A Quote by Etgar Keret

I was first introduced to Kafka's writing during my compulsory army-service basic training. During that period, Kafka's fiction felt hyperrealistic. — © Etgar Keret
I was first introduced to Kafka's writing during my compulsory army-service basic training. During that period, Kafka's fiction felt hyperrealistic.
Kafka is one of my very favorite writers. Kafka's fictional world is already so complete that trying to follow in his steps is not just pointless, but quite risky, too. What I see myself doing, rather, is writing novels where, in my own way, I dismantle the fictional world of Kafka that itself dismantled the existing novelistic system.
Whoever utters 'Kafkaesque' has neither fathomed nor intuited nor felt the impress of Kafka's devisings. If there is one imperative that ought to accompany any biographical or critical approach, it is that Kafka is not to be mistaken for the Kafkaesque.
The moment Kafka attracts more attenetion than Joseph K., Kafka's posthumous death begins.
I've always gone with Kafka's model of establishing the world from the first line, as in Kafka's famous line from Metamorphosis, "Gregor Samsa woke up from uneasy dreams to find himself transformed into a gigantic insect" (or beetle or cockroach, depending on the translation). I have to have that first line before I can go further.
If Franz Kafka were alive today he'd be writing about customer service.
Franz Kafka is a huge influence, more than the Grimms. To allow yourself to get into the coal bucket and fly to the sky ... we learned that from Kafka, that you can have a thought and make a body of it in this way.
When I went to Czechoslovakia under the old Communist regime one day in the '80s, I thought to myself whatever I do, whatever happens to me in Prague I'm not going to use the name Kafka, I'm just not going to do it. I won't do it; it's so easy, everyone else does, I'm not going to. I'll write the first non-Kafka mentioning piece.
It is said Somerset Maugham traveled the world with a notebook to learn the essence of life and Kafka sat in a room for the same objective. Yet Kafka came out with a better world-view.
When I wrote 'Your Republic Is Calling You,' it was Franz Kafka's writing that I had most in mind, and James Joyce's 'Ulysses.' Entirely out of the blue, Kafka's characters receive an order to go somewhere, and when they try to comply, they never quite manage it. Ki-yong in 'Your Republic Is Calling You' is precisely that sort of character.
I heard a story the other night about an editor who visited the Iowa Workshop and, