Read The Castle by Franz Kafka Mark Harman Regaip Minareci Şerif Yeşilbucak Online

the-castle

Translated and with a preface by Mark HarmanLeft unfinished by Kafka in 1922 and not published until 1926, two years after his death, The Castle is the haunting tale of K.’s relentless, unavailing struggle with an inscrutable authority in order to gain access to the Castle. Scrupulously following the fluidity and breathlessness of the sparsely punctuated original manuscripTranslated and with a preface by Mark HarmanLeft unfinished by Kafka in 1922 and not published until 1926, two years after his death, The Castle is the haunting tale of K.’s relentless, unavailing struggle with an inscrutable authority in order to gain access to the Castle. Scrupulously following the fluidity and breathlessness of the sparsely punctuated original manuscript, Mark Harman’s new translation reveals levels of comedy, energy, and visual power previously unknown to English language readers....

Title : The Castle
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ISBN : 9780805211061
Format Type : Paperback
Number of Pages : 316 Pages
Status : Available For Download
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The Castle Reviews

  • Helen Ροζουλί Εωσφόρος Vernus Portitor Arcanus Ταμετούρο Αμούν Arnum
    2018-12-13 11:10

    Μέσα στον Πύργο κρύβεται η ουσία της ύπαρξης. Μόνο εκεί μπορούμε να ανακαλύψουμε το ανώτερο νόημα,πέρα απο το πλαίσιο της φυσικής μας ζωής πάνω στη γη.Σε όλο το στερέωμα του Καφκικού σύμπαντος με επίκεντρο τον θρυλικό Πύργο προσπαθούμε να προσεγγίσουμε την είσοδο, την επαφή,το μυστήριο,το παράλογο,το ιδεώδες,το σύμβολο της ύπαρξης και του ονειρικού εφιάλτη. Ξεκινώντας απο ένα φτωχό και παραμελημένο χωριό στο οποίο ούτε ως κλεμμένη δεν συναντούσες τη χαρά στους κατοίκους του,πρέπει αρχικά να συνηθίσουμε τα επικρατέστερα συναισθήματα που βιώνουμε. Απόγνωση,φόβο οργή,παρανοϊκή αναμονή για το παράδοξο. Έπειτα να διασχίσουμε με απόλυτη δειλία,δυσκολία,απειλή και πόνο τα απελπιστικά πολλά και μπερδεμένα μονοπάτια του οικισμού και του μυαλού μας και αφού καταφέρουμε να επιζήσουμε ή να μην τρελαθούμε και χαθεί το κλειδί για την πύλη του Πύργου που είναι η ψυχή μας, ίσως, μα και πάλι μάταια καταφέρουμε να αντιμετωπίσουμε την ανημποριά και να στηρίξουμε την ύπαρξη μας στο υψηλότερο επίπεδο πνευματικής σοφίας,δύναμης,τόλμης,αποφασιστικότητας και τελειοποίησης. Ίσως χωρίς συνείδηση,δίχως τύψεις,σε μια κατάσταση πριν την επαφή με το θεϊκό απόκοσμο να μπαίναμε στον Πύργο και να βρίσκαμε το νόημα της ζωής. Όμως σε όλη τη διάρκεια της προσπάθειας μας αγνοούμε τι πρέπει να κάνουμε. Τα εμπόδια συνεχόμενα και πολύπλοκα,οι δυνάμεις εξαντλούνται. Επικρατεί έλλειψη ελπίδας και βοήθειας σε αντίθεση με την επιβολή μιας άνομης εξουσίας που παράλογα ασκείται και άδικα μας βασανίζει εμποδίζοντας την είσοδο στις κεντρικές πύλες του Πύργου. Τα όργανα της εξουσίας είναι το ίδιο ετερόκλητα και ανειδίκευτα,το ίδιο ακατάληπτα και ανερμήνευτα όσο και η φανταστική διάσταση του κόσμου μας. Αυτό που κυριαρχεί σε όλο το βιβλίο και καταρρακώνει σε πλήρη ταύτιση τον αναγνώστη είναι η αγωνιώδης αναμονή,η διανοητική εμπλοκή,η ανημποριά και η οργή που σιγά σιγά μας καταβάλουν και επεκτείνονται και στις προσωπικές και διαπροσωπικές λειτουργίες. Οι κάτοικοι του χωριού δε γνωρίζουν τι θα τους βρει,δεν ξέρουν τι τους περιμένει, δεν προειδοποιούνται για το άγριο «αύριο» του Πύργου που δεσπόζει και τους πλήττει ήδη. Είναι αποκομμένοι απο την εξέλιξη των πραγμάτων και την αλήθεια των γεγονότων,μπαίνουν στον κανόνα της ιστορίας με μόνο εφόδιο την τροφοδότηση διανοητικής εμπλοκής και το νοερό και ψυχικό μούδιασμα. Δεσπόζει το άγχος,η θλίψη,η παρεξήγηση εννοιών και πράξεων και η κατάρρευση. Ο Πύργος είναι άδειος απο άτομα εξουσίας και πολιτικής δύναμης. Είναι άδειος απο κάθε ανθρώπινη επίφαση ανωτερότητας και χειραγώγησης της μοίρας του κόσμου. Όμως προβάλλεται και πιστεύεται ως ψευδαίσθηση άσκησης δικαίου και εξουσιαστικής επιβολής. Δεν υπάρχουν κοσμικές εξουσίες στον Πύργο, οι ψευδαισθήσεις που μας επιβάλλουν νομίζουμε πως υπάρχουν. Απαγορεύεται να χρησιμοποιήσουμε τη δύναμη του μυαλού μας ως ανθρώπινα όντα για να κατανοήσουμε το αληθινά μεταφυσικό. Και αφού έτσι μας μεγαλώνουν και απο την κούνια μας πίνουμε το γάλα της επιφανειακής και στημένης πραγματικότητας, είμαστε ανίκανοι να λειτουργήσουμε εγκεφαλικά με διαφορετικά δεδομένα και ζητούμενα.Οι πληροφορίες που μας καθιστούν ικανούς να επεξεργαζόμαστε σταματούν μπροστά στα στερεότυπα καλού-κακού, δίκαιου-άδικου,σωστού-λάθους,λογικού-παράλογου και γενικότερα σε όλα τα δίπολα κατεστημένων ψευδαίσθησεων. Επομένως δεν μπορούμε να συλλάβουμε την ιδέα του Πύργου και ως εκ τούτου δεν είμαστε ικανοί κυρίως πνευματικά να εισέλθουμε σε αυτόν. Ελάχιστοι ίσως κατοικοεδρεύουν μέσα στον Θρυλικό Πύργο. Φήμες λένε πως εκεί μέσα τραγουδούν αιρετικά φαντάσματα απονενοημένων πράξεων συνείδησης,τρελοί,σοφοί που αδιαφόρησαν,έξυπνοι που σιώπησαν την εκδίκηση και ευφυείς που παρανόησαν και επηρέασαν την εξέλιξη της φυσικής νομοτέλειας. Ο Πύργος ανήκει σε έναν ιδεατό κόσμο που δεν υπόκειται σε κάποιον έλεγχο,άρα οι ανθρώπινες συμπεριφορές και τα κοινά φαινόμενα δεν μπορούν να ερμηνευτούν με λογικό τρόπο. Όλα τα παραπάνω μου τα εξιστόρησε με εξαιρετική μεταδοτικότητα και άριστη μεθοδολογία ο μέγας δάσκαλος Κ. που λάτρεψε τον Πύργο και το νόημα του. Το νόημα του έγκειται στο νόημα της ζωής. Αυτό το μεγάλο ανεξήγητο μυστικό που συνίσταται απλά στο να ζεις!Κάποια στιγμή προς το τέλος της ιστορίας ο Δάσκαλος Κ. μου είπε πως έπρεπε να φύγει για λίγο (ή για πάντα)δεν το διευκρίνησε. Στη θέση του ήρθε ένας φίλος του που προσπάθησε να συνεχίσει την εξιστόρηση του Πύργου... φάνηκε όμως πως δεν μπόρεσε να σταθεί στο ύψος των περιστάσεων. Η αφήγηση του ήταν απογοητευτική σε σχέση με του Δασκάλου. Αναλογιζόμενη όσα είχαμε πει μεταξύ μας, κατάλαβα πως ο Δάσκαλος Κ. εφυγε επειδή κατάφερε να μπει τελικά στον Πύργο έστω και απο άλλη εισοδο,λιγότερο γνωστή. Εκεί βρίσκεται τώρα παρέα με το θάνατο,τον αβάσταχτο πόνο,την ύπαρξη του κακού,την αίσθηση του παραλόγου και την απουσία νοήματος. Τώρα που δεν φοβάται το θάνατο και έχει την εμπειρία της οδύνης και την πεποίθηση έλλειψης αξιών, ίσως περιφέρεται στον Πύργο και προσπαθεί να συμφιλιώσει αντίθετες θεωρήσεις και μεγάλες ιδέες για να μπορούμε κάπου να αποβλέπουμε ...!!🏰🏰⚔️🔪🧠🗣🆓🔝🔚🔙🔪🧠🏰🏰Καλή ανάγνωση!!Πολλούς ασπασμούς!!

