The Complete Stories (forword by John Updike)

by Франц Кафка

  "Don't you see that? You would remain in your village, you would be able with the extra money to feed and clothe your family a little better; but your discovery would be taken out of your hands, and without your being able with any show of justice to object; for only in the city could it be given its final seal. And people wouldn't be altogether ungrateful to you, they might build a little museum on the spot where the discovery was made, it would become one of the sights of the village, you would be given the keys to keep, and, so that you shouldn't lack some outward token of honor, they could give you a little medal to wear on the breast of your coat, like those worn by attendants in scientific institutions. All this might have been possible; but was it what you wanted?"

  Without stopping to consider his answer he turned on me and said: "And so that's what you wanted to achieve for me?"

  "Probably," I said, "I didn't consider what I was doing carefully enough at the time to be able to answer that clearly now. I wanted to help you, but that was a failure, and the worst failure I have ever had. That's why I want to withdraw now and undo what I've done as far as I'm able."

  "Well and good," said the teacher, taking out his pipe and beginning to fill it with the tobacco that he carried loose in all his pockets. "You took up this thankless business of your own free will, and now of your own free will you withdraw. So that's all right."

  "I'm not an obstinate man," I said. "Do you find anything to object to in my proposal?"

  "No, absolutely nothing," said the schoolmaster, and his pipe was already going. I could not bear the stink of his tobacco, and so I rose and began to walk up and down the room. From previous encounters I was used to the teacher's extreme taciturnity, and to the fact that in spite of it he never seemed to have any desire to stir from my room once he was in it. That had often disturbed me before. He wants something more, I always thought at such times, and I would offer him money, which indeed he invariably accepted. Yet he never went away before it suited his convenience. Generally his pipe was smoked out by that time, then he would ceremoniously and respectfully push his chair in to the table, make a detour around it, seize his cane standing in the corner, press my hand warmly, and go. But today his silent presence as he sat there was an actual torture to me. When one has bidden a last farewell to someone, as I had done, a farewell accepted in good faith, surely the mutual formalities that remain should be got over as quickly as possible and one should not burden one's host purposelessly with one's silent presence. As I contemplated the stubborn fellow from behind, while he sat at the table, it seemed an impossible idea to ever show him the door.

  Translated by Willa and Edwin Muir

  Blumfeld, an Elderly Bachelor

  ONE EVENING Blumfeld, an elderly bachelor, was climbing up to his apartment — a laborious undertaking, for he lived on the sixth floor. While climbing up he thought, as he had so often recently, how unpleasant this utterly lonely life was: to reach his empty rooms he had to climb these six floors almost in secret, there put on his dressing gown, again almost in secret, light his pipe, read a little of the French magazine to which he had been subscribing for years, at the same time sip at a homemade kirsch, and finally, after half an hour, go to bed, but not before having completely rearranged his bedclothes which the unteachable charwoman would insist on arranging in her own way. Some companion, someone to witness these activities, would have been very welcome to Blumfeld. He had already been wondering whether he shouldn't acquire a little dog. These animals are gay and above all grateful and loyal; one of Blumfeld's colleagues has a dog of this kind; it follows no one but its master and when it hasn't seen him for a few moments it greets him at once with loud barkings, by which it is evidently trying to express its joy at once more finding that extraordinary benefactor, its master. True, a dog also has its drawbacks. However well kept it may be, it is bound to dirty the room. This just cannot be avoided; one cannot give it a hot bath each time before letting it into the room; besides, its health couldn't stand that. Blumfeld, on the other hand, can't stand dirt in his room. To him cleanliness is essential, and several times a week he is obliged to have words with his charwoman, who is unfortunately not very painstaking in this respect. Since she is hard of hearing he usually drags her by the arm to those spots in the room which he finds lacking in cleanliness. By this strict discipline he has achieved in his room a neatness more or less commensurate with his wishes. By acquiring a dog, however, he would be almost deliberately introducing into his room the dirt which hitherto he had been so careful to avoid. Fleas, the dog's constant companions, would appear. And once fleas were there, it would not be long before Blumfeld would be abandoning his comfortable room to the dog and looking for another one. Uncleanliness, however, is but one of the drawbacks of dogs. Dogs also fall ill and no one really understands dogs' diseases. Then the animal sits in a corner or limps about, whimpers, coughs, chokes from some pain; one wraps it in a rug, whistles a little melody, offers it milk — in short, one nurses it in the hope that this, as indeed is possible, is a passing sickness while it may be a serious, disgusting, and contagious disease. And even if the dog remains healthy, one day it will grow old, one won't have the heart to get rid of the faithful animal in time, and then comes the moment when one's own age peers out at one from the dog's oozing eyes. Then one has to cope with the half-blind, weak-lunged animal all but immobile with fat, and in this way pay dearly for the pleasures the dog once had given. Much as Blumfeld would like to have a dog at this moment, he would rather go on climbing the stairs alone for another thirty years than be burdened later on by such an old dog which, sighing louder than he, would drag itself up, step by step.

