by Franz Kafka
The Bucket Rider (1921)
COAL all spent; the bucket empty; the shovel useless; the stove breathing out cold; the room freezing; the trees outside the window rigid, covered with rime; the sky a silver shield against anyone who looks for help from it. I must have coal; I cannot freeze to death; behind me is the pitiless stove, before me the pitiless sky, so I must ride out between them and on my journey seek aid from the coaldealer. But he has already grown deaf to ordinary appeals; I must prove irrefutably to him that I have not a single grain of coal left, and that he means to me the very sun in the firmament. I must approach like a beggar, who, with the death rattle already in his throat, insists on dying on the doorstep, and to whom the cook accordingly decides to give the dregs of the coffeepot; just so must the coaldealer, filled with rage, but acknowledging the command ‘Thou shalt not kill,’ fling a shovelful of coal into my bucket.
My mode of arrival must decide the matter; so I ride off on the bucket. Seated on the bucket, my hands on the handle, the simplest kind of bridle, I propel myself with difficulty down the stairs; but once downstairs my bucket ascends, superbly, superbly; camels humbly squatting on the ground do not rise with more dignity, shaking themselves under the sticks of their drivers. Through the hard-frozen streets we go at a regular canter; often I am upraised as high as the first storey of a house; never do I sink as low as the house doors. And at last I float at an extraordinary height above the vaulted cellar of the dealer, whom I see far below crouching over his table, where he is writing; he has opened the door to let out the excessive heat.
‘Coaldealer!’ I cry in a voice burned hollow by the frost and muffled in the cloud made by my breath, ‘please, coaldealer, give me a little coal. My bucket is so light that I can ride on it. Be kind. When I can I’ll pay you.’
The dealer puts his hand to his ear. ‘Do I hear right?’ he throws the question over his shoulder to his wife. ‘Do I hear right? A customer.’
‘I hear nothing,’ says his wife, breathing in and out peacefully while she knits on, her back pleasantly warmed by the heat.
‘Oh yes, you must hear,’ I cry. ‘It’s me; an old customer; faithful and true; only without means at the moment.’
‘Wife,’ says the dealer, ‘it’s someone, it must be; my ears can’t have deceived me so much as that; it must be an old, a very old customer, that can move me so deeply.’
‘What ails you, man?’ says his wife, ceasing from her work for a moment and pressing her knitting to her bosom. ‘It’s nobody, the street is empty, all our customers are provided for; we could close down the shop for several days and take a rest.’
‘But I’m sitting up here on the bucket,’ I cry, and numb, frozen tears dim my eyes, ‘please look up here, just once; you’ll see me directly; I beg you, just a shovelful; and if you give me more it’ll make me so happy that I won’t know what to do. All the other customers are provided for. Oh, if I could only hear the coal clattering into the bucket!’
‘I’m coming,’ says the coaldealer, and on his short legs he makes to climb the steps of the cellar, but his wife is already beside him, holds him back by the arm and says: ‘You stay here; seeing you persist in your fancies I’ll go myself. Think of the bad fit of coughing you had during the night. But for a piece of business, even if it’s one you’ve only fancied in your head, you’re prepared to forget your wife and child and sacrifice your lungs. I’ll go.’
‘Then be sure to tell him all the kinds of coal we have in stock! I’ll shout out the prices after you.’
‘Right,’ says his wife, climbing up to the street. Naturally she sees me at once. ‘Frau Coaldealer,’ I cry, ‘my humblest greetings; just one shovelful of coal; here in my bucket; I’ll carry it home myself. One shovelful of the worst you have. I’ll pay you in full for it, of course, but not just now, not just now.’ What a knell-like sound the words ‘not just now’ have, and how bewilderingly they mingle with the evening chimes that fall from the church steeple nearby!
‘Well, what does he want?’ shouts the dealer. ‘Nothing,’ his wife shouts back, ‘there’s nothing here; I see nothing, I hear nothing; only six striking, and now we must shut up the shop. The cold is terrible; tomorrow we’ll likely have lots to do again.’
