Jamie Martin
Professor Corbally
English 204
11 November 2010
				            Kafka: Modernism 
	Considered as the “representative of the age,” Franz Kafka’s short but immensely inspiring writing career produced some of the most influential works of the twentieth century modern writers who wished to break free from the literary ideals from preceding centuries (Mack 2298). One of Kafka’s more famous works, “The Metamorphosis,” uses several elements of Modernism to exemplify the painful consequences of human isolation in a world which insistently demands more from while offering less that is fulfilling to individuals. Indeed, contemporary readers can often identify with the protagonist, Gregor Samsa, who has a sense “that the immense system of institutions...is not of [his] own creation, that it by no means corresponds exactly with the wants of [his] actual life, that for [him], it is customary not rational” (Butler 2), an idea supported fervently by the modern thinkers of the early twentieth century. Kafka portrays a being isolated in an uncaring society which treats its citizens as nothing more than workers, and Kafka does this using elements of the avant-garde, sober language and subject matter itself, which exemplifies the experimental writing which Modernists strove to create. 
	The majority of the story is set within a small, modest bedroom; the reader is automatically pulled into almost claustrophobic air that surrounds the bewildered and confused Gregor as he suddenly awakens “from unsettling dreams” to find out that he is no longer human but “a monstrous vermin”(Kafka 2301). Kafka’s choice to maintain Gregor within his plain room through most of the novela exemplifies the isolation to which he is continually faced with, be it his job which gives him “the torture of traveling, worrying about changing trains, eating miserable food at all hours, constantly seeing new faces,” or in his impossible attempts at making “relationships that last or get intimate”(Kafka 2302).  Gregor is literally and figuratively in a box. Although isolation is express in much of literature, Kafka provides elements of the modern to literally express alienation.  Gregor is not just stuck in his room, he is transformed into a gigantic insect, a true alien.  In the story this is a literal (not just metaphorical) transformation.  He’s actually a huge bug.  This surreal, avant-garde element was frequently employed by the Modernist writer.  Readers can find another example in Samuel Beckett’s play Endgame, where Hamm and Clove, the two main characters, literally live inside trashcans and pop up to make pronouncements about the bleakness of the world. Kafka’s choice of a monstrous insect, something many people would loathe or fear, something that can’t speak or work, is especially apt because it takes away Gregor’s one purpose, “to do everything in his power to make the family forget as quickly as possible the business disaster which had plunged everyone into a state of total despair” (Kafka 2318). 
	Although transformed into a vermin with hideous proportions, Gregor’s ever-restless mind is brought back his obligations to his family and work in a “sober matter-of-factness”; the use of everyday (rather than elevated) language is another hallmark characteristic of the Modernist (Gray 54). Kafka uses matter-of-fact language to contrast with the surreal situation; at the same time, it gives readers something to identify with.  It’s absurd to imagine chatting with a giant cockroach, but Gregor’s mind is so familiar, sympathetic, natural, that the reader actually pays attention and feels for the monster.  This also is a symbol for the huge contrast between the physical and mental “self,” a concept that was central to much Modernist philosophy at the time. Seemingly unfazed by the transformation, Gregor continues to think about his circumstances as if they were all “the first signs of a bad cold, an occupational ailment of the traveling salesman,” indeed anything but acknowledging he had become a vermin: “He remembered how even in the past he had often felt some kind of slight pain, possibly caused by lying in an uncomfortable position, which, when he got up, turned out to be purely imaginary” (Kafka 2304). Here we have a blend of absurdist irony and the use of simple, familiar diction to express impossibly complex, and at the same time common, issues which humanity as a whole at one point experiences. But it gets even more complex.  The reader hears Gregor’s thoughts; we understand his pain and fear, his concerns about his family, his sense that he is shirking his responsibility, but he can’t articulate any of this to his family.  They are “no longer [able to understand] his words, though they seemed clear enough to him, clearer than before,” he is forced into a deeper isolation that, although seemed exaggerated with his new physical state, was indeed an isolation he already had with his selfless quest to aid his parents and work obediently (Kafka 2309). Thus, Kafka makes Gregor incoherent in language and horrifying in physical appearance.  Inside he is deeply expressive, but like many characters in modern fiction, he is unable to express himself to the people around him; he makes noises, but they don’t communicate any meaning to others.. 

	NOTE:  this is a bit less than ½ of the entire essay; the finished paper is five pages
	in MLA format (with 1” margins, double spacing, not BEFORE / AFTER spacing, 
	heading, headers, title, etc.).  The entire paper continues to look at the one thesis
	point—elements of the Modernist literary movement in Kafka’s novella, and the 
	student continues to support her observations with both documented  quotations from 
	the novel and explanations of those quotations.  And since this paper also quotes from
	outside sources, it contains a (required) complete, MLA-format Works Cited page at
	the end.