Here are 57 books that The Metamorphosis and Other Stories fans have personally recommended if you like
The Metamorphosis and Other Stories.
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I am the product of a love triangleâan unusual one, between a French Holocaust survivor, an African student from Franceâs colonies, and a black GI. My parents came of age during really turbulent times and led big, bold lives. They rarely spoke about their pasts, but once I began diggingâin the letters they exchanged, in conversations with my grandmother and aunts, with their childhood friendsâI realized that all three had witnessed up close so much of the drama and horrors of the twentieth century and that what they had lived together merited being told. My parentsâ love triangle is at the heart of my love of love-triangle stories.Â
Likemy first recommendation, this is a classic love triangle story, classically told. Iâm rooting for Fermina and Florentino to realize the dream love that they imagined in their youths and that they wrote out in all those letters. And then life intercedesâŠ
As in so much of Garcia Marquezâs work, there arenât clear heroes and villains, just characters I care deeply about and watchâbiting my nails all the whileâas they make decisions that end up complicating and eventually compromising their own hopes and aspirations.
There are novels, like journeys, which you never want to end: this is one of them. One seventh of July at six in the afternoon, a woman of 71 and a man of 78 ascend a gangplank and begin one of the greatest adventures in modern literature. The man is Florentino Ariza, President of the Carribean River Boat Company; the woman is his childhood sweetheart, the recently widowed Fermina Daza. She has earache. He is bald and lame. Their journey up-river, at an age when they can expect 'nothing more in life', holds out a shimmering promise: the consummation ofâŠ
In an underground coal mine in Northern Germany, over forty scribes who are fluent in different languages have been spared the camps to answer letters to the deadâletters that people were forced to answer before being gassed, assuring relatives that conditions in the camps were good.Â
My passion for stories began while I was still in elementary school. I was an avid reader, taking the tram to the library whenever I could. I read biographies, short stories, comic books, and novels of all kinds. In college I studied comparative literature focusing on novels of the 19th and 20th century in English and Spanish. I met many authors and was inspired to write my own stories. Eventually, this led to screenwriting as a career and then teaching and writing about screenwriting. I never abandoned my love of novels, publishing one of my first novels as a magazine for which I sold advertising to pay for printing.
This book got my attention in college when I was considering a career as a novelist. It immersed me in a dense world of complicated people trying to make a life in New York City in the early twentieth century.Â
I was fascinated by the details of their personalities and the complexities of their relationships. I saw in their story the story of my immigrant grandparents and the stories of the millions that have followed. Itâs the story of the people of the United States, no matter which country you come from.
David Schearl arrives in New York in his mother's arms to begin his new life as an immigrant in the 'Golden Land'. David is hated by his father - an angry, violent man unable to find his niche in the New World - but is fiercely loved and protected by his Yiddish-speaking mother. An innovative, multi-lingual novel, Call It Sleep subtly interweaves the overwhelming love between a mother and son with the terrors and anxieties David experiences, as he seeks to find his own identity amidst the cultural disarray of early twentieth-century America.
My passion for stories began while I was still in elementary school. I was an avid reader, taking the tram to the library whenever I could. I read biographies, short stories, comic books, and novels of all kinds. In college I studied comparative literature focusing on novels of the 19th and 20th century in English and Spanish. I met many authors and was inspired to write my own stories. Eventually, this led to screenwriting as a career and then teaching and writing about screenwriting. I never abandoned my love of novels, publishing one of my first novels as a magazine for which I sold advertising to pay for printing.
After reading this one, I wanted to go back to the âOld Country,â and nobody writes about the Old Country quite like Singer. I really enjoyed his stories about ordinary people in extraordinary situationsâor maybe they were ordinary situations to them.
I was drawn to his portrayal of a world that no longer exists but was vibrant, joyous, and tragic at the time. His characters spoke to me directly and inspired me to write short stories of my own. I once met Singer and was able to share one of my own short stories with him. He eventually put it in his archive, which was an honor for me.
In an underground coal mine in Northern Germany, over forty scribes who are fluent in different languages have been spared the camps to answer letters to the deadâletters that people were forced to answer before being gassed, assuring relatives that conditions in the camps were good.Â
My passion for stories began while I was still in elementary school. I was an avid reader, taking the tram to the library whenever I could. I read biographies, short stories, comic books, and novels of all kinds. In college I studied comparative literature focusing on novels of the 19th and 20th century in English and Spanish. I met many authors and was inspired to write my own stories. Eventually, this led to screenwriting as a career and then teaching and writing about screenwriting. I never abandoned my love of novels, publishing one of my first novels as a magazine for which I sold advertising to pay for printing.
Borges became a great influence on my own writing. His stories liberated my imagination and opened my eyes to other South American writers in the same way that Singer opened my eyes to other Yiddish writers and stories.