She sees nothing and hears nothing; but all the same she loosens her apron strings and waves her apron to waft me away. She succeeds, unluckily. My bucket has all the virtues of a good steed except powers of resistance, which it has not; it is too light; a woman’s apron can make it fly through the air.
‘You bad woman!’ I shout back, while she, turning into the shop, half-contemptuous, half-reassured, flourishes her fist in the air. ‘You bad woman! I begged you for a shovelful of the worst coal and you would not give it me.’ And with that I ascend into the regions of the ice mountains and am lost forever.
Translated by Willa and Edwin Muir
A Hunger Artist (1924)
First Sorrow
A TRAPEZE ARTIST – this art, practiced high in the vaulted domes of the great variety theaters, is admittedly one of the most difficult humanity can achieve – had so arranged his life that, as long as he kept working in the same building, he never came down from his trapeze by night or day, at first only from a desire to perfect his skill, but later because custom was too strong for him. All his needs, very modest needs at that, were supplied by relays of attendants who watched from below and sent up and hauled down again in specially constructed containers whatever he required. This way of living caused no particular inconvenience to the theatrical people, except that, when other turns were on the stage, his being still up aloft, which could not be dissembled, proved somewhat distracting, as also the fact that, although at such times he mostly kept very still, he drew a stray glance here and there from the public. Yet the management overlooked this, because he was an extraordinary and unique artist. And of course they recognized that this mode of life was no mere prank, and that only in this way could he really keep himself in constant practice and his art at the pitch of its perfection.
Besides, it was quite healthful up there, and when in the warmer seasons of the year the side windows all around the dome of the theater were thrown open and sun and fresh air came pouring irresistibly into the dusky vault, it was even beautiful. True, his social life was somewhat limited, only sometimes a fellow acrobat swarmed up the ladder to him, and then they both sat on the trapeze, leaning left and right against the supporting ropes, and chatted, or builders’ workmen repairing the roof exchanged a few words with him through an open window, or the fireman, inspecting the emergency lighting in the top gallery, called over to him something that sounded respectful but could hardly be made out. Otherwise nothing disturbed his seclusion; occasionally, perhaps, some theater hand straying through the empty theater of an afternoon gazed thoughtfully up into the great height of the roof, almost beyond eyeshot, where the trapeze artist, unaware that he was being observed, practiced his art or rested.
The trapeze artist could have gone on living peacefully like that, had it not been for the inevitable journeys from place to place, which he found extremely trying. Of course his manager saw to it that his sufferings were not prolonged one moment more than necessary; for town travel, racing automobiles were used, which whirled him, by night if possible or in the earliest hours of the morning, through the empty streets at breakneck speed, too slow all the same for the trapeze artist’s impatience; for railway journeys, a whole compartment was reserved, in which the trapeze artist, as a possible though wretched alternative to his usual way of living, could pass the time up on the luggage rack; in the next town on their circuit, long before he arrived, the trapeze was already slung up in the theater and all the doors leading to the stage were flung wide open, all corridors kept free – yet the manager never knew a happy moment until the trapeze artist set his foot on the rope ladder and in a twinkling, at long last, hung aloft on his trapeze.
Despite so many journeys having been successfully arranged by the manager, each new one
embarrassed him again, for the journeys, apart from everything else, got on the nerves of the artist a great deal.
