Reviewed by:

• Kafka After Kafka: Dialogical Engagement with His Works from the Holocaust to Postmodernism ed. by Iris Bruce and Mark H. Gelber
• Abigail Gillman

Kafka After Kafka contains eleven remarkably productive and thoughtful essays by a mix of well-known and younger Kafka scholars. The introduction opens by cataloguing the global artistic reception of Kafka, from the Japanese Kōbō Abe, to South Africa's Achmat Dangor, to dramatic works by Alan Bennett (Kafka's Dick) and Sally Clark (The Trial of Judith K.). The editors claim that much recent art inspired by Kafka is about "violence and humiliation" at the expense of the "modest, elegant, playful, ironic Kafka of real life" (3). Not so in these pages, where the "dialogical engagement" promised in the title prevails. The chapters open up fruitful new connections and perspectives, which yield original interpretations of works we thought we already knew. The volume began as a conference at Ben-Gurion University, and the section devoted to "Kafka in the Israeli Cultural Space"—an exciting new avenue of Kafka research—is a highlight. Like all the excellent volumes in this Camden House series, the book is carefully researched and well ommitted, with detailed footnotes and an index.

A strength of the collection is the authors' recounting of postwar cultural and intellectual history. Caroline Jessen's essay on Werner Kraft's 1968 Franz Kafka: Durchdringung und Geheimnis recounts the career of this German Jewish man of letters. Like Scholem and Benjamin (whom he knew), Kraft viewed Kafka as a writer of parables, and so he sought to "wrest Kafka away from literature." Jessen calls the book "an itinerary of reading" (19) that takes the form of "interweaving of literary text and commentary" (20)—a style evocative of rabbinical writing but also of great works of retrieval motivated by loss, such as Benjamin's Passagenwerk. Amir Engel analyzes Hannah Arendt's lesser-known Kafka essay ("Franz Kafka: A Revaluation," in Essays in Understanding, 1930–1954)—one of the first she published in German after World War II. Arendt finds in Kafka a source of optimism: Even as The Trial and The Castle depict totalitarian societies, worlds of "made-up necessity," the two protagonists are "truth-tellers," who resist simply by asserting their humanity. [End Page 133]

Two chapters make critical contributions to Kafka's contemporary reception in Israel. As an Israeli Arab writer, journalist, and television writer who writes in Hebrew (now living in the United States), Sayed Kashua is the quintessential insider/outsider. As Iris Bruce demonstrates, Kashua incorporates many of Kafka's themes, both in the novel Second Person Singular (the basis of the film A Borrowed Identity) and in "Herzl Disappears at Midnight," which features an Arab-Israeli, Gregor Samsa. Bruce proposes, "Kashua's postmodern metamorphoses are fluid, predictable, humorous, and ultimately have a didactic function" (126). Mark H. Gelber offers a new perspective on the trial to determine the fate of newly discovered Max Brod's Nachlass. Moving beyond the question of whether the Israeli Supreme Court's decision to award the collection to the Israeli National Library is just, Gelber wonders whether there is also "poetic justice" in retaining Kafka's manuscripts in the Jewish State rather than in Marbach. The question becomes an occasion to reassess Kafka's Zionism or, more exactly, the numerous aspects of Zionism with which Kafka did connect.

Two chapters break new ground by opening up Kafka's influence on lyric poetry. Poet Tali Latowicki examines the Kafkan sensibilities of two challenging Hebrew poets, the modernist Ya'akov Steinberg and the postmodern Hezy Leskly, neither of whom is well known in translation. In this series of powerful close readings, Latowicki finds that the three writers "share the same suspicion toward 'natural' symbolic expression. They also share the same wish [ … ] to create an antilanguage, a language that is united with the concrete. As part of this utopian project, the writer himself must undergo a metamorphosis of some sort. He has to die in...