The characters are so specific yet universal in their appeal. The stories are thought and emotion provoking, which is what I strive for in my own work. Â
My obsession with metamorphosis began after my wife and I discovered that we're going to have our third child. I started having nightly dreams about the butterflies I kept in a dry aquarium when I was a kid, waking up in the middle of the night with a flashlight strapped to my forehead, waiting to see them emerge from their chrysalis. A pregnancy somehow feels like our human version of emergence: few experiences are as life-changing as becoming a parent, and fewer wonders more exhilarating than the natural magic of metamorphosis. Both mark beginnings but are in fact continuations. Both, in different ways, are also forms of endings. Both make us wonder about the riddles of our world.
In this classic, Gregor Samsa, a traveling salesman, famously wakes up one morning to discover that he is a gigantic vermin.
Interpretations of the book range from Kafka trying to say that modern life reduces us all to being bugs, to the idea that Kafka was really writing about art, and how, since the artist cannot ever be understood, he might as well be an insect.
I read it as Kafka's attempt to reconcile two philosophies - that of Nietzsche, who claimed that the human will is a force that leads to happiness, and that of Schopenhauer, who claimed that the will is just about survival.
In Kafka's hands, metamorphosis is both life-affirming and life-denying.Â
âWhen Gregor Samsa woke up one morning from unsettling dreams, he found himself changed in his bed into a monstrous vermin.â
With this  startling, bizarre, yet surprisingly funny first sentence, Kafka begins his masterpiece, The  Metamorphosis. It is the story of a  young man who, transformed overnight into a giant  beetlelike insect, becomes an object of disgrace to  his family, an outsider in his own home, a  quintessentially alienated man. A harrowingâthough  absurdly comicâmeditation on human feelings of inadequacy, guilt, and isolation, The  Metamorphosis has taken its place as one  of the most widely read and influential works of  twentieth-centuryâŠ
Iâve always loved books about outsiders and stories that make you palpably feel what others do. In real life and fiction, the characters that interest me most are often outsiders. Because characters on the outside of social groups and norms are often isolated and lonely, there is something so powerful about works that can bring you inside their experience and relate what their inner life is like. Interiority is the great strength of literature, and stories that convey the inner architecture of outsiders have always attracted me. I love books that make me feel deeply connected and that linger in my subconscious long after Iâve read them.
The title story, A Hunger Artist, affected me in such a stunning and mysterious way. It just floored me and got under my skin. I felt distraught for several days. When I first read this story, I had just begun my MFA in creative writing at the Bluegrass Writers Studio in 2014, and I was interested in examining why certain works had an impact on me as a reader and how I could learn the writing craft from them.
I re-read the story several times to try and figure out the source of its power but could not. The title storyâand the rest of the stories in the collectionâare written in a direct, matter-of-fact way that doesnât draw attention to their style. But these stories involved me directly in a deep, mysterious, and emotional experience. Â
'In recent decades, interest in hunger artists has greatly diminished.'
Kafka published two collections of short stories in his lifetime, A Country Doctor: Little Tales (1919) and A Hunger Artist: Four Stories (1924). Both collections are included in their entirety in this edition, which also contains other, uncollected stories and a selection of posthumously published works that have become part of the Kafka canon.
Enigmatic, satirical, often bleakly humorous, these stories approach human experience at a tangent: a singing mouse, an ape, an inquisitive dog, and a paranoid burrowing creature are among the protagonists, as well as the professional starvationâŠ
Hello. My name is Mike Russell. I write books (novels, short story collections and novellas) and make visual art (mostly paintings, occasionally sculptures). I love art and books that are surreal and magical because that is the way life seems to me, and I love art and books that are mind-expanding because we need to expand our minds to perceive just how surreal and magical life is. My books have been described as strange fiction, weird fiction, surrealism, magic realism, fantasy fiction⊠but I just like to call them Strange Books.
I love stories that are many things at the same time. They can open a person up to a wider perspective, a greater awareness; thatâs the kind of story I love to write. Kafkaâs stories can be considered as absurd allegory, as surreal evocations of mystery and magic, as psychological study, as satire, as dark comedy⊠as all of these and more at once. Many of Kafkaâs stories were considered by the author to be unfinished but to me they seem complete. Kafka famously tried to âfinishâ all of his stories once and for all by instructing his friend to destroy them after his death. Thankfully, he was prevented from adding that final full stop.
This collection of new translations brings together the small proportion of Kafka's works that he thought worthy of publication. It includes Metamorphosis, his most famous work, an exploration of horrific transformation and alienation; Meditation, a collection of his earlier studies; The Judgement, written in a single night of frenzied creativity; The Stoker, the first chapter of a novel set in America and a fascinating occasional piece, The Aeroplanes at Brescia, Kafka's eyewitness account of an air display in 1909. Together, these stories reveal the breadth of Kafka's literary vision and the extraordinary imaginative depth of his thought.
