　　弗朗茨·卡夫卡（1883—1924）奧地利偉大的作傢之一，被認為是現代派文學的鼻祖，錶現主義文學的先驅，其作品大都用變形荒誕的形象和象徵的手法，錶現被充滿敵意的社會環境所包圍的孤立、絕望的個人，成為席捲歐洲的“現代人的睏惑”的集中體現，並在歐洲掀起瞭一陣又一陣的“卡夫卡熱”。主要作品有《城堡》《變形記》《飢餓藝術傢》《審判》《鄉村醫生》等。

精彩書評

　　卡夫卡的巨大貢獻並不全在於他跨齣瞭曆史發展中決定性的一步，更為重要的是，他齣人意料地打開瞭一扇門，讓人們看到：在小說這個領域，幻想能夠如同在夢中一樣爆炸，小說能從看似難以擺脫的逼真性要求中解放齣來。
　　——米蘭·昆德拉
　　
　　是卡夫卡使我發現我會成為一個作傢的。我十七歲那年，讀到瞭《變形記》，當時我認為自己準能成為一個作傢。我看到主人公格裏高爾·薩姆沙一天早晨醒來居然會變成一隻巨大的甲蟲，於是我就想：“原來能這麼寫呀。要是能這麼寫，我倒也有興緻瞭。”
　　——加西亞·馬爾剋斯

精彩書摘

　　卡夫卡的巨大貢獻並不全在於他跨齣瞭曆史發展中決定性的一步，更為重要的是，他齣人意料地打開瞭一扇門，讓人們看到：在小說這個領域，幻想能夠如同在夢中一樣爆炸，小說能從看似難以擺脫的逼真性要求中解放齣來。
　　——米蘭·昆德拉

　　是卡夫卡使我發現我會成為一個作傢的。我十七歲那年，讀到瞭《變形記》，當時我認為自己準能成為一個作傢。我看到主人公格裏高爾·薩姆沙一天早晨醒來居然會變成一隻巨大的甲蟲，於是我就想：“原來能這麼寫呀。要是能這麼寫，我倒也有興緻瞭。”
　　——加西亞·馬爾剋斯

前言/序言

　　This collection includes four of the seven books that Kafka published during— or just after— his lifetime. Even if Kafka’s three novels had remained unpublished, in keeping with his professed wish, his short fiction would have given him a secure place in the modernist canon. During his life they brought him, if not fame, at least the respect of many fellow-writers. Robert Musil invited him to write for the Neue Rundschau (New Review), the leading literary magazine in Germany, though Kafka was unable to accept the invitation; Rainer Maria Rilke attended the public reading of In the Penal Colony that Kafka gave in Munich, and revealed in conversation that he knew and admired Kafka’s previous stories. Kafka was not as obscure an author as is sometimes imagined.
　　Yet Kafka’s literary output is small, and was produced under difficult conditions. He held down a day job as an extremely able and valued employee in a state-run workers’ accident insurance firm. Officially his working hours were from 8 a.m. to 2 p.m. without a break, but of course he often had to stay in the office for longer, and after the outbreak of war in 1914 the absence of many staff serving in the army increased the workload for those who, like Kafka, were exempted from military service on the grounds that they were indispensable. In his early years Kafka also paid many visits to factories in the industrial zone of northern Bohemia to report on the safety standards of the machinery in use. On leaving work he would walk, swim, or rest. Since he lived with his parents in their flat until he was 30, he could not find peace to write until everyone else had gone to bed.
　　Having such limited writing time, Kafka tended to favour short fiction. Even his novels, especially The Trial, are very much series of episodes. The mood-pictures which make up Meditation are very short; eight of them appeared in the Munich periodical Hyperion in 1908, marking Kafka’s debut as a published author. Brevity had the advantage that the initial impulse could be sustained throughout the text. With longer texts, Kafka, who never planned his work, found that his original inspiration tended to flag. The great exception was The Judgement, written in a single night, but he never again achieved such a unified, coherent piece of writing; he was dissatisfied with the end of The Metamorphosis, perhaps because of the change of perspective required by the protagonist’s death.
　　As an author, Kafka was not only self-critical, but as perplexed by his own works as his readers have subsequently been. He wrote to Felice Bauer: ‘Can you discover any meaning in The Judgement — some straightforward, coherent meaning that one could follow? I can’t find any, nor can I explain anything in it.’ His writing is sharp, precise, and beautifully paced, yet his descriptions become enigmatic and bewildering on close scrutiny, and he packs into his narratives a wealth of suggestions and implications which refuse to yield any simple or single interpretation. The philosopher Adorno wrote of Kafka: ‘Each sentence says “Interpret me”, and none will permit it.’ At the same time, Kafka’s narratives and images are frighteningly direct. A father condemns his son to death. A commercial traveller is turned into an insect. Colonial justice is administered by an elaborate machine. Themes of power and violence are given palpable form. Yet the messages of the stories are complex, ambivalent, and inexhaustible.
　　Kafka’s literary skill is apparent also in the long autobiographical letter he wrote to his father (but fortunately never delivered) in November 1919. The ability to argue a case that Kafka had developed as a lawyer is exercised with eloquence, passion, cunning, and a precise and vivid recall of crucial episodes from his childhood. How far the Letter to his Father should be seen as literature is still undecided, but as a text on the borders of autobiography and imaginative fiction it remains a painful masterpiece.

牛津英文經典：變形記（英文版） [The Metamorphosis and Other Stories] 下載 mobi epub pdf txt 電子書

牛津英文經典：變形記（英文版） [The Metamorphosis and Other Stories] pdf epub mobi txt 電子書下載

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