Der Process

By Ahmed Latif

​During tough times, readers and audiences often seek an escape from the banality of life. The turn of the twentieth century was unequivocally a disconcerting time of transition for Europe. It is in this context that Franz Kafka captured the complex surrealism and absurd loneliness of urban life. His writing functioned as a condemnation and a vindication of an era that provided no simplistic answers to pressing social questions. Anarchist overtones, Marxist critiques, and deliberate existentialism; all of it dark and none of it clear-cut.

When readers sought an escape in his works they were provided with a precise account of the bleakest truth. Kafka does not provide an elaborate fantasy to distract from the truth. On the contrary, he illustrates the truth by distorting; empowering the reader with a fringe perspective. His writing created an escape that emphasized the fact that there was no escape, society was at a dead-end. 
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Most intriguingly, Kafka posed a question to the artists and audiences of the time. A question that due to limited fame during his lifetime was not given the proper diligence and dissection it deserves. Can the aesthetic be ignored? In a sense Kafka is attempting to circumvent the aesthetic, presenting content in its purest form, the solidified truth. On the other hand, Kafka’s cold and defined delivery allotted the reader a hopeless impression. This hopelessness was not contrived using plot events or a metaphysical understanding of the setting. Instead it was intrinsically a component of the aesthetic. Kafkaesque-grade bleakness is not just the sum of the tangibles in the story; it is part and parcel of the aesthetic that delivers the mood. Kafka accesses different emotions and philosophic standpoints not through fantastical escapism, but through an absurdist view of tangible social problems. He does so by contrasting the aesthetic and the metaphysical narrative. A nightmarish chase through the labyrinth of bureaucracy is a surreal quest utilizing a dreary aesthetic. In this setting there is a profound metaphysical parallel to the internal search for escape; when no escape is found, the labyrinth becomes real. Kafka’s writing gives readers an escape from the dreariness of life by making it painfully clear how dreary life is; thus removing logic and supplanting a metaphysical sense of confusion in its place. This allows the reader to escape.

“You are considered guilty" ... "But I'm not guilty, there's been a mistake. How is it even possible for someone to be guilty?  We're all human beings here, one like the other."  "That is true, but that is how the guilty speak."

“Correct understanding of a matter and a misunderstanding of the same matter are not mutually exclusive.  Whether they're right or not, you have to concede that his simplicity and arrogance, however little they show, do weaken his function of guarding the entrance, they are defects in his character”

“If you accept it you'll have to accept that everything said is true.  But you've already explained very fully that that's not possible." "No, you don't need to accept everything as true, you only have to accept it as necessary." "Depressing view.  The lie made into the rule of the world.”

“He saw how a light flickered … Who was that?  A friend?  A good person?  Somebody who was taking part?  Somebody who wanted to help?  Was he alone?  Was it everyone?  Would anyone help?  Were there objections that had been forgotten?  There must have been some.  The logic cannot be refuted, but someone who wants to live will not resist it.  Where was the judge he'd never seen?  Where was the high court he had never reached?  He raised both hands and spread out all his fingers.  But the hands of one of the gentleman were laid on his throat, while the other pushed the knife deep into his heart and twisted it there, twice.  As his eyesight failed, he saw the two gentlemen … watching the result.  "Like a dog!" he said, it was as if the shame of it should outlive him.”

“He saw how a light flickered … Who was that? A friend? A good person? Somebody who was taking part? Somebody who wanted to help? Was he alone? Was it everyone? Would anyone help? Were there objections that had been forgotten? There must have been some. The logic cannot be refuted, but someone who wants to live will not resist it. Where was the judge he'd never seen? Where was the high court he had never reached? He raised both hands and spread out all his fingers. But the hands of one of the gentleman were laid on his throat, while the other pushed the knife deep into his heart and twisted it there, twice. As his eyesight failed, he saw the two gentlemen … watching the result. "Like a dog!" he said, it was as if the shame of it should outlive him.” 

Der Process (The Trial), Franz Kafka