  So Blumfeld will remain alone, after all; he really feels none of the old maid's longing to have around her some submissive living creature that she can protect, lavish her affection upon, and continue to serve — for which purpose a cat, a canary, even a goldfish would suffice — or, if this cannot be, rest content with flowers on the window sill. Blumfeld only wants a companion, an animal to which he doesn't have to pay much attention, which doesn't mind an occasional kick, which even, in an emergency, can spend the night in the street, but which nevertheless, when Blumfeld feels like it, is promptly at his disposal with its barking, jumping, and licking of hands. This is what Blumfeld wants, but since, as he realizes, it cannot be had without serious drawbacks, he renounces it, and yet — in accordance with his thoroughgoing disposition — the idea from time to time, this evening, for instance, occurs to him again.

  While taking the key from his pocket outside his room, he is startled by a sound coming from within. A peculiar rattling sound, very lively but very regular. Since Blumfeld has just been thinking of dogs, it reminds him of the sounds produced by paws pattering one after the other over a floor. But paws don't rattle, so it can't be paws. He quickly unlocks the door and switches on the light. He is not prepared for what he sees. For this is magic — two small white celluloid balls with blue stripes jumping up and down side by side on the parquet; when one of them touches the floor the other is in the air, a game they continue ceaselessly to play. At school one day Blumfeld had seen some little pellets jumping about like this during a well-known electrical experiment, but these are comparatively large balls jumping freely about in the room and no electrical experiment is being made. Blumfeld bends down to get a good look at them. They are undoubtedly ordinary balls, they probably contain several smaller balls, and it is these that produce the rattling sound. Blumfeld gropes in the air to find out whether they are hanging from some threads — no, they are moving entirely on their own. A pity Blumfeld isn't a small child, two balls like these would have been a happy surprise for him, whereas now the whole thing gives him rather an unpleasant feeling. It's not quite pointless after all to live in secret as an unnoticed bachelor, now someone, no matter who, has penetrated this secret and sent him these two strange balls.

  He tries to catch one but they retreat before him, thus luring him on to follow them through the room. It's really t
oo silly, he thinks, running after balls like this; he stands still and realizes that the moment he abandons the pursuit, they too remain on the same spot. I will try to catch them all the same, he thinks again, and hurries toward them. They immediately run away, but Blumfeld, his legs apart, forces them into a corner of the room, and there, in front of a trunk, he manages to catch one ball. It's a small cool ball, and it turns in his hand, clearly anxious to slip away. And the other ball, too, as though aware of its comrade's distress, jumps higher than before, extending the leaps until it touches Blumfeld's hand. It beats against his hand, beats in ever faster leaps, alters its angle of attack, then, powerless against the hand which encloses the ball so completely, springs even higher and is probably trying to reach Blumfeld's face. Blumfeld could catch this ball too, and lock them both up somewhere, but at the moment it strikes him as too humiliating to take such measures against two little balls. Besides, it's fun owning these balls, and soon enough they'll grow tired, roll under the cupboard, and be quiet. Despite this deliberation, however, Blumfeld, near to anger, flings the ball to the ground, and it is a miracle that in doing so the delicate, all but transparent celluloid cover doesn't break. Without hesitation the two balls resume their former low, well-coordinated jumps.

  Blumfeld undresses calmly, arranges his clothes in the wardrobe which he always inspects carefully to make sure the charwoman has left everything in order. Once or twice he glances over his shoulder at the balls, which, unpursued, seem to be pursuing him; they have followed him and are now jumping close behind him. Blumfeld puts on his dressing gown and sets out for the opposite wall to fetch one of the pipes which are hanging in a rack. Before turning around he instinctively kicks his foot out backwards, but the balls know how to get out of its way and remain untouched. As Blumfeld goes off to fetch the pipe the balls at once follow close behind him; he shuffles along in his slippers, taking irregular steps, yet each step is followed almost without pause by the sound of the balls; they are keeping pace with him. To see how the balls manage to do this, Blumfeld turns suddenly around. But hardly has he turned when the balls describe a semicircle and are already behind him again, and this they repeat every time he turns. Like submissive companions, they try to avoid appearing in front of Blumfeld. Up to the present they have evidently dared to do so only in order to introduce themselves; now, however, it seems they have actually entered into his service.

  Hitherto, when faced with situations he couldn't master, Blumfeld had always chosen to behave as though he hadn't noticed anything. It had often helped and usually improved the situation. This, then, is what he does now; he takes up a position in front of the pipe rack and, puffing out his lips, chooses a pipe, fills it with particular care from the tobacco pouch close at hand, and allows the balls to continue their jumping behind him. But he hesitates to approach the table, for to hear the sound of the jumps coinciding with that of his own steps almost hurts him. So there he stands, and while taking an unnecessarily long time to fill his pipe he measures the distance separating him from the table. At last, however, he overcomes his faintheartedness and covers the distance with such stamping of feet that he cannot hear the balls. But the moment he is seated he can hear them jumping up and down behind his chair as distinctly as ever.