  • Fernando
    2018-12-11 05:59

    Vi un policía, fui hacia él y le pregunté cuál era el camino.Sonrió y dijo: ¿Quieres conocer el camino?–Sí –dije–, ya no puedo hallarlo por mí mismo. –Olvídalo, olvídalo –dijo, y se volvió con brusquedad, como la gente que quiere quedarse a solas con su risa. (Franz Kafka, "Olvídalo")Los caminos kafkianos siempre son los más difíciles. La frase es mía pero lejos de creerme un filósofo, creo que resume lo que "El castillo" representa. Todo, absolutamente todo lo que le pasa a K. en la novela se compone de futilidad, frustración, imposibilidad, fracaso. El castillo, infranqueable, el pueblo al que tiene que adaptarse, los pobladores, funcionarios, y las mujeres con las que se involucra sólo logran que el desasosiego de K. alcance límites insospechados y, en cierta manera, va logrando en el lector los mismos sentimientos de desesperación. Nadie colabora, todos entorpecen. K. se enreda en infinitos intentos que no conducen a nada. La inaccesibilidad al castillo es tal, que todos los funcionarios, dependientes e incluso cocheros o criados conspiran en su contra. Uno va leyendo en forma intrincada línea tras línea con dificultad, como en un camino escabroso, pero no porque la narrativa de Kafka sea inaccesible, sino porque la trama va arrinconando al lector hasta lograr que el estado de frustración sea compartido.Cabe destacar que los ambientes en los que se desarrolla "El castillo" son también oscuros y opresivos, inaccesibles. Todos tienen su grado de complejidad. Las posadas, la escuela, las oficinas administrativas de acceso al castillo son algunos ejemplos claros.Pero además el castillo no es la típica construcción feudal, sino que se compone de distintos tipos casas, algunas de dos pisos, que forman una especie de aldea, que a la vez funciona como un gran paredón que separa a esa construcción del resto del pueblo. Sólo un par de torres (especialmente una) se destacan por sobre el resto del conglomerado de construcciones.Todo conspira para que K. no logre su cometido. Debe tratar con ayudantes ineficientes e inoperantes (que a que a mí me da la impresión, en primer lugar de que no poseen sus facultades mentales completas y de actuar como si fueran dos perros y no seres humanos, por la forma en la que K. les ordena y ellos se chocan entre sí, o se pelean para llegar primeros o se quedan esperando una orden), mensajeros inexpertos como Barnabas que increíblemente resume la única esperanza de tener noticias del castillo y funcionarios que lo atienden desde la cama, como el Alcalde y Bürgel y que traza un paralelo con "El proceso", su otra novela, en la que Joseph K. tiene que tratar los asuntos de su juicio con el abogado también postrado en una cama. La relación de K. con las mujeres es difícil, conflictiva y ambigua y traza un paralelismo con la vida del mismísimo Kafka), tanto con Frieda, como con Olga, Amalia, Pepi y la Gardena, la mesonera. De la misma manera se enreda Joseph K. en "El proceso" con Leni, la secretaria del abogado, tiene una relación con Frieda, pero es deseado por Olga.Lo complican y detestan (la mesonera, Pepi), lo seducen y celan (Frieda), lo atraen (Olga). En ciertos pasajes intenta con Frieda conseguir, utilizando cualquier sortilegio, superar las trabas que le impiden llegar desde bien abajo, al infranqueable castillo, pero es en vano.Así fue en realidad la lucha del propio Kafka contra sus propios obstáculos y debilidades: un esfuerzo titánico por superar las circunstancias que la vida le propuso y que a medias pudo franquear.Pero no sólo el castillo es inaccesible. Si bien este simboliza el poder, la “Divinidad”, como supo definirlo su amigo y albacea Max Brod, del mismo modo son inaccesibles sus funcionarios, como es el caso de Klamm, tal vez el más importante de todos y sobre el que K., deposita todas sus esperanzas, pero al que nunca logra llegar a entrevistar personalmente. Hasta en esto K. está desamparado. Todos los caminos se vuelven infinitos, laberínticos, como usualmente sucede en sus obras.Lo que diferencia a K., de Joseph K., de la novela El Proceso, es que aquel intenta entender por qué es perseguido y condenado por el sistema, mientras que este K. va a su encuentro y trata de hacer infructuosos contactos. Gran parte de lo que sucede en El Castillo demuestra lo absurda que puede resultarnos nuestra propia existencia, pero también desnuda lo que fue para siempre la "Ley" para Franz Kafka, porque la Ley es el Dios de esta novela, como sucede también en "El proceso", en el cuento "La condena" en donde la ley patriarcal es la que manda (y que lo relaciona directamente con su "Carta al padre") y hasta es elevado a un nivel supremo en esa gran parábola que se llama "Ante la ley" y que forma parte de "El Proceso".Porque de eso se trata, y creo que siempre el elemento autobiográfico se refleja en la obra de Kafka, dado que su vida contiene también ciertos aspectos como los de K. Su precaria salud, la enfermedad que lo terminó matando, su trabajos en puestos completamente burocráticos, su imposibilidad de llegar a casarse tanto con Felice Bauer y el imposible acercamiento a Mílena Jesenská terminan impactando en su obra. La vida misma de Kafka, lo empírico se traslada a la ficción.Kafka, al igual que Dostoievski logra hacerme reflexionar que muchas veces en la vida las cosas no son (y puede que nunca sean) como queremos y creo que de eso se trata: el tratar de superar las adversidades que la vida nos plantea. Él nunca se plantea: “¿por qué no me voy?”, “¿por qué no abandono todo esto y pruebo una nueva vida?”, sino todo lo contrario, quiere quedarse, establecerse porque no puede volver atrás rechazando la proposición de Frieda mientras vive en una escuela, donde K., debe dejar su intento de trabajar como agrimensor para ser un simple bedel de escuela.Mientras que en las novelas de Fiódor Dostoievski “la procesión existencialista” va por dentro del personaje para confrontarlo con la realidad y los demás personajes, en las de Kafka las circunstancias, el entorno y todas las probabilidades conspiran en contra y a la inversa, perforando la conciencia del personaje para llegar, incluso, a paralizarlo."El castillo" es otra de las novelas inacabadas de Kafka junto a "América" y "El proceso". Yo discrepo de los que dicen que "El proceso" es una novela sin terminar. El que la ha leído sabe como termina. Lo que no es inacabado en esa novela es la cantidad de interpretaciones que se han hecho de ella, pero la historia para mí sí tiene un final. Con "América" sí podemos ver un final abierto. El hecho de que Kafka no revisara o corrigiera sus novelas a fondo acrecienta esta condición.En esta novela sí sabemos que nunca la terminó. La dejó inconclusa con una frase a medio terminar: "...hablaba con dificulta, era difícil comprenderla, pero lo que dijo,"Ese final con una coma es lo que llamo un no-final kafkiano, tan suyo y que refleja su particular manera de abordar la literatura. Kafka desafía al lector, le abre una puerta al infinito.Gran novela de Kafka. Incomprendida tal vez, críptica, agobiante, densa o como quieran llamarla, pero que junto al resto de sus otras obras sigue erigiendo al inmortal autor checo como a uno de los más geniales escritores que pisaron este planeta.

  • George
    2018-11-17 06:12

    I'm re-reading The Castle 10 years later with older, more patient eyes and it's proving to be a wonderful time, especially with the new translation."The Eighth Chapter" of The Castle is, perhaps, some of the most beautifully composed writing in all of modern literature. The new translation adds a dreamy, sudden stillness and frightening sense of desolate open space in Kafka's work which is better known for his breathless, claustophobic style of writing and description. This feeling was lost and never captured in the previous, "original" translations which used archaic (even for kafka's time) english words from Kafka's odd german. Punctuation and syntax and grammer and phrasing that Kafka never used or put in were added in the old translations. All of that has been stripped away and the purest form of Kafka's German in English is now available. While still not the same as the actual German, it's very close and very true to his "real" style.Kafka is, without argument, regarded as one of the greats of 20th century literature, and The Castle (the third installment of Kafka's alluded "brothers" trilogy, with Amerika & The Trial being the other two) is the purest example of what makes him great. Within this amazing book that was never finished and thus has no ending, is "The Eighth Chapter", a small chapter so heart-wrenchingly beautiful I had to read it twice before moving on to the next chapter.It is a hard book to begin as a "starter" into Kafka, and perhaps not even suggested as a starter regardless. Following his own writing path would be highly valuable, reading through the new critical translations of Amerika and The Trial, as well as his short stories (the hunger artist, the sons, the penal colony, the metamorphosis), will grant a greater appreciation when undertaking The Castle.

