Kafka’s Copycats: Imitation, Fabulism, and Late Modernism by Gregory Ariail A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in The University of Michigan 2018 Doctoral Committee: Associate Professor Julian Levinson, Chair Associate Professor Joshua Miller Assistant Professor Antoine Traisnel Professor John Whittier-Ferguson Gregory Ariail
[email protected] ORCID iD: 0000-0001-6395-1151 © Gregory Ariail 2018 DEDICATION To my parents ii TABLE OF CONTENTS DEDICATION ii ABSTRACT iv CHAPTER I. Franz Kafka, Imitation, and Late Modernist Fabulism 1 II. Edwin and Willa Muir: Translation and Pastiche 20 III. The Zoological Marxisms of Caudwell and the Auden Group 57 IV. Anna Kavan and the British Surrealists 93 V. American Prose/Poetry: Schwartz, Berryman, Bishop, and Plath 128 VI. The Doggish Investigations of Goodman, Rosenfeld, and Bellow 164 VII. Conclusion 194 WORKS CITED 199 iii ABSTRACT It’s often noted that Franz Kafka’s influence on 20th-century world literature is immense and that his two most touted novels, The Trial and The Castle, helped late modernists and their postmodernist successors articulate theological and epistemological skepticism, anxieties about bureaucratic tyranny, and Jewish trauma in the wake of the Holocaust. Yet Kafka’s creative and critical reception in Anglo-American culture has been largely misunderstood, especially during the period of his initial impact, circa 1933-1955. This project focuses on the large-scale integration of Kafka’s fables—his short stories about animals, hybrids, and assemblages—into Anglophone writing during the late modernist period. The dominant narratives about his reception render invisible the powerful effect of these supposedly minor texts on British and American literature.