Once when they were again traveling together, the trapeze artist lying on the luggage rack dreaming, the manager leaning back in the opposite window seat reading a book, the trapeze artist addressed his companion in a low voice. The manager was immediately all attention. The trapeze artist, biting his lips, said that he must always in future have two trapezes for his performance instead of only one, two trapezes opposite each other. The manager at once agreed. But the trapeze artist, as if to show that the manager’s consent counted for as little as his refusal, said that never again would he perform on only one trapeze, in no circumstances whatever. The very idea that it might happen at all seemed to make him shudder. The manager, watchfully feeling his way, once more emphasized his entire agreement, two trapezes were better than one, besides it would be an advantage to have a second bar, more variety could be introduced into the performance. At that the trapeze artist suddenly burst into tears. Deeply distressed, the manager sprang to his feet and asked what was the matter, then getting no answer climbed up on the seat and caressed him, cheek to cheek, so that his own face was bedabbled by the trapeze artist’s tears. Yet it took much questioning and soothing endearment until the trapeze artist sobbed: ‘Only the one bar in my hands – how can I go on living!’ That made it somewhat easier for the manager to comfort him; he promised to wire from the very next station for a second trapeze to be installed in the first town on their circuit; reproached himself for having let the artist work so long on only one trapeze; and thanked and praised him warmly for having at last brought the mistake to his notice. And so he succeeded in reassuring the trapeze artist, little by little, and was able to go back to his corner. But he himself was far from reassured, with deep uneasiness he kept glancing secretly at the trapeze artist over the top of his book. Once such ideas began to torment him, would they ever quite leave him alone? Would they not rather increase in urgency? Would they not threaten his very existence? And indeed the manager believed he could see, during the apparently peaceful sleep which had succeeded the fit of tears, the first furrows of care engraving themselves upon the trapeze artist’s smooth, childlike forehead.
Translated by Willa and Edwin Muir
A Little Woman
SHE IS a little woman; naturally quite slim, she is tightly laced as well; she is always in the same dress when I see her, it is made of grayish-yellow stuff something the color of wood and is trimmed discreetly with tassels or buttonlike hangings of the same color; she never wears a hat, her dull, fair hair is smooth and not untidy, but worn very loose. Although she is tightly laced she is quick and light in her movements, actually she rather overdoes the quickness, she loves to put her hands on her hips and abruptly turn the upper part of her body sideways with a suddenness that is surprising. The impression her hand makes on me I can convey only by saying that I have never seen a hand with the separate fingers so sharply differentiated from each other as hers; and yet her hand has no anatomical peculiarities, it is an entirely normal hand.
This little woman, then, is very ill-pleased with me, she always finds something objectionable in me, I am always doing the wrong thing to her, I annoy her at every step; if a life could be cut into the smallest of small pieces and every scrap of it could be separately assessed, every scrap of my life would certainly be an offense to her. I have often wondered why I am such an offense to her; it may be that everything about me outrages her sense of beauty, her feeling for justice, her habits, her traditions, her hopes, there are such completely incompatible natures, but why does that upset her so much? There is no connection between us that could force her to suffer because of me. All she has to do is to regard me as an utter stranger, which I am, and which I do not object to being, indeed I should welcome it, she only needs to forget my existence, which I have never thrust upon her attention, nor ever would, and obviously her torments would be at an end. I am not thinking of myself, I am quite leaving out of account the fact that I find her attitude of course rather trying, leaving it out of account because I recognize that my discomfort is nothing to the suffering she endures. All the same I am well aware that hers is no affectionate suffering; she is not concerned to make any real improvement in me, besides, whatever she finds objectionable in me is not of a nature to hinder my development. Yet she does not care about my development either, she cares only for her personal interest in the matter, which is to revenge herself for the torments I cause her now and to prevent any torments that threaten her from me in the future. I have already tried once to indicate the best way of putting a stop to this perpetual resentment of hers, but my very attempt wrought her up to such a pitch of fury that I shall never repeat it.