  • Nandakishore Varma
    2018-11-21 09:56

    It was the start of the year when NK. picked up The Castle by Kafka, a book he had tried to read a lot of times but failed in the past; but now he was full of a new resolution that he will finish it this time. He had hardly read a few pages, however, when his wife called him. "We need to withdraw some money from the bank," she said: "There are a lot of bills to be paid, and some of them are long overdue.""Can't we do it online?" NK. grumbled. "No," said his wife. "The grocer and the vegetable peddler do not carry card-swiping machines." NK. set off to the bank, annoyed.At the bank, he tried to withdraw money, first from the ATM, and when that proved unsuccessful, from the bank personally; but the teller told him: "I am afraid there is a technical issue, sir, you Aadhar number which is linked your account has some problem, so I am unable to complete the transaction.""Oh," said NK. "What is the problem?" "I can't see that from here, sir," said the teller. "I think you will have to log in to the site with your ID and check yourself." "Can I do it from here?" NK. asked. "No sir, our bank policy prevents us from allowing outsiders to use our computers. I am sorry, sir." The teller replied.NK. returned home. "Got the money?" asked his wife. "No. There is a problem with my Aadhar number and I need to correct it online." NK. said. His wife replied: "Well, you can't do it from here. There is a power shutdown until the evening.""I will do it on my laptop," NK. said and went to his office room. But the laptop would not power up: he suddenly remembered that the battery was dead and had to be replaced. He called his computer serviceman. "I guess you will have to bring it here, sir," said that gentleman. "Today all my assistants are on leave and there is no one to send." Accordingly NK. went outside to catch an auto-rickshaw.He was standing on the roadside for quite some time without success, when a neighbour chanced by. "What are you waiting for?" he asked. "An auto," said NK. "Well, you won't get any today. There's a lightning bandh declared by one of the political parties, the Congress, BJP or CPI(M), I don't know which, to protest against a killing somewhere in the North." Said the neighbour. "Well, in that case I better go home,"NK. said. The neighbour concurred.By this time it had grown quite dark. NK. wondered where the day had gone. As he went into his office room, he saw The Castle lying unread on his table. "I will definitely read it tomorrow," he said.

  • Kostas Papadatos
    2018-12-07 06:49

    Καλοκαιρινό βιβλίο, ότι πρέπει για διακοπές και για ανάγνωση δίπλα στη θάλασσα. ΝΟΟΟΤ. Ούτε καν, παίξτε ρακέτες καλύτερα, χτίστε στην άμμο παλάτια, δε ξέρω, κάντε κάτι, στην εξοχή είστε που να πάρει. Η αλήθεια είναι ότι δεν είναι τόσο κακό, αλλά η στιγμή που επέλεξα να το διαβάσω ήταν. Επίσης ακόμα πιο λάθος επιλογή ήταν να αντικαταστήσω τον σελιδοδείκτη μου με ένα κομμάτι μπέικον. Ο ήρωας μας λοιπόν, ο "Κ", αποφασίζει να επισκεφτεί τον Πύργο "αφού". Δε μπορεί όμως να φτάσει σε αυτόν λόγω γραφειοκρατίας και αποφασίζει να μείνει στο χωριό κάτω από τον Πύργο. Οι κάτοικοι του όμως είναι μεγάλα γαϊδούρια που νομίζουν πως η λέξη "φιλοξενία" είναι χωριό στην Ανδαλουσία. Εκεί, ο "Κ" γνωρίζει την Φρίντα (είναι από το χωριό δε την ξέρετε) και κατόπιν ωρίμου σκέψεως ενός νανοδεύτερου τη ζητάει σε γάμο γιατί την αγαπάει (πφφ). Αυτό μέχρι τις πρώτες εκατό σελίδες, όολο το υπόλοιπο βιβλίο περιστρέφεται γύρω από το -θα μπω, δε θα μπω- του ήρωα μας στον Πύργο. Το τέλος (το ποιο;) του βιβλίου ανύπαρκτο, η ιστορία μας τελειώνει πιο απότομα και από χαράδρα στο Grand Canyon, είχε κατάθλιψη και φυματίωση ο Kafka όταν το έγραφε και δεν το ολοκλήρωσε ποτέ. Thanks for nothing Franz, μας υποχρέωσες.

  • Sonky
    2018-11-28 05:03

    Honestly, I quit.It was too, how do I say it?...Kafkaesque. But am I greater than the writer himself? No. Kafka quit too and just as mid-sentence as I--only later in the text. Evidently, he died of tedium. Thank goodness I stopped before Kafka's work killed me too.I was not enriched by the petty squabbles of German? Czech? villagers and the gyrating evasions of bureaucrats worshiped in detail by said squabbling villagers. I didn't like the protagonist; I couldn't even admire K. for not liking K.self.I think at the time and place of its writing, it was somehow valuable to use The Castle, pointing out in surrealism the satirible qualities of the bureaucracy and peasantry.The value The Castle has to offer here and now is not worth the attention required to read it. Kafka is upside down in his book.

  • Nickolas the Kid
    2018-11-16 06:44

    ’Ηταν νύχτα αργά σαν έφτασε ο Κ. Το χωριό ήταν χωμένο μέσα στο χιόνι…”Έτσι ξεκινάει λοιπόν η περιπλάνηση του Χωρομέτρη Κ. στο χωριό του Πύργου ενώ ταυτόχρονα αρχίζει και η περιπλάνηση του αναγνώστη στα δαιδαλώδη και σκοτεινά μονοπάτια αυτού του βιβλίου…Τι είναι ακριβώς ο Πύργος; Μια αλληγορία για την γραφειοκρατία, ένας συμβολισμός για την ανθρώπινη καταπίεση, οι προσωπικοί δαίμονες του συγγραφέα; Ίσως όλα αυτά μαζί, ίσως και τίποτα από αυτά… Προσωπικά μέσα στον Πύργο δεν βρήκα συμβολισμούς και αλληγορίες. Συνάντησα μόνο τις φοβίες, τις ανασφάλειες και τους εφιάλτες ενός πολύ ιδιαίτερου συγγραφέα. Όμως η εξαιρετική γραφή του Κάφκα, διαποτισμένη με υπερβολές, παραλογισμούς και ενοχές, κατάφερε να με παρασύρει σε ένα εφιαλτικό και σχεδόν τρομακτικό σκηνικό, μέσα από μια μονότονη και βασανιστικά ελκυστική διαδρομή. Είναι γνωστό πως ο Κάφκα πέθανε πριν προλάβει να ολοκληρώσει το Πύργο… Στην συγκεκριμένη έκδοση το αρχικό κείμενο της πρώτης έκδοσης τελειώνει στην σελίδα 297. Για μένα εκεί τελειώνει και το αριστουργηματικό αυτό βιβλίο. Οι επόμενες σελίδες βασίζονται στα χειρόγραφα που βρήκε ο Μαξ Μπροντ στο σπίτι του Κάφκα μετά τον θάνατο του τελευταίου… Το ότι το έργο παρέμεινε ημιτελές, για μένα του προσδίδει μια επιπλέον γοητεία, αν και δεν πιστεύω πως κάτι συμβατικό θα συνέβαινε ακόμα κι αν ο συγγραφέας προλάβαινε να γράψει το τέλος…ΕΝ κατακλείδι ο Πύργος είναι ένα πολύ ιδιαίτερο ανάγνωσμα και όπως ήταν αναμενόμενο διχάζει τις απόψεις των αναγνωστών όλα αυτά τα χρόνια…. Το ακαθόριστο του χρόνου, οι μακρόσυρτες προτάσεις και ο ‘καφκικός” τρόπος γραφής ίσως να μην ενθουσιάζουν τους πάντες αλλά ένα πράγμα είναι σίγουρο! Όποιον τον τραβήξουν όλα τα παραπάνω θα το κάνουν για τα καλά!5/5* στο βιβλίο και άλλα 5 αστεράκια για αυτή την μοναδική αναγνωστική εμπειρία…

  • Luís C.
    2018-12-01 10:09

    Exhausted after his long walk, K. thinks only to rest in the small village that has just reached. However, requires an authorization from the castle to spend the night. K. tried a bluff by pretending to be a surveyor hired by the count, and, to everyone's surprise, the administration confirms K. castle in office, and Deputy even aid twice for assist him in his task.In the morning, K. is trying to solve this mystery, especially as it confirms him quickly no survey work is needed in the village. But all his efforts to contact the administration are proving futile. We refuse to receive it, the officials he awaits the release of their office rather stay cloistered. His behavior shocked Besides the villagers, accustomed to more respect for this prestigious organization and unable to understand as much obstinacy to disturb respectable figures for an insignificant request.But K. persists, multiplies approaches. However, it only manages to get angry with all the people who give him advice, and contacts he felt close to the castle admit in the end do not understand the exact functioning of the administration and even being unable to recognize for sure an important official. And when by chance arises a small opening, he striker by his inappropriate behavior. Meanwhile, the Castle sends him letters to congratulate him on his surveying work he can not do ...Our attitude towards K. changes over the story. Initially, supports him in his fight against the arrogant system, applaud his fighting, unlike the villagers totally submissive. But then comprises much faster than him, that his efforts will remain ineffective, it is agitated for nothing. His behavior becomes heavy, painful and exhausting. This novel is unfinished, but I was not surprised to learn that Kafka also had to kill K. exhaustion at the end of the story. He would have been able to kill his reader the same way.The castle is a novel that requires a lot of concentration, but I guess no one has the idea of reading Kafka to relax on the beach anyway. One can find several levels: the contact with reality it is sufficient to find a criticism of administrations so heavy they lose, but you can also see the castle as a symbol of an unattainable ideal : happiness or even paradise for some commentators who believe that religion is very present in the work of the writer.I advise to choose the right moment to open this book, because it forces us to wring our reflexes to suit its particular logic, but when one is in goodness, this is a real treat.

