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Ziolkowski, Saskia Kafka and Italy.Pdf Contents Preface vii List of Abbreviations for Kafka Citations xi Introduction 1 Stanley Corngold and Ruth V. Gross 1: Running Texts, Stunning Drafts 24 Roland Reuß 2: “Torturing the Gordian Knot”: Kafka and Metaphor 48 Mark Harman 3: Nietzsche and Kafka: The Dionysian Connection 64 Walter H. Sokel 4: What Kafka Learned from Flaubert: “Absent-Minded Window-Gazing” and “The Judgment” 75 Uta Degner 5: Kafka’s Racial Melancholy 89 Katja Garloff 6: Strange Loops and the Absent Center in The Castle 105 Jacob Burnett 7: Proxies in Kafka: Koncipist FK and Prokurist Josef K. 120 Doreen Densky 8: Kafka, Goffman, and the Total Institution 136 Ritchie Robertson 9: Kafka in Virilio’s Teletopical City 151 Rolf J. Goebel 10: Kafka’s Visual Method: The Gaze, the Cinematic, and the Intermedial 165 Peter Beicken 11: “Samsa war Reisender”: Trains, Trauma, and the Unreadable Body 179 John Zilcosky vi CONTENTS 12: The Comfort of Strangeness: Correlating the Kafkaesque and the Kafkan in Kazuo Ishiguro’s The Unconsoled 207 Robert Lemon 13: Kafka’s Journey into the Future: Crossing Borders into Israeli/Palestinian Worlds 222 Iris Bruce 14: Kafka and Italy: A New Perspective on the Italian Literary Landscape 237 Saskia Elizabeth Ziolkowski Bibliography 251 Notes on the Contributors 273 14: Kafka and Italy: A New Perspective on the Italian Literary Landscape Saskia Elizabeth Ziolkowski XAMINING MODERN ITALIAN LITERATURE is a Kafkaesque endeavor, Ebecause it is not always entirely clear if it exists. Critics have tended to concentrate on movements or smaller trends, such as frammentismo, deca- dentismo, ermetismo, crepuscularismo, and futurismo, or on particular fig- ures, such as Luigi Pirandello, Gabriele D’Annunzio, F. T. Marinetti, Italo Svevo, and Carlo Emilio Gadda, or on regional clusters of various authors. While these approaches have offered a minute anatomy of Italy’s various authors and movements, they have also isolated Italian literature from larger comparative studies and necessarily excluded certain authors from consideration. The broader term “modernism,” meanwhile, which has recently been used to describe some modern Italian works,1 frequently mischaracterizes the Italian picture.2 This article is part of a larger project that aims to map a distinct but unexamined Kafkan tradition in Italian modern literature, a tradition that encompasses a more diverse and repre- sentative group of authors than headings such as frammentismo allow, without assimilating the particularity of the Italian scene to a larger mod- ernist movement. Reversing the clever conceit of Jorge Luis Borges’s “Kafka and his Precursors,” which finds Kafkan presences in the past, this study examines Kafka’s presences in his Italian successors. Instead of studying direct influ- ence, I use Ludwig Wittgenstein’s idea of family resemblances to consider the Kafkan qualities these modern Italian authors share. From the use of animal imagery and oppressive spaces to representations of crises, aliena- tion, and repressive bourgeois relations, the disparate themes of Kafka’s fiction are reflected throughout modern Italian literature. By engaging the immense amount of scholarship on Kafka, the project endeavors to revisit and refine the critical understanding of twentieth-century Italian literature. A Kafkan view of Italian literature incorporates some less well known Italian texts that are currently excluded from maps of modern Italian lit- erature at the same time as it provides new perspectives on canonical authors such as Svevo, Gadda, and Italo Calvino. In this article I first out- line a distinct but unexamined Kafka tradition in Italian literature, which 238 SASKIA ELIZABETH ZIOLKOWSKI can reshape the critical understanding of Italian modern literature, and then provide a more detailed example of how reading Kafka with Italian authors enhances the critical understanding of them. Although critics have called particular attention to Kafka’s rise in fame in France, England, and America after the Second World War, his role in Italy has been under-examined, despite the fact that he was a critical pres- ence there well before the war. One Italian Germanist notes that “the first non-German notice” of Kafka came from Italy.3 Kafka’s precocious appear- ance in the Italian literary landscape was due in part to the Austro- Hungarian and then Italian city of Trieste. The labors of the Triestine Roberto “Bobi” Bazlen, in particular, exemplify the city’s role. Bazlen recommended Kafka’s works to Italians who wanted to improve their German as strikingly early as 1919,4 and to notable Italian authors, such as the poet Eugenio Montale in early 1924,5 when one critic estimates that Kafka was so little known in the world that only two articles existed that referred to his work, both written by his good friend and constant advo- cate Max Brod.6 Bazlen’s friends and correspondents read like a who’s who list of Italian literature, and several of them name the Prague writer as an important literary influence. They include Montale, Svevo, Umberto Saba, Natalia Ginzburg, Elsa Morante, Giani