  Above the table, within reach, a shelf is nailed to the wall on which stands the bottle of kirsch surrounded by little glasses. Beside it, in a pile, lie several copies of the French magazine. (This very day the latest issue has arrived and Blumfeld takes it down. He quite forgets the kirsch; he even has the feeling that today he is proceeding with his usual activities only to console himself, for he feels no genuine desire to read. Contrary to his usual habit of carefully turning one page after the other, he opens the magazine at random and there finds a large photograph. He forces himself to examine it in detail. It shows a meeting between the Czar of Russia and the President of France. This takes place on a ship. All about as far as can be seen are many other ships, the smoke from their funnels vanishing in the bright sky. Both Czar and President have rushed toward each other with long strides and are clasping one another by the hand. Behind the Czar as well as behind the President stand two men. By comparison with the gay faces of the Czar and the President, the faces of their attendants are very solemn, the eyes of each group focused on their master. Lower down — the scene evidently takes place on the top deck — stand long lines of saluting sailors cut off by the margin. Gradually Blumfeld contemplates the picture with more interest, then holds it a little further away and looks at it with blinking eyes. He has always had a taste for such imposing scenes. The way the chief personages clasp each other's hand so naturally, so cordially and lightheartedly, this he finds most lifelike. And it's just as appropriate that the attendants — high-ranking gentlemen, of course, with their names printed beneath — express in their bearing the solemnity of the historical moment.)

  And instead of helping himself to everything he needs, Blumfeld sits there tense, staring at the bowl of his still unlit pipe. He is lying in wait. Suddenly, quite unexpectedly, his numbness leaves him and with a jerk he turns around in his chair. But the balls, equally alert, or perhaps automatically following the law governing them, also change their position the moment Blumfeld turns, and hide behind his back. Blumfeld now sits with his back to the table, the cold pipe in his hand. And now the balls jump under the table and, since there's a rug there, they are less audible. This is a great advantage: only faint, hollow noises can be heard, one has to pay great attention to catch their sound. Blumfeld, however, does pay great attention, and hears them distinctly. But this is so only for the moment, in a little while he probably won't hear them any more. The fact that they cannot make themselves more audible on the rug strikes Blumfeld as a great weakness on the part of the balls. What one has to do is lay one or even better two rugs under them and they are all but powerless. Admittedly only for a limited time, and besides, their very existence wields a certain power.

  Right now Blumfeld could have made good use of a dog, a wild young animal would soon have dealt with these balls; he imagines this dog trying to catch them with its paws, chasing them from their positions, hunting them all over the room, and finally getting hold of them between its teeth. It's quite possible that before long Blumfeld will acquire a dog.

  For the moment, however, the balls have no one to fear but Blumfeld, and he has no desire to destroy them just now, perhaps he lacks the necessary determination. He comes home in the evening tired from work and just when he is in need of some rest he is faced with this surprise. Only now does he realize how tired he really is. No doubt he will destroy the balls, and that in the near future, but not just yet, probably not until tomorrow. If one looks at the whole thing with an unprejudiced eye, the balls behave modestly enough. From time to time, for instance, they could jump into the foreground, show themselves, and then return again to their positions, or they could jump higher so as to beat against the tabletop in order to compensate themselves for the muffling effect of the rug. But this they don't do, they don't want to irritate Blumfeld unduly, they are evidently confining themselves to what is absolutely necessary.

  Even this measured necessity, however, is quite sufficient to spoil Blumfeld's rest at the table. He has been sitting there only a few minutes and is already considering going to bed. One of his motives for this is that he can't smoke here, for he has left the matches on his bedside table. Thus he would have to fetch these matches, but once having reached the bedside table he might as well stay there and lie down. For this he has an ulterior motive: he thinks that the balls, with their mania for keeping behind him, will jump onto the bed, and that there, in lying down, on purpose or not, he will squash them. The objection that what would then remain of the balls could still go on jumping, he dismisses. Even the unusual must have its limits. Complete balls jump anyway, even if not incessantly, but fragments of balls never jump, and consequently will not jump in this case, either. "Up!" he shouts, having grown almost reckless from this reflec
tion and, the balls still behind him, he stamps off to bed. His hope seems to be confirmed, for when he purposely takes up a position quite near the bed, one ball promptly springs onto it. Then, however, the unexpected occurs: the other ball disappears under the bed. The possibility that the balls could jump under the bed as well had not occurred to Blumfeld. He is outraged about the one ball, although he is aware how unjust this is, for by jumping under the bed the ball fulfills its duty perhaps better than the ball on the bed. Now everything depends on which place the balls decide to choose, for Blumfeld does not believe that they can work separately for any length of time. And sure enough a moment later the ball on the floor also jumps onto the bed. Now I've got them, thinks Blumfeld, hot with joy, and tears his dressing gown from his body to throw himself into bed. At that moment, however, the very same ball jumps back under the bed. Overwhelmed with disappointment, Blumfeld almost collapses. Very likely the ball just took a good look around up there and decided it didn't like it. And now the other one has followed, too, and of course remains, for it's better down there. "Now I'll have these drummers with me all night," thinks Blumfeld, biting his lips and nodding his head.