  • Tara
    2018-11-24 06:11

    “Now what could have attracted me to this desolate land other than the desire to stay?”In The Castle, Kafka’s protagonist ludicrously struggles to gain entrance to and make sense of the Castle, an entity which is effectively unattainable and incomprehensible.Reading the book felt like coming home one day to discover that all of your belongings have been shifted 5 centimeters to the left, with the exception of one lone, grimy spoon. Nearly everything was askew to some degree. This book was so painfully well done that reading it often made me queasy. My brain got itchy and squirmy and fussy. It set my teeth on edge. It was like wading through molasses of dubious origin and hue. It was claustrophobic and smeary. That said, it managed to make me laugh quite a bit too. It seemed to fit the definition of grotesque rather well: comically or repulsively ugly or distorted. See also many of the synonyms for grotesque: malformed, deformed, misshapen, misproportioned, twisted, and gnarled. Bottom line: In my opinion, The Castle was conceptually brilliant, but the actual reading of this intense novel was more often than not a vividly dreadful experience, as was no doubt intended. I was awfully fond of those assistants though:

  • Ahmad Sharabiani
    2018-12-08 08:48

    691. The Castle, Franz Kafkaتاریخ نخستین خوانش: دهم ماه آوریل سال 1976 میلادیقصر - فرانتس کافکا (نیلوفر) ادبیاتعنوان: قصر؛ نویسنده: فرانتس کافکا؛ مترجم از متن آلمانی: عبدالرحمن صدریه؛ تهران، فروغی؛ 1340؛ در 301 ص؛ موضوع: داستانهای نویسندگان آلمانی قرن 20 معنوان: قصر؛ نویسنده: فرانتس کافکا؛ مترجم: امیر جلال الدین اعلم؛ تهران، نیلوفر؛ 1373؛ در 442 ص؛ چاپ دوم 1376؛ چاپ هفتم 1392؛ عنوان: قصر؛ نویسنده: فرانتس کافکا؛ مترجم: علی اصغر حداد؛ تهران، ماهی؛ 1388؛ در 427 ص؛ عنوان: قصر؛ نویسنده: فرانتس کافکا؛ مترجم: محدثه موحدی؛ مونا قربانی؛ تهران، آسو؛ 1396؛ در 411 ص؛ شابک: 9786008755173؛داستان از آنجایی آغاز می‌شود که «کا» شباهنگام وارد دهکده‌ ای می‌شود که قصر در آن واقع است. به مهمانخانه‌ ای پناه می‌برد تا استراحت کند اما می‌خواهند او را از آنجا برانند به این دلیل که می‌گویند هر کس بخواهد وارد دهکده شود یا در آنجا بماند می‌بایست از قصر اجازه گرفته باشد. «کا» مدعی می‌شود که شغلش مسّاحی است و با درخواست خودِ قصر به آنجا آمده‌ است. پس از زنگ زدن ابتدا این ادعا تکذیب می‌شود و سپس تأیید می‌گردد و در واقع قصر «کا» را به مسّاحی می‌پذیرد. از فردا صبح در پی آن است تا هر طور شده به قصر برود و شرح وظایفش را بپرسد و مشغول کار شود ولی تا پایان کتاب در این کار کامیاب نمی‌شود. ...؛ ا. شربیانی

  • Teresa Proença
    2018-11-23 06:52

    Estou na página 220 (de 380) e se não desisto já ainda me dá um piripaque...Esta obra de Kafka é, dizem, importante e de leitura imprescindível. A mim fez-me um sono desgraçado (e eu padeço de insónias). Tem umas partes meio-chanfradas que me fizeram rir, mas a maioria é conversa chata. Do que li, conta a história de um homem que chega a uma terra para trabalhar e a burocracia das hierarquias e da papelada impedem-no de chegar ao castelo, de falar com o responsável e executar o trabalho para o qual foi contratado. Como não gostar de um livro de Kafka, me "afeta" psicologicamente, talvez fosse boa ideia tentar redimir-me com a releitura d'O Processo, que li há muitos anos e gostei. Mas, para já, não arrisco porque se não gosto ainda me atiro das "ameias"...Já se sabe que as duas estrelas significam que eu sou má leitora, nunca que o livro é mau, mas é sempre bom lembrar.

  • Cecily
    2018-11-20 05:46

    An extraordinary combination of beauty and subtle, paranoid horror - "growing inured to disappointment". Who else can make snow sinister (scary perhaps, but surely not sinister)? It ends in the middle of a sentence, more tantalisingly still, it ends with a mysterious old woman just about to say something... Very apt for a tale of layers of secrecy and never-ending frustration. It can be interpreted as an allegory for Jewish alienation and/or as a semi-autobiographical rendition of his relationship with Milena and hers with her husband (portrayed as the mysterious Klamm). Or you can read your own meaning into it.See my Kafka-related bookshelf for other works by and about Kafka (http://www.goodreads.com/review/list/...).

  • Jan-Maat
    2018-12-15 11:09

    It struck me round about page 200 that there was no particular reason for this novel to end, or for it to have been this long, rather it could have progressed near infinitely, a continuing unfolding of enigmatic conversations and meetings with assistant secretaries and children of under castellians, the promise of revelation growing balanced by the necessity of accepting the fundamental absurdity of the situation.I found I had to read this novel slowly, partly because of Kafka caused insanity, partly because the situation described is so enveloping that the idea of escaping the Castle by finishing the book became in some way a thought crime, and semi-consciously, or even demi-consciously, I read slower and slower, just as K. walked all day but never got closer to the Castle so I read but barely progressed.I liked the alternative beginning and the rejected fragments many of which I read as I went like footnotes, I fantasied about an insane edition of The Castle with two versions of the text printed not in succession, but back to front so the book had two front covers and one could flip the book over to read the other version like an A and B side of a record.We know that in the graveyard of the nineteenth century two graves lie side by side: God and the author. Who wrote The Castle, Franz Kafka? K.? Max Brod? The reader? Any of these acting in collusion and conspiracy together?I read a Broderised edition. Kafka and Brod are for me like Mussgorsky and Rimsky-Korsakov, one man asserting himself over the creativity of the other. It may in principle be possible to read Kafka without Brod but without Brod would we even know Kafka today? Would his strangeness left him forgotten?I was compelled of my own free will to read this, freely submitting to the gravitational pull of a friend reading Letters to Milena. That was insane. Kafka is not K. K. is Kafka, Milena is not Frieda, and yet...At first the experience of K. in the story reminded me of telephoning a large organisation, you don't have the direct number of the person you need to talk to, from the switchboard you are transfered through the system, put on hold, transfer from number to number, ultimately to be connected to nothingness, a dull tone only in the receiver.Traditionally I would fall back on the social and cultural context, you know Kafka had lived through the experience of going to bed one night a citizen of the Austro-Hungarian dual monarchy, waking up feeling a bit strange, and not quite one's self, and then in the evening realising that he was now a Czechoslovak.Reading further the setting of The castle reminded me of Melvyn Peake's Gormendghast, but told from the point of view of Steerpike, Peake's trilogy began to be published in 1946, the first translation into English of The castle was published in 1941. The setting seems curiously similar particularly the relationship between village/outertown and the fortress, also how both places appear both isolated from the wider world and yet of this world too.The Muirs' translation in its word choice was influenced by Max Brod's understanding of the religious nature of the text, this was not wildly unreasonable, Brod lays out this reading in the First Afterword with particular attention as the Sortini/Sordini episode as a parallel to Kierkegaard's interpretation of the Abraham and Isaac story in Fear and Trembling. Well. The problem is that a good parallel is not a straight forward thing to appreciate, does it indicate agreement or criticism or nuance of the original story - more complex in this case as it touches on the relationship between God and people! Here the water is very deep, the story of The Castle does not suggest an uncritical relationship to the Castle and its administration, if it represents Divinity in any way it suggests that at the heart of the Temple, in the Holy of Holies, one finds only the The Wizard of Oz (view spoiler)[although having said that I understand that in such places in various temple traditions often there is nothing or perhaps only a mirror to make clear the ineffability and inexplicability of the experience with the Divinity (hide spoiler)], or as it says in the story - you don't know if the person you are speaking to on the telephone is really the person you think you are talking to, indeed you can't even know if the person you meet face to face is the person they say they are. Deep water since I know too little about Kafka and his religious views, or his attitudes generally. Was Brod right? (view spoiler)[ after reading vor dem Gesetz I admit I am much more open to a religious reading of Kafka (hide spoiler)] Letters have emerged in which the two discuss their fears of contracting syphilis so they were comfortable discussing certain intimate issues with each other, on the other hand my impression reading the sections removed by Kafka was that he was attempting to polish the text into a mirror. The reader approaches the Castle and finds their own preoccupations and vital concerns. It could be bureaucracy - perfectly insane, or Capitalist society, or the modern condition in a post-Enlightenment world or a vision of life as a struggle for power or as resistance against the attempts of others to dominate us, or about the relationship, here dysfunctional, between sex and intimacy, or indeed Kafka knows what. The reader reads and finds themself at the centre of the text. The Author is dead. Long live the Reader (view spoiler)[ that miserable, demanding tyrant (hide spoiler)]!Indeed it was the Muir translation which I first read half a lifetime ago, the Muirs were, once upon a time, a young Scottish couple (she a teacher, he a drifter and refugee Orcadian) who rumgebumelt about Europe in the interwar period working for the British Council here and there. They spent some time in Prague and Dresden among other places, learnt themselves some German and produced the early translations into English of Kafka, rather like the great plant collectors of the eighteenth century brought back exotic blooms to European glasshouses, so they transplanted, no doubt not as subtly as others since the work of this middle European writer to the English speaking world.And also I mentioned Letters to Milena. I was struck her by the sudden force of feeling in this for example:jeder Angriff gegen Frieda gleichzeitig ein Angriff gegen meine Existenz ist. Ich bin aus eigenem Willen hierhergekommen, und aus eigenem Willen habe ich mich hier festgehakt (p168) and here the quotes from those letters popping up in my feed made a new sense of the story, if Frieda is a Milena, and if Klamm is a Milena's husband, then K.'s belief and acceptance of Frieda's feelings for Klamm continuing and respected even in the context of their own intimacy make a different sense. An attack against his existence? Here then I wondered not novel as masked biography but maybe the novel as a poetisisation of his own life and experience - this is what life feels like to me - Franz Kafka - read and despair, mere reader! And there is in this an acceptance of an insane situation as an opportunity for the assertion of identity and values.As a bonus since we read Kafka we understand the world through his eyes - Kafka creates our Weltanschauung. We understood what a Kafkaesque situation is because we have read Kafka. Then there is the dreaminess of the whole thing, the way I at least, maybe you too recognise and understand things in dreams in a direct way, for example I dreamt I was in Australia and saw a downtrodden Sumatran tiger walking alongside a road. I can't in this waking life distinguish a Sumatran from a non-Sumatran tiger, but in the dream if was a fact beyond question. So with the two assistants K. recognises them and doesn't know them either then follows eventually the delightful exchange:"Er hat dein Dienst verlassen. Du warst aber auch ein wenig grob und hart zu uns. Die zarte Seele hat es nicht ertragen. er ist ins Schloss zurückgekehrt und führt Klage über dich...""Worüber klagt ihr denn?""Darüber...dass du keinen Spaß verstehst..." (p.195) The assistants have been detailed to K. they protest they know nothing of surveying, they are told it is not important: Das wichtigste ist aber, dass ihr ihn ein wenig erheitert. Wie man mir berichtet, nimmt er alles sehr schwer. Er ist jetzt ins Dorf gekommen, und gleich ist ihm das ein großes Ereignis, während es doch in Wirklichkeit gar nichts ist. Das sollt ihr ihm beibringen (ibid.)He must be cheered up, he takes things to heart. In the end a kiss is just a kiss and a novel is just a novel?Delightfully insane, deliberately mysterious, it brought to mind The quest of the Holy Grail, in one episode, questing knights arrive at a Castle, the Lady of the Castle has leprosy and can only be cured by bathing in the blood of a maiden of noble birth. What luck, the knights happen to have their virgin sister with them - how much blood is needed? Eight and a half pints. She has just such an amount. Sister dies, the Lady is cured - don't try this at home. This what happens when you start rereading Kafka. He gets everywhere, like sand at the beach.

