Wu Hsing-kuo in Contemporary Legend theatre’s production of Metamorphosis at the 2013 Edinburgh international festival. Metamorphosis exemplifies the world Kafka invented on paper – recognisable but not quite real, precisely detailed and yet dreamlike.

As Vladimir Nabokov commented: “This grim speed in checking a remiss employee has all the qualities of a bad dream.” But it is also farce: a personal embarrassment raised to a debacle by multiple easily shocked persons arriving on the scene to witness it.ġ0. As Gregor struggles to crawl off his bed, a clerk from his company calls at the Samsa apartment. Gregor Samsa wakes to discover he has six legs and a shell, yet for some pages he thinks that what ails him might just be the kind of throat complaint that is “the occupational malady of travellers”. Another is that it is, amid its pathos, awfully funny. Its premise – a man awakens in the body of an insect – exerts a ghastly fascination beyond anything in even the consummate short works of Chekhov or Joyce or Alice Munro.Ĩ. A century on, why does Metamorphosis still attract readers? One reason is that it’s a horror story of sorts. Finally Metamorphosis was set before readers in October 1915, in the avant-garde monthly Die Weissen Blätter, then put between covers that December.ħ.

But negotiations with publishers were complicated, and circumstances – the first world war, among other things – intervened.Ħ. Kafka worked on Metamorphosis through the autumn of 1912 and completed a version on 7 December that year. At least, 1915 is when the story was published, which is to say “finished” and Kafka, famously, didn’t finish very much.ĥ. Here, though, is a little novelty: in 2015, Metamorphosis is 100 years old. Kafka’s place in the literary pantheon has been assured for some time, most pleasingly expressed by George Steiner’s suggestion that he is the only author of whom it may be said that he made his own a letter of the alphabet – K.Ĥ.

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