I canât remember a time I havenât been drawn to and fascinated by the link between absurdity/humor and horror. Both genres involve setups and payoffs. The tension built up needs to be released in either a gasp or a laugh. In my own writing, I try to make myself giggle in joy at the ridiculousness of a situation and then recoil at the underlying horror that anchors it to the real world. Itâs a balance I constantly try to reach and that I personally find is a joy to read.
I read somewhere that Franz Kafka would laugh so loud when writing his stories that he woke up his neighbors. Iâm not sure if thatâs true, but I get it. Itâs not what is commonly thought of when someone talks about Kafkaâs stories. I mean, his name has come to mean a certain style. âKafkaesqueâ is used to describe stories that are absurd, nightmarish, offensive, and heavy with bureaucratic pretentiousness and deceit.
Where is the humor? Oh, itâs there. I think sometimes readers get caught up in the horror and bizarreness of it all that they miss the subtle, absurdist, dark, and very dry humor dripping in all these stories in this collection.
THE TRIAL; THE CASTLE; AMERICA- Both Joseph K in THE TRIAL and K in THE CASTLE are victims of anonymous governing forces beyond their control. Both are atomised, estranged and rootless citizens deceived by authoritarian power. Whereas Joseph K is relentlessly hunted down for a crime that remains nameless, K ceaselessly attempts to enter the castle and so belong somewhere. Together these novels may be read as powerful allegories of totalitarian government in whatever guise it appears today. In AMERICA Karl Rossmann is 'packed off to America by his parents' to experience Oedipal and cultural isolation. Here, ordinary immigrants areâŠ
I taught at Yale for 33 years and I hold advanced degrees from the Sorbonne. I am interested in literature as lessons for life, but I am mostly a passionate letter writer, especially to the great authors who have marked me. They are never really dead. I carry them around with me.
I selected the category of Offbeat Memoirs because I have written one. I also have an Italian alter-ego, Donatella de Poitiers, who authors a blog in which she muses about how a lifelong Francophile could have forsaken la Belle France for la dolce vita in the Umbrian countryside, where the food and fresh air are way better than the roads.
I consider the author my French Writing Partner; I have been her translator. Our mutual love for Franz Kafka brought us together. Her book draws on Kafkaâs letters to the women he could never bring himself to marry. Jacqueline and I feel that, in our shared devotion to Kafka, we perhaps understand him better than the women he left behind. He may have had a hard time finding his own soulmate, but in our case, he turned out to be quite the matchmaker.
Kafka was an attractive, slender, and elegant man--something of a dandy, who captivated his friends and knew how to charm women. He seemed to have had four important love affairs: Felice, Julie, Milena, and Dora. All of them lived far away, in Berlin or Vienna, and perhaps that's one of the reasons that he loved them: he chose long-distance relationships so he could have the pleasure of writing to them, without the burden of having to live with them. He was engaged to all four women, and four times he avoided marriage. At the end of each love affair, heâŠ
With my 64 works of fiction I have tried passionately to give expressions for and to dive into the complexity of love relationships in both historical and present contexts, especially as in Land of Shadows in the view of pounding conflicts presented to fictive or historical persons, having thereby always respect for documentary research added to my own personal experiences. Also the Greek myths have been a guide for my writing, as in the case of Land of Shadows, the myth of Orpheus and Eurydice, reflecting old insights of mankind. Being now with my novels and plays represented in 41 countries, I see this as a sign of readers 'round the globe sharing my passion.
These letters of Franz Kafka to his Czech translator Milena are not formally a novel but in its essence the love novel, none of his novels were. He wrote them 1920-1923, being ill with tuberculosis as he was visiting different sanatoriums in Germany and Czechoslovakia and she was living in Vienna in an unhappy marriage. As they only saw each other shortly three times it forms a love by letters story of burning love transforming itself into misunderstandings and conflict. Their value lies in the genial Kafkaâs trying and succeeding in communicating something incommunicable about how it is to be in love accounting totally honestly for his vast complexity of emotions from the utmost passion and longing to the state of fear of being rejected. A great inspiration to me for my novel in writing about Kafka.
Kafka first made the acquaintance of Milena Jesenska in 1920 when she was translating his early short prose into Czech, and their relationship quickly developed into a deep attachment. Such was his feeling for her that Kafka showed her his diaries and, in doing so, laid bare his heart and his conscience.
Milena, for her part, was passionate and intrepid, cool and intelligent in her decisions but reckless when her emotions were involved. Kafka once described her as living her life 'so intensely down to such depths'. If she did suffer through him, it was part of her great appetiteâŠ