Stuparich, Alberto Savinio, Alberto Moravia, Sandro Penna, Elio Vittorini, Enrico Pea, Aldo Palazzeschi, Pier Paolo Pasolini, Giacomo Debenedetti, Carlo Emilio Gadda, and Carlo Levi. Even outside Triestine literary circles, the early instances of Kafka’s Italian presence are remarkable. In 1933, the year some of Kafka’s works were being burned in Berlin and a couple of years before The Trial (Der Process, 1925) came into print in English, Frassinelli brought out an Italian translation. In 1947, Alberto Spaini, in the introduction to his translation of Amerika: The Missing Person (Der Verschollene, 1927), noted that Kafka’s influence was widespread: “For more than ten years we have been invaded by kafkaini and by a kafkaismo that critics have not yet identified, perhaps because his name would not have meant anything to anyone, but which has made Kafka even more popular in Italy than one can imagine.”7 Spaini’s description of a diffuse “kafkaismo” points to the difficulty of uncovering who knew Kafka’s work and when: many of these traces have been lost or are impossible to locate in time. Spaini’s comment may refer particularly to Dino Buzzati’s vexed relationship with Kafka. When critics wrote of Buzzati’s debt to the German-language writer, he responded in interviews and in print that he had not known of Kafka’s work until well after having written his novels in the early 1940s. These sorts of debates often seem to circle around the concern that artistic debt somehow lessens the contributions of the later author, automatically making the second author secondary. Buzzati’s anxiety that his own work could lose some of its originality, its Buzzatiness, if it were revealed to be Kafkaesque may KAFKA AND ITALY 239 seem misplaced, but it testifies to Kafka’s powerful presence in Italian liter- ary circles at the time. The cultural history of Kafka’s reception provides an important back- ground for the Kafkan reading of modern Italian literature, but questions of source and influence are not decisive for the study suggested here. Instead of focusing on the positivist question of who read whom and when, I wish to emphasize the grounds of the connection and the family resemblances between the authors’ works. Rather than replaying the debates about whether or not Dino Buzzati was conditioned by Kafka, scholars should explore the strong family resemblance between Kafka’s The Castle (Das Schloss, 1926) and Buzzati’s Il deserto dei Tartari (The Tartar Steppe), a tale of a man who waits in vain for a military invasion; or between several of Kafka’s and Buzzati’s short stories, many of which focus on ines- capable and maddening power structures. The question of Kafka’s influence on many later writers is less prob- lematic, since a range of authors, among them Cesare Pavese and Calvino, acknowledge Kafka as a particularly fascinating, influential, or beloved writer. The richness and variety of Kafka’s presence in Italian literature is notable even in just the direct references to him made in Italian works. Montale, who, as discussed, was introduced to Kafka early, wrote a demanding poem, “Verboten,” which focuses on Kafka.8 Magris’s hard-to- define Danubio (Danube) (it has been called a novel, a memoir, and a travelogue) includes numerous references to Kafka and has a chapter “Kierling, Hauptstrasse 187” that moves between the narrator’s experi- ence in the house in which Kafka died and reflections on Kafka. More playful than these two works is Tommaso Landolfi’s short story, “Il babbo di Kafka” (“Kafka’s Dad”), published in 1942. The narrator and his friend, Kafka, are forced to deal with the appearance of a huge spider that has the head of Kafka’s father. These three very different works suggest the various ways Italian authors used Kafka in diverse genres and also reveal aspects of the Italian literary landscape. In yet another mode of engagement with Kafka, Primo Levi, the well known author of Se questo è un uomo (If This is a Man in England and Survival in Auschwitz in America), translated Der Process and begins his note to the novel: “So this is it, this is human destiny: we can be persecuted and punished for a crime that has not even been committed, which is obscure and which will never be revealed to us by the ‘court.’”9 As a Holocaust survivor, his reading has striking connotations. Years after returning from Auschwitz, Levi enrolled in German courses at Turin’s Goethe-Institut and was later asked to translate the novel for an “author translating authors” series. He was probably asked to do so partially because of the popular idea of Kafka as some sort of prophet of the Shoah. A more illuminating reason for Levi’s reaction to the translation project, from which he emerged “as from an illness,”10 relates to Ritchie 240 SASKIA ELIZABETH ZIOLKOWSKI Robertson’s analysis of Kafka’s penetrating portrayals of institutional (broadly meant) power, authority, and violence.11 Concentration camps are an extreme instance of the way institutions can take over all aspects of a private individual’s life, and Kafka’s depiction of oppressive power reso- nated with Levi.
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