I feel too a certain responsibility laid upon me, if you like to put it that way, for strangers as we are to each other, the little woman and myself, and however true it is that the sole connection between us is the vexation I cause her, or rather the vexation she lets me cause her, I ought not to feel indifferent to the visible physical suffering which this induces in her. Every now and then, and more frequently of late, information is brought to me that she has risen of a morning pale, unslept, oppressed by headache, and almost unable to work; her family are worried about her, they wonder what can have caused her condition, and they have not yet found the answer. I am the only one who knows that it is her settled and daily renewed vexation with me. True, I am not so worried about her as her family; she is hardy and tough; anyone who is capable of such strong feeling is likely also to be capable of surviving its effects; I have even a suspicion that her sufferings – or some of them, at least – are only a pretense put up to bring public suspicion on me. She is too proud to admit openly what a torment my very existence is to her; to make any appeal to others against me she would consider beneath her dignity; it is only disgust, persistent and active disgust, that drives her to be preoccupied with me; to discuss in public this unclean affliction of hers would be too shameful. But to keep utterly silent about something that so persistently rankles would be also too much for her. So with feminine guile she steers a middle course; she keeps silent but betrays all the outward signs of a secret sorrow in order to draw public attention to the matter. Perhaps she even hopes that once public attention is fixed on me a general public rancor against me will rise up and use all its great powers to condemn me definitively much more effectively and quickly than her relatively feeble private rancor could do; she would then retire into the background, draw a breath of relief, and turn her back on me. Well, if that is what her hopes are really set on, she is deluding herself. Public opinion will not take over her role; public opinion would never find me so infinitely objectionable, even under its most powerful magnifying glass. I am not so altogether useless a creature as she thinks; I don’t want to boast and especially not in this connection; but if I am not conspicuous for specially useful qualities, I am certainly not conspicuous for the lack of them; only to her, only to her almost bleached eyes, do I appear so, she won’t be able to convince anyone else. So in this respect I can feel quite reassured, can I? No, not at all; for if it becomes generally known that my behavior is making her positively ill, which some observers, those who most industriously bring me information about her, for instance, are not far from perceiving, or at least look as if they perceived it, and the world should put questions to me, why am I tormenting the poor little woman with my incorrigibility, and do I mean to drive her to her death, and when am I going to show some sense and have enough decent human feeling to stop such goings-on – if the world were to ask me that, it would be difficult to find an answer. Should I admit frankly that I don’t much believe in these symptoms of illness, and thus produce the unfavorable impression of being a man who blames others to avoid being blamed himself, and in such an ungallant manner? And how could I say quite openly that even if I did believe that she were really ill, I should not feel the slightest sympathy for her, since she is a complete stranger to me and
any connection between us is her own invention and entirely one-sided. I don’t say that people wouldn’t believe me; they wouldn’t be interested enough to get so far as belief; they would simply note the answer I gave concerning such a frail, sick woman, and that would be little in my favor. Any answer I made would inevitably come up against the world’s incapacity to keep down the suspicion that there must be a love affair behind such a case as this, although it is as clear as daylight that such a relationship does not exist, and that if it did it would come from my side rather than hers, since I should be really capable of admiring the little woman for the decisive quickness of her judgment and her persistent vitality in leaping to conclusions, if these very qualities were not always turned as weapons against me. She, at any rate, shows not a trace of friendliness toward me; in that she is honest and true; therein lies my last hope; not even to help on her campaign would she so far forget herself as to let any such suspicion arise. But public opinion which is wholly insensitive in such matters would abide by its prejudices and always denounce me.
So the only thing left for me to do would be to change myself in time, before the world could intervene, just sufficiently to lessen the little woman’s rancor, not to wean her from it altogether, which is unthinkable. And indeed I have often asked myself if I am so pleased with my present self as to be unwilling to change it, and whether I could not attempt some changes in myself, even though I should be doing so not because I found them needful but merely to propitiate the little woman. And I have honestly tried, taking some trouble and care, it even did me good, it was almost a diversion; some changes resulted which were visible a long way off, I did not need to draw her attention to them, she perceives all that kind of thing much sooner than I do, she can even perceive by my expression beforehand what I have in mind; but no success crowned my efforts. How could it possibly do so? Her objection to me, as I am now aware, is a fundamental one; nothing can remove it, not even the removal of myself; if she heard that I had committed suicide she would fall into transports of rage.