody, and its peculiar air of excitement will seem flat enough to those who habitually feed on 'exciting' books. It belongs not with the many novels that horrify, but with the many fewer which terrify.
— Books of the Century; New York Times review, October 1937

Louis Kronenberger

An overly pretentious tale with an extensive cast of characters that gathers at the funeral of Hollywood's least favorite producer, West of Paradise suffers from the lack of a centrally solid idea or developed player to hold it together. Neophyte writer Kate Donnelly, who crashes the funeral, is not strong or interesting enough nor blessed with the necessary critical eye to make the novel and its cast work. Davis dares to invoke the name of F. Scott Fitzgerald as Kate's muse, and the only mildly intriguing idea here may be the pretense that she is his long-lost relative. The stereotypes are tired, and the limited plot too predictable. Susan O'Malley's reading is, fortunately, on the brisk side. Not recommended.--Joyce Kessel, Villa Maria Coll., Buffalo, NY Copyright 1999 Cahners Business Information.

Library Journal

The Trial (1924), whose cryptic portrayal of a bank clerk detained and interrogated for an undisclosed offense has become perhaps the dominant image of modernist 'absurdity' — holds up well in a version characterized by long, crowded paragraphs and virtually incantatory accusatory repetitions that confer equal emphasis on the novel's despairing comedy and aura of unspecific menace. Admirers of Kafka's fiction will not want to miss it.

Kirkus Reviews

Those who defend the process… may offer absurd arguments, but they also state the case as clearly as it can be stated. All the humour of Kafka lies here, in the logical pursuit of absurd arguments.” —Zadie Smith

From the Publisher

In Kafka’s iconic novel, bank functionary Josef K., arrested on unspecified charges, is swallowed up by a bizarre legal system with incomprehensible motives and purposes—a mix of Carrollian absurdity, Eastern European oppression, and nightmare. Rupert Degas’s voice acting is understated and telling. His tones are varied and expressive, but appropriately grayed or minor keyed, giving the impression of an intimate, dreamlike, and vaguely threatening whisper. The reading is very British—with names pronounced as German (with an excellent accent), including K. pronounced as “KAH.” That choice, while linguistically correct, may result in listeners missing the significance of Kafka’s choice of the initial “K,” as displayed in text. Still, the fine blend of performance and text is a menacing, seductive cocktail. W.M. © AudioFile 2011, Portland, Maine

JUNE 2011 - AudioFile