On Kafka, Richter and Memories

1 Jul

 

I have a strange relationship with posthumously published pieces. In the one instance, I desperately want to read them. Especially if it’s an author I really like because then as a reader I get to momentarily undo their death and hear one last story.

On the other hand it feels like cheating. It wasn’t finished. It wasn’t supposed to be shared. Like splitting open their skull and sticking your fingers in there to see what’s what.

It’s just wrong.

And I feel even more strange about posthumously published journals. That’s like a sin on top of a sin. Writing that is only meant for the writer should stay that way, right? Except as a reader, I love to read journals. I love to know what they were thinking when they were working on some of my favorite stories. Virginia Woolf’s journals were as enjoyable as any of her novels.

Yet I still feel strange about it.

It’s akin to loving the rich earthy smell of a recently dug grave.

After Kafka died, Max Brod, Kafka’s literary director, published his journals in 1948 and then, in 1953, he published what is known as The Blue Octavo Notebooks. These were Kafka’s journals….but also not his journals. They were not a recording of the movements and musings of a person in their daily existence. Instead they’re little vignettes, unrelated at times yet not disjointed. A review I read described the Notebooks as a “bag of exquisite marbles.”

That’s about as close to the mark as anything I could come up with.

They were penned from 1917 to 1919 and instead of being in the quarto size journals that Kafka used for his daily journals they were octavo-sized (hence the name).

Here, I’ll give you a sample:

Everyone carries a room about inside him. This fact can even be proved by  means of the sense of hearing. If someone walks fast and on pricks up one’s ears and listens, say in the night, when everything round about is quiet, one hears, for instance the rattling of a mirror not quite firmly fastened to the wall.”

Beautiful, right?

Now that brings us to the video above, a piece entitled “On the Nature of Daylight”, by Max Richter from his album The Blue Notebooks which is music inspired by Kafka’s Blue Octavo Notebooks.

A second layer.

To read this collection AND listen to the music that was inspired by it has been an incredibly rich experience. The high lilting song of a violin, the clack of a typewriter and a woman (by the name of Tilda Swinton) reading the words of Franz Kafka 87 years after they had been written. Possibly written in secret. Possibly never meant to be shared.

And then in researching Kafka I discovered that while Kafka was writing the small sketches that would become the Blue Octavo he was reading Kierkegaard’s Fear and Trembling.

A third layer still….

How far back can we stretch here? What was Kierkegaard listening to when he wrote Fear and Trembling, what  was he reading? We can peel back the layers.

Secrets within secrets.

Stories behind stories.

It does strange things to a person. Both the album and the book feel so familiar to me as if I had read them before in another life and am just now remembering them for the first time.

Like an echo bouncing off Jupiter and coming back to me after such a long journey.

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One Response to “On Kafka, Richter and Memories”

Trackbacks/Pingbacks

  1. On Zoe, Salinger, and Orson | allymalinenko - July 16, 2013

    […] Isn’t she amazing? I’m buying her album. It reminds me of Max Richter which I already blathered on about here. […]

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