审核人：

• 卡夫卡之后卡夫卡：从大屠杀到后现代主义的对话与他的著作ed。艾里斯·布鲁斯（Iris Bruce）和马克·海尔（Mark H.
• 阿比盖尔·吉尔曼（Abigail Gillman）

Kafka After Kafka收录了11篇由著名和年轻的Kafka学者混合而成的极富成果和思想的论文。序言首先对全球范围内对卡夫卡的艺术接待进行分类，从日本安倍晋三到南非的阿赫玛特·丹戈尔，再到艾伦·贝内特（卡夫卡的迪克）和萨莉·克拉克（朱迪思·K的审判）的戏剧性作品）。编辑们声称，最近受到卡夫卡启发的艺术是关于“暴力和屈辱”的，而以“现实生活中谦虚，优雅，好玩，具有讽刺意味的卡夫卡”为代价（3）。在这些页面中并非如此，标题中所承诺的“对话”占了上风。这些章节打开了富有成果的新联系和观点，对我们认为我们已经知道的作品产生了原始的解释。该卷开始于本·古里安大学的一次会议，而有关“以色列文化空间中的卡夫卡”（卡夫卡研究的令人兴奋的新途径）的部分则是一个亮点。像本卡姆登大厦系列中的所有出色著作一样，本书经过仔细研究和充分省略，并附有详细的脚注和索引。

该系列的优势在于作者对战后文化和知识史的叙述。卡罗琳·耶森（Caroline Jessen）关于沃纳·卡夫（Werner Kraft）1968年弗朗兹·卡夫卡（Franz Kafka）的文章：《德意志环党与盖海尼斯》讲述了这个德国犹太人的职业生涯。像斯科姆和本杰明（他认识的人）一样，卡夫认为卡夫卡是寓言作家，因此他试图“使卡夫卡脱离文学”。耶森称这本书为“阅读路线”（19），形式为“文学文本和评论的交织”（20），既提倡阿拉伯文字的写作风格，又唤起了受损失动机的伟大检索作品，例如本杰明（Benjamin's）的著作。帕萨根维尔克（Passagenwerk）。埃米尔·恩格尔（Amir Engel）分析了汉娜·阿伦特（Hannah Arendt）鲜为人知的卡夫卡（Kafka）文章（“弗朗茨·卡夫卡：重估”，-第二次世界大战后她用德语出版的第一本小说。阿伦特在卡夫卡发现了乐观的根源：尽管《审判》和《城堡》描绘了极权主义的社会，但世界都是“虚假的必需品”，这两个主角都是“讲真话的人”，他们仅仅通过宣称自己的人性来抵抗。[第133页]

有两章为卡夫卡在以色列的当代接待做出了重要贡献。作为在希伯来语（现在居住在美国）写作的以色列阿拉伯作家，新闻工作者和电视作家，塞耶德·卡舒亚（Sayed Kashua）是典型的内幕/外行。正如艾里斯·布鲁斯（Iris Bruce）所展示的那样，卡舒亚（Kashua）在小说《第二人称单数》（电影《借来的身份》的基础）和《阿拉伯女巫在半夜消失》中都融合了卡夫卡的许多主题。布鲁斯提出：“卡舒亚的后现代变形是流动的，可预测的，幽默的，并最终具有说教功能”（126）。马克·盖尔伯提供的试用一个新的角度来确定新发现的马克斯·布洛德的命运Nachlass。盖尔伯（Gerber）超越了以色列最高法院将藏书授予以色列国家图书馆的决定是否公正的问题，想知道在犹太国家而不是在马尔巴赫保留卡夫卡的手稿是否也有“诗意的正义”。这个问题成为重新评估卡夫卡的犹太复国主义的机会，或更确切地说，是重新评估卡夫卡确实与之联系的犹太复国主义的各个方面。

通过开放卡夫卡对抒情诗的影响，两章开辟了新天地。诗人塔利·拉托维奇（Tali Latowicki）考察了两位具有挑战性的希伯来诗人的卡夫坎感性，他们是现代主义者雅亚科夫·斯坦伯格和后现代的希西·莱斯利，他们都不是翻译界的知名人物。在这一系列有力的近距离阅读中，拉托维奇发现三位作家“对'自然'的符号表达抱有相同的怀疑。他们也怀着相同的愿望[…]创建一种反语言，这种语言与具体语言结合在一起。这个乌托邦计划的一部分，作者本人必须经历某种变态，他必须死于...