Czech mates
Czech Republic; Prague; Kafka Museum
Kafka is often credited with having anticipated the totalitarian regimes of the 20th Century. Visiting the Kafka Museum in Prague, it’s easy to see why. The powerless individual helpless against an unfair and uncaring system whose decisions make no sense perfectly sums up the life under communism that one often reads about; everybody agreeing that the sky is green while staring directly into the clear blue.
Yet it was obvious that Kafka was a prisoner not of some external system, but of his own mind. As one display panel points out, he was never able to commit to a relationship because he was never able to “shake himself free of the rules he himself had imposed”. Just like one of his major writing influences, Flaubert, he also sought refuge in long-distance relationships and the abstract world of a love conducted by letters; where he could control things.
Kafka is yet another tortured artist who seems to prove the maxim that the best art comes out of pain. The allegorical Prague he dreamt up was composed of walls and boundaries which he had built for himself. Self-loathing and a hatred of his own body meant he was always held back. He found solace in the “Prague Four” band of intellectual friends, and gave himself eventually to his first love – literature.
He was the perfect example of the frustrated artist, driven to the edge of insanity by the mundane of a 9-5 that he hated. One of the sections of the museum is called “The Endless Office”. Anyone who has been in job that feels like a slow cerebral death can sympathise with that feeling of being trapped; a purgatorial paralysis of the mind and a overwhelming sense of stagnation. One of the displays refers to those “infinite” eight hours of the working day.
But if there is a hero in this realm of anti’s, it is Kafka’s comrade Max Brod. Nietzsche was dishonoured in death by a sister who manipulated his pre-life coaching message of liberation from the self (the “will to power”) to suit Nazi ends; but Kafka owes Brod a big posthumous debt. In life, Brod had recognised and nurtured Kafka’s superior talent. In death, Brod went against the wishes of his loved and respected friend, and bravely but guiltily disregarded Kafka’s request to burn his manuscripts. A tree fell in the literary forest; and thanks to Brod, we heard it.