  • Miss Ravi
    2018-11-15 12:09

    جهان رمان قصر، خواننده را به‌مانند شخصیت اصلی‌اش «ک» سرگردان می‌کند. قصر برای من نمادی از یک سیستم ناکارآمد و آشفته است و «ک» هرچه برای نظم دادن و مرزبندی‌ کردن آن تلاش کند، بی‌ثمر است. دنیای این رمان، دور باطلی است که به هیچ نقطه ثابت و امنی نمی‌رسد. و چه مهارتی دارد کافکا برای ساختن و نمایش این جهان انباشته از سرگردانی. هربار کتاب معرکه‌ای می‌خوانم به ذهن نویسنده‌اش فکر می‌کنم و دلم می‌خواهد می‌توانستم ذهن کافکا را ببینم که هرچند ممکن است آن‌چنان تاریکی غلیظی فراگرفته باشدش اما برای من بسیار تماشایی است.

  • MJ Nicholls
    2018-12-13 07:48

    Four stars to keep the Kafka cartel from adopting me to their ranks and slapping me with their theses on the role of Klamm as übermensch and Olga as überwench. Franz transfers The Trial to a small village, where K. struggles to receive an appointment at the department for deportment in the castle, and sets about seducing a barmaid on the floor of the bar (no one told me Kafka was so erotic!), and making wrong utterances to every person encountered. The fact this novel breaks off mid-sentence proves apt: one suspects K. to remain trapped in the village, never to receive an appointment with Klamm until the moment of death, and fortunately, by the time the final sentence comes around, one is begging for release following Pepi’s rambling free indirect monologue (one of many overlong interactions in the novel). Otherwise, a brilliant beach read.

  • Sofia
    2018-12-03 11:52

    «Ε λοιπόν αυτό που βρίσκω θαυμάσιο, ω μα τι έκτακτο,Ένα μέρος μένει από τους κλασικούς σουΓια να σε βοηθήσει να βγάλεις την ήμερα σου»Σ. Μπέκετ, Ευτυχισμένες ΜέρεςΕίναι πραγματικά πολύ ευχάριστη συγκυρία όταν κάποιες φράσεις από ένα πρόσφατα διαβασμένο βιβλίο αποτυπώνουν απόλυτα αυτό που ένιωσες τελειώνοντας ένα άλλο βιβλίο. Σαν μια σκυταλοδρομία ιδεών που είχες την τύχη να αντιληφθείς και να εκτιμήσεις. Βλέπετε, αυτές οι τρεις σειρές περιγράφουν απόλυτα το πώς αισθανόμουν τόσο κατά την διάρκεια, όσο και μετά την ολοκλήρωση του Πύργου από τον Φ. Κάφκα.Η ιστορία ξεκινάει με την άφιξη του Κ. στο χωρίο, όπου υποτίθεται ότι θα εργαστεί ως χωρομετρητής, διορισμένος από τον Πύργο. Ακολουθεί μία σειρά περίεργων γεγονότων και αλλόκοτων εμποδίων, απολύτως υπολογισμένων να αναχαιτίσουν την οποιαδήποτε επαφή του Κ με τον Πύργο.Τι είναι όμως ο Πύργος; Με μία πρώτη ανάγνωση είναι η εξουσία, αποστασιοποιημένη, απόλυτη και απρόσωπη. Φυσικά η εξουσία ανάλογα με τον τρόπο που ασκείται, διαμορφώνει και την εικόνα που έχει το περιβάλλον για αυτή. Ο Κ. , ως ξένος, στην αρχή την προσεγγίζει ατρόμητα, γιατί δεν είναι γνώστης των κανόνων, άρα και της λογικής, που επικρατούν σε εκείνη την συγκεκριμένη κοινότητα. «… Γι’ αυτό και μόνο σας λέω ότι έχετε τρομερή άγνοια σχετικά με τις συνθήκες που επικρατούν εδώ, μου’ ρχεται τρέλα όταν σας ακούω και συγκρίνω τις ιδέες σας και τα λεγόμενά σας με την πραγματικότητα. Κι αυτή την άγνοια δεν μπορείτε να την υπερβείτε απ’ τη μία στιγμή στην άλλη κι ίσως να μην την υπερβείτε ποτέ, πολλά όμως μπορούν να καλυτερέψουν αν με πιστέψετε έστω και λίγο κι αν έχετε συνεχώς συνείδηση αυτής σας της άγνοιας. Γιατί τότε, λόγου χάρη, θα γίνεται πιο επιεικής απέναντί μου..»Κατά την γνώμη μου πρόκειται για ένα από τα πιο σημαντικά σημεία του βιβλίου, λόγω του ιδιαίτερου συμβολισμού του. Οι άνθρωποι, μας θυμίζει ο Κάφκα, φέρονται και διεκδικούν δικαιώματα βάσει του περιβάλλοντος στο οποίο ζουν και των ορίων που τους θέτει. Ο Κ., ως νεοφερμένος, μετατρέπεται σε σύμβολο νέων ιδεών και αντιλήψεων. Προφανώς, η πρώτη αντίδραση των κατοίκων απέναντι σε όλο αυτό είναι ο θυμός. Γιατί ο άνθρωπος δεν δέχεται εύκολα την αλλαγή, την όποια αλλαγή, που μπορεί να συνεπάγεται μία στοιχειώδη αντίδραση ή ένα υποτυπώδες ξεβόλεμα. Κι εκεί λοιπόν που μπαίνεις σταδιακά στο τόσο πολυσυζητημένο Καφκικό σύμπαν, όπου το παράλογο κατέχει περίοπτη θέση, συνειδητοποιείς ότι αυτό είναι το σύμπαν που ήδη ζεις και το μόνο που θέλεις είναι να βρεις τον Κάφκα, να του σφίξεις το χέρι και τον ρωτήσεις «Πώς στο καλό το έκανες όλο αυτό;»Γιατί το μεγαλείο αυτού του βιβλίου έγκειται στο ότι ο Πύργος μπορεί να είναι χίλια δυο πράγματα, διαφορετικά για τον καθένα. Ο Κάφκα κατάφερε να πλάσει μία ιστορία από λογοτεχνική πλαστελίνη, ικανή να αλλάζει μορφή και νόημα στα μάτια του κάθε αναγνώστη, όσα χρόνια κι αν περάσουν. Γιατί ο κάθε ένας από εμάς έχει τον δικό του Πύργο που παλεύει να φτάσει, και σίγουρα πολλοί από εμάς, έχουν κι έναν Πύργο που δεν έφτασαν ποτέ.

  • Marilou K.
    2018-12-03 10:47

    Για να καταλάβεις όλα τα κρυφά νοήματα και τους συμβολισμούς του Πύργου, πρέπει να τον διαβάσεις τουλάχιστον 2-3 φορές. Αν όμως θες να το διαβάσεις, γιατί αγαπάς τα καλα βιβλία και σε μαγεύει ο Κάφκα,αρκεί μία!Τον Κάφκα τον γνώρισα με τη Δίκη και τον αγάπησα. Συνέχισα με τον Πύργο. Εξακολουθώ να τον αγαπώ. Δε ξέρω γιατί. Ειναι ο λιτός του τροπος; Ειναι οι πλοκες του που δεν καταλαβαίνεις για ποιο λόγο συμβαίνουν όλα αυτά; Είναι το μάταιο που προκύπτει; δε ξέρω, τον αγαπώ, αφήστε με!

  • Alessandro
    2018-11-29 11:04

    The devil has a library. Alongside Necronomicon and Malleus Maleficarum, you can find a copy of Franz Kafka's The Castle. To read this is to know pain. This book is an ungodly torment. It doesn't even have proper paragraph division. There are paragraphs that contain chapters inside themselves. How much of a mind twist is that? Wall of text of death! The narrative unravels in a feverish and dream-like state and never breaks from it. Nevertheless, I manage to finish reading this sucker. Oh! I am the baddest motherfucker alive and I wasn't going to give up just like that. While reading The Castle, I experienced nausea, boredom, anxiety, nervous breakdown and unsurpassed rage. I survived through it all. I half expected that, in the last chapter, Franz Kafka would reveal this book as being a big joke. He would congratulate the reader for reading thus far and offer his sincerest apologizes for such torture. It never happened. I hear he died before finishing The Castle. Maybe that was his intended ending.Spoilers ahead! The Castle is an obvious commentary about bureaucracy and about an individual oppressed by society. Nonetheless, I cooked up my own interpretation of this bloody mess. The next paragraph exposes it.The villagers and castle-officers share two common traits. First off, they both are proud of their station in life and job. Some of the villagers work at the most mundane jobs possible. Nevertheless, they are proud of it. The castle-officers are shamelessly inefficient and The Castle fails to provide solution to anything during the novel. Nonetheless, these officers regard themselves as semi-gods and are proud of it. The other common trait is that they all believe that life is out of control. They never act. Instead, they accept every circumstance and let every occurrence mold their lives without resistance. Except the disgraced family, but that’s precisely why they are disgusting to the villagers. Every time a villager reinterprets everything that happens to K as being profoundly and inexorable important to his or her own life, Kafka is pointing out that the commoners never act to fix their lives. They accept it as it is. I perceived this when Pepi (the most unimportant character imaginable) reviews everything that happened thus far from her point of view. Moreover, blamed K. for every affect it had in her life. She is just a passive victim. All the villagers and castle-folk are passive. As a foreigner, K. is different. First, K. does not have a clear job and that hurts his pride. In the first chapters, he is completely pissed off but the book never tells it to you straightaway. He is hurling snowballs at people to catch their attention. If that is not the action of an angry person, I do not know what it is. Second, and most important, K. is active. He acts and tries to solve his problem. That is completely alien to the villagers. Their only trade is the art of making excuses and empty (endless) arguments. That is the reason why the villagers consider K. as being childish and naive. Does he not know he is supposed to accept live as it is? When the narrative approaches its end, K. is reasoning like one of the villagers already. Body Snatcher style, he has been assimilated.

  • Zanna
    2018-12-13 05:07

    A young land surveyor arrives in a village, appointed by the count of the castle on the hill overshadowing the country. In a dreamlike, labyrinthine tale riddled with material and emotional inconsistencies,Kafka envisions a bureaucratic administration bloated and twisted beyond all imaginings, in which reverence for authority is elevated to an extreme and bizarre form of religious observance (religion itself is tellingly absent). K's affaires and intrigues are governed by almost arbitrary and mysterious turns of events; he struggles first in one direction then another, always towards the ever elusive Castle.There is a desperate quality to this narrative; it seems to rush on in terror of what may happen if it pauses for breath. Even the final break is mid-sentence, as if the tale is cut from a larger arc, all made of the same substance, without climax. Nothing is ever foreshadowed: every event is utterly unpredictable. I was wearied by the first half of the book, then gripped when the seemingly disparate threads suddenly tangled into a plot. There is less poetry, less rhythm here than in Kafka's shorter works; the writing is spare, literal; he gives fewer 'author signs' than any writer I can think of, yet in its purity, the book seems to emerge as an interior monologue directly from his psyche.

  • Agir(آگِر)
    2018-11-29 04:45

    بله، من ناآگاهم، این حقیقت همچنان به قوت خود باقی می ماند، و این مسئله برای من خیلی ناگوار است. ولی ناآگاهی در ضمن این مزیت را دارد که شخص ناآگاه بیشتر خطر می کند، و به همین دلیل من خیال دارم تا جایی که توانم اجازه می دهد ناآگاهی، و البته پیامدهای ناجور آن را، باز چند وقتی تحمل کنماین تنها سرنوشت شخصیت اول این کتاب نیست که در ناآگاهی بماند بلکه خواننده کتاب هم در بیشتر خطوط آثار کافکا وا می ماند. و حتی نویسندگان و منتقدین بزرگ هم نتوانسته اند به یک معنای مشترک و نزدیک به هم از ذهن پیچیده ی کافکا دست پیدا کنند. با اینحال چیزی از جذابیت این دنیای اسرارآمیز کم نمی شود. دنیایی که همچون کابوسی شبانه، آدم را غرق دلهره و اضطراب می کندتنها چیزی که می دانم این است که قلم کافکا چیزی درون خود دارد که بسیار اعتیادآور است و آدم را بسوی ناشناخته های ذهن این یهودی نازنین فرا می خواند..."کا" به هر دری می زند تا به قصر برسد و این بی شباهت به خود خواننده نیست که در تلاشی نافرجام و پیاپی می خواهد به عمق نوشته های کافکا پی ببرد. و این تلاشی است خستگی ناپذیراز نظر شخص ناآگاه همه چیز امکان پذیر می نماید...و اینک پیش بسوی دنیای جدید: آمریکا

  • Brian
    2018-12-02 12:49

    What haunts you? I took a class and the Professor presented us with that question. What bothers you, gets to you? What do you care about? This may form the strongest premise of all timeless literature. Kafka teaches me the meaning of this insight. He wrote themes haunting him in his life. I don’t wonder Kafka has become my favorite of all writers I presently know; if I believed in reincarnation I’d wonder if I may have been Kafka in my past life. I’m not insinuating I write with his genius. We both have similar haunts: desperation for love, a draw toward sexuality conflicted with feeling “dirty,” loneliness, a struggle with a moral or religious Law consuming and tormenting the psyche. When I read Kafka, I feel oneness with a brother of my own personal struggles. He struggles with deep thinking, his blessing and his bane. He fantasizes about love, but finds failure in long-lasting relationships. He is “a cage, in search of a bird.”The Castle touches on underlying themes of life we may take for granted. Societies control and govern love and friendship, because social class, religion, sex, race, among other things, divide us by cultural standards. Kafka, through the piece, argues in favor of Love’s power – it can’t be squelched or destroyed by humanity. Society can only oppress and suppress our inclinations to love, and thus invites suffering and pain. Sometimes people try to cross those barriers to obtain love, and society breaks them and sends them crashing down to where they don’t want to be, where they “belong.” I know someone who went to business school. He graduated with an MBA and started a career. He hates business. He did it for money, to make at least $50,000 per year so he could gain and keep a wife and family. His loneliness drove him to it, and for a time he succeeded. When he failed in his marriage, and his career, he felt the isolation of his loneliness again. He feels close to Kafka. I hope intimacy with great minds of literature, and my own writing, can save me.

  • Jonfaith
    2018-12-11 10:46

    Only a total stranger could ask such a question. Are there control agencies? There are only control agencies. Of course they aren’t meant to find errors, in the vulgar sense of that term, since no errors occur, and even if an error does occur, as in your case, who can finally say that it is an error.We were all once younger. I don't know if we have all been haunted.

  • Simona Bartolotta
    2018-12-01 11:55

    “You misinterpret everything, even the silence. You simply cannot help it.”Semi-coherent thoughts to come later—that is, if I am able to piece something together. Because Kafka is one of those authors I love without being able to explain why, you know? He's crazy like that.

  • Bettie☯
    2018-12-07 11:45

    http://www.bbc.co.uk/programmes/b05tbw1mRevisit 2015 is via Radio 4 drama. I shall re-read the book at the same time.It was late in the evening when K arrived.From wiki:Kafka began writing The Castle on the evening of 27 January 1922, the day he arrived at the mountain resort of Spindlermühle (now in the Czech Republic). A picture taken of him upon his arrival shows him by a horse-drawn sleigh in the snow in a setting reminiscent of The Castle. Hence, the significance that the first few chapters of the handwritten manuscript were written in first person and at some point later changed by Kafka to a third person narrator, 'K'.Brod placed a strong religious significance to the symbolism of the castle. This is one possible interpretation of the work based on numerous Judeo-Christian references as noted by many including Arnold Heidsieck.The book ends mid-sente (my jokette) Schloß Friedland The castle that inspired Kafka. The writer Franz Kafka stayed in Špindlerův Mlýn in the early 1920s, when he was writing one of his most famous works, The Castle.As with The Trial, the victim here, K, is up against anonymous and oppressive governing forces. Absurdity abounds, which makes for claustrophobic reading. It is night-time more than day, and the locals are twisty characters who distrust this new arrival with disdain. It is useful to remember that Kafka was a German-Jew, and although he didn't put much weight on his Jewishness, it seems to have influenced his writing. It is generally to be understood that this was not a good time for Jews, nosiree, and it became worse.

  • Alex
    2018-12-10 05:11

    Kafka is the author of frustration. He writes about frustration, he's frustrated about writing, The Castle breaks off mid-sentence, he asked Max Brod to burn his work but he knew Brod wouldn't do it. Kafka knew he would be frustrated in frustrating his frustrated book about frustration. What's it all about? I don't know, you're not supposed to know, not knowing is the point. There's no decoder ring. In The Trial K. doesn't know how to defend himself, he doesn't even know what he's accused of, he just knows he's guilty. In The Castle K. doesn't know the way to it, he doesn't even know what the Castle is, he just knows he wants in. "If only you didn't always, like a child, insist on having everything served up right away in edible form!" His first translators the Muirs thought it was about God, they made it into a creepy Pilgrim's Progress. There might be a pilgrim but there is no progress. This new translation by Mark Harman knows better than to guess what's what. "No matter how much you keep encouraging someone who is blindfolded to stare through the cloth, he still won't see a thing." Everyone is corrupt. Sex is ever-present, threatening, icky. Kafka never finished a novel but The Trial is more finished. It feels over, at least. This book ends in the middle of a sentence, the middle of a scene, it feels like it was maybe two-thirds done. This is frustrating. I like The Trial better and his short stories best. Kafka famously had trouble getting through public readings because he kept cracking up. K. doesn't get it. "'What are you complaining about?' asked K. 'We are complaining,' said Jeremias, 'that you cannot take a joke.'"

  • Pantelis
    2018-12-13 09:00

    This is a novel about our need to belong, our need for acceptance, our need for love... Of course, it has to be frustrating, therefore unfinished...

  • Jeff Jackson
    2018-12-04 09:59

    Ratings seem especially beside the point with The Castle. If you have any affinity for Kafka, it's worth your time. It contains some of his strangest and most disturbing images (the sound of singing children coming out of phone receivers) and a bone-deep feeling of being lost in a world whose rules we can't *even* fail to grasp. But it's also unfinished and there are moments late in the novel where you can feel Kafka spinning his wheels, getting lost within the continually forking paths of his character's self-justifications. It's hard to imagine how the book could've ended and in some ways mid-sentence seems as good a place as any.

  • إيمان
    2018-12-10 06:59

    القلعة لفرانتس كافكابعد وفاته ترك كافكا رسالة لصديقه ماكس برود يطلب فيهاأن تحرق كل أعماله المنشورة والتي لم تنشر بعد من ذلك هذهالرواية. الا أن الاخير لم يقترف هذه الجريمة الأدبية بل قام بجمع .مسودات كافكا و اعاد ترتيبها وحرص أن تجد طريقها للعلنولأن افعالا" بسيطة" قد تغير وجه التاريخ فان ما قام به برودغير وجه التاريخ الأدبي على الاقل اذ يكفي ان نعرف قيمة الأسماء التي تأثرت بكتابات كافكا حتى ندرك حجم الخسارة التيكانت ستحل بالفكر الانساني ومن ذلك نذكر ماركيز كامو سارتر والقائمة تطول________________________________تتمحور هذه الرواية حول ك.الغريب الذي يأتي الى القرية للعمل كماسح للاراضي لكنه طوال الرواية لم يقم بأي عمل"يمت لوظيفته المزعومة بصلة فيبدأ بالبحث عن سبب "وجودهفي ذلك المكان محاولا التواصل مع القلعة التي تقومبادارة شؤون القرية من خلال شبكة معقدة من الموظفينخلال هذا البحث يلتقي ك. بعدة شخصيات من ذلك عشيقته فريدا رسوله برنابا أولغا اميليا وغيرهم .يبتعد كافكا تماما عن وصف الحالة النفسية لهؤولاء و يمعن في اطالة الحورات الدائرة بينهم خاصة المتعلقة بوصف الية . عمل الموظفين مما جعلها تكتسي طابعا كرتونيا ان صح التعبيرطبيعة الشخصيات غير واضحة اذ لا نعرف المتحيل من المحتالعليه أو المتحكم و المتحكم به الغموض يحيط بكل جوانبها اننا لا نعرف حتى الاسم الكامل !للشخصية الرئيسية_______________________________________وجدت عدة تأويلات لهذا العمل من ذلك التفسير ذو الطابعالديني والذي يرى في القلعة رمزا للقدسية و سعي الانسان المتواصل للظفر باجوبة حول أسئلته الوجودية او ببساطة سعيه الى "الخلاص"ومما يدعم هذا لرأي وجود عدة احاءات من العهد القديم اذ أن رسول ك.كان يدعى برنابا وهو نفس اسم مساعد القديس بولس...هناك أيضا تفسير اخر ذو بعد سياسي يرى في هذا العمل تنبؤا بمشكلة الانسان المعاصر مع البيروقراطية والسلطة الحاكمة التي باتت تحدد هويته ومصيره.بل يذهب البعض الى القول بان الرواية كانت وصفا للمناخ المناهض للسامية في تلك الفترة من خلال الظلم الذي وقع على عائلة برنابا والولاء اللامشروط لموظفي القلعةفيما يظن شق ثالث أنها تجسيد للمعاناة من الوحدة والانعزال ورغبة في التواصل والانتماء_______________________________________هو عمل ليس بالهين اذن وكونه من الاعمال غير المنتهية يفتحالباب لمزيد من التأويلات.لم تكن بالقراءة السهلة بل كانت فعلا مرهقة.الحوارات مثيرة للأعصاب أحيانا وكأن كافكا يسعى لان يشعرنا بوطأة "الجحيم "الذي يعيشه ك.لكنني في المقابل لن اتردد في قراءتها مرة أخرى ربما بترجمة عربيةببساطة لأن قراءة واحدة في هذ الحالة لا تكفيقد تسأل اخيرا لاي التحليلات أميل أكثر؟ عاطفيا أميل للثالث!عقلانيا؟ ربما ثلاتثها مجتمعة ____________________________________"إن كافكا لم يكتب إطلاقاً الفصل الختامي، لكنه أخبرني به ذات يوم عندما سألته كيف ستنتهي الرواية، وأن ماسح الأراضي المزعوم كان عليه أن يجد الرضا الجزئي في النهاية. لم يكن عليه أن يجد الراحة في صراعه، بل عليه أن يموت وقد مزقه الصراع. وكان على القرويين أن يتحلّقوا حول سرير موته، لتأتي كلمة من القلعة تقول أنه بالرغم من زعم ك. القانوني للعيش في القرية، لم يكن صادقاً، إلا أنه، مع إدخال الظروف الإستثنائية المخفّفة، مسموح له أن يعيش وأن يعمل هناك"_ماكس برود_

  • hossein sharifi
    2018-12-04 09:59

    ترجمه ی کتاب همینطور که از جناب علم انتظار داشتم، افتضاح بود به هر حال داستان فوق العاده است.....................................براستی که قصر چیست ؟ این سوالی است که خواه در ذهن خواننده و نیز در ذهن شخصیت ها خیالی داستان، دائما مطرح میشود. هرچند که شخصیت های داستان هرگز بطور مستقیم این را به زبان نمی آورند، اما شوق یافتن جوابی برای این سوال است که همیشه در چشم هایشان می درخشد. حتی در خط های آغازین کتاب است که حضور شوم قصر را حتی در نبودش نیز احسا میکنید: It was late in the evening when K. arrived. The village was deep in snow. The Castle hill was hidden, veiled in mist and darkness, nor was there even a glimmer of light to show that a castle was there. On the wooden bridge leading from the main road to the village, K. stood for a long time gazing into the illusory emptiness above him. (3)شب هنگام بود که ک. به آنجا رسید. دهکده زیر برف فرورفته بود. تپه قصر زیر مه و تاریکی پنهان بود و، کورسویی هم نبود که نشان از وجود قصری در آنجا باشد. بر پل چوبی که از جاده ی اصلی به دهکده می رفت ایستاده بود و برای مدتی طولانی به فضای تهی و وهمناک بالای سرش چشم دوخته بود. ص هفتتوصیف گوتیکی که از قصر شده، میتواند نشان دهنده ی پنهان کاری و شاید همان فریبی باشد که در دهکده موج می زند. شاید که این تصویر تنها سرابی از تفکرات و اعتقادات واهی انسان هاست که بدان چنگ انداخته اند. برخلاف تاریکی که در آنجا است، بازهم ک. بدان جا چشم دوخته است. این خیره ماندن به فضایی تهی شاید زمینه ی ناخودآگاه ک. را نشان میدهد که به وجود قصر ذاتا باور دارد. فردا روز که از مهمانخانه بیرون میرود، میتواند که به وضوح نمایی از قصر را ببیند. اما توصیفی که از قصر میشود کاملا بر خلاف آن چیزی است که از قدرت یک قصر انتظار میرود. disappointed in the Castle; it was after all only a wretched-looking town, a huddle of village houses, whose sole merit, if any, lay in being built of stone; but the plaster had long since flaked off and the stone seemed to be crumbling away” (11-12).ظاهر قصر بسیار عجیب و معمولی است. بعد از گذر از محله های دهکده، ک . به یاد شهر پدری خویش می افتد .in his mind he compared the church tower at home with the tower above him. The church tower, firm in line, soaring unfalteringly to its tapering point, topped with red tiles and broad in the roof, an earthly building—what else can men build?—but with a loftier goal than the humble dwelling houses, and a clearer meaning than the muddle of everyday life. (12)یقینا تفاوت هایی در میان مرتبه ی قصر و دهکده هست، اما این که چقدر قصر بر روی دهکده نفوذ دارد مشخص نیست. در جاهایی از داستان است که خواننده حس میکند شاید قصر هیچ قدرتی ندارد اما سنت ها و عقاید عامه است که جلوی آزادی خویش را گرفته اند و تقصیرش را بر روی گردن قصری انداخته اند که خود آنرا بزرگ کرده و با دست های خویش ساخته اند. در واقع قصر بخاطر وجود مردم و اعتقاداتشان است که قصر است. هر دولتی و کشوری نیز چنین است. براستی چرا مردمی که آنقدر تحت فشار هستند خود را از بار این فشار ها آزاد نمیکنند و تن به پستی قصر میدهند؟ بجایی رسیده اند که ارتباط با قصر اگر کار غیر ممکنی نباشد، حداقل چنان سخت است که مردم پشیمان میشوند. حتی تلفن زدن به قصر نیز کاری ممکن نیست. چرا باید باز هم مردم چنان پشت این قصری باشند که جز دردسر برایشان چیزی نداشته است؟ این قصر چیست ؟ قصر همه جا هست و در عین حال در هیچ کجا نیست؛ اما در همین سکوتش چنان فضای مخوفی تشکیل داده که کسی را یارای نفس کشیدن نداده است. تنها جایی که مردمان قصر را در کنار اهالی دهکده می بینید در مهمانخانه است . جایی که اهالی قصر شب را با دختران و زنان دهکده می گذرانند و دختران بیچاره نیز یارای مخالفت با آنان را ندارند. خانواده ی باناباس که باری سر به مخالفت برداشته اند در واقع نه از طرف قصر بلکه از طرف مردم خود طرد شده و این اعتقادات غلط و باورهای پوچ مردم دهکده را نشان میدهد. ک. در روز دوم گرفتار عشق و عشوهٔ فریدا - دختری که در "مهمان خانهٔ آقایان" - می‌شود و با او رابطه برقرار می‌کند و قرار می‌شود که با هم ازدواج کنند. از اینجا به بعد، تک تک فصل‌های رمان این سو و آنسو رفتن‌ها و دویدن‌ها و بحث کردن‌های ک. است تا با اهالی دهکده، برخی آقایان یا سران قصر تا ارتباطی بیابد و از روزنه‌ای به قصر وارد شود.او در آغاز می‌فهمد که فریدا معشوقهٔ کلام است و اینکه او فریدا را از آن خود کرده به نوعی رقابت با کلام یا روی دست او بلند شدن است حال آنکه همین کلام رئیس دیوان عالی قصر است. ک. یکسره تلاش می‌کند با هر واسطه‌ای شده پیام خود را به کلام برساند یا از او قرار ملاقات بگیرد و یا سر راهش بایستد تا بتواند به نوعی خود را به قصر و سران اصلی آن برساند و یا حتا خود را بر آنها تحمیل کند. مردم دهکده هر چه به او می‌گویند که ادعای او مبنی بر ملاقات با کلام یا ورود به قصر بی اساس و نشدنی است به گوشش نمی‌رود و با منطق و اندیشهٔ او که بسیار با نگاه و منطق اهالی دهکده تفاوت دارد، جور در نمی‌آید.در چندین فصل هر بار یک نفر می‌خواهد ک. را با دهکده، مردمش، تاریخچه اش، قصر، بزرگان آن، و ... آشنا کند و ک. مدام با آنها مشاجره و اختلاف دارد و به نظرش بسیاری از چیزهایی که آنها می‌گویند و می‌اندیشند به کلی نادرست و بی منطق است.درنهایت می‌بینیم که گویی خود ک. هم مثل مردم دهکده شده و دارد همان باور هارا نسبت به قصر و آقایانش پیدا می‌کند. از ویکی پیدیادر خیلی از جاهایی که از کلام به سخن می آمد، اورا چهره ای خدا مانند تصور میکردم. هرکسی اورا نمیدید. ک. یک بار اورا از سوراخ دیوار دید ولی خواب بود . او حرفی با کسی نمی زد ولی قدرت فراوانی داشت در عین حال قدرتش را نمی شد که اثبات کرد. حتی حضور کلام در پرده ای از ابهام بود. پس می توان گفت که قصر نمادی از درگاه حق تعالی است. اما از آنجایی که این رمان به اتمام نرسیده هست، همواره سوال های فراوانی در ذهن خواننده باقی میگذارد. هرچند که عده ای بهتران پایان این کتاب را در همین بی پایان بودن دانسته اند.بخشی از کتاب:خوشبختی بزرگتر از این نمی دانم که همه وقت پیش تو باشم،بدون وقفه،بی پایان،ولو که احساس می کنم اینجا در این دنیا هیچ مکان آرامی برای عشقمان نیست،نه در دهکده نه در هیچ جای دیگر،و من رویای قبری را می بینم،عمیق و باریک،جایی که می توانیم چنان یکدیگر را در آغوش بگیریم که انگار با گیره به هم وصلمان کرده اند،و من صورتم را در تو پنهان می کنم و تو صورتت را در من پنهان کنی،و دیگر هیچ کس هرگز ما را نمی بیندصفحه 182نمی توان در چند خط به توصیف و نقد چنین کتابی پرداخت. کتاب پر است از تکنیک های ادبی و مفاهیم عمیقی که بیان آنها نیاز به صرف زمان زیادی دارد ترجمه کتاب بسیار ضعیف است. ترجمه جناب حداد را هرچند که این کتاب را به ترجمه ی ایشان نخوانده ام ولی با توجه به شناختی که ازیشان دارم، توصیه میکنم

  • Χρήστος Αναστασόπουλος
    2018-11-27 10:57

    Ευτυχώς που διάβασα πρώτα τη Δίκη. Απλούστατο σε σχέση με τον Πύργο. Διάβασα αμέτρητες κριτικές (τώρα που τελείωσα) και το μόνο σίγουρο είναι πως όσοι κατάφεραν να το ολοκληρώσουν πήραν και από κάτι (ο καθένας διαφορετικά) και λογικό γιατί κάθε βιβλίο είναι διαφορετικό για τον καθένα. Εγώ στον Πύργο βρήκα ένα κράτος και μια κοινωνία προβληματική. Έναν απίστευτο λαβύρινθο όπου δυσκολεύεσαι πάρα πολύ να βρεις την έξοδό του (αν την βρεις ποτέ). Συνάντησα εμπόδια, βρήκα μιζέρια, βρήκα επιφυλακτικούς, κλειστούς ανθρώπους που κάποιοι στην πορεία άλλαξαν. Λίγοι είναι οι άνθρωποι που προσφέρονται να βοηθήσουν, όλοι πάντα κάτι θέλουν. Συνειδητοποίησα πως αν έχεις έναν στόχο, ακόμα και αν παρεκκλίνεις αμέτρητες φορές, δεν πρέπει να τον παρατήσεις ΠΟΤΕ. Ο Πύργος είναι κατά τη γνώμη μου ο παράδεισος στον οποίο κανένας δεν έχει πάει και κανένας δεν μπορεί να μας τον περιγράψει αλλά όλοι θέλουν να τον επισκεφτούν. Ίσως είναι ένα άπιαστο όνειρο. Ίσως είναι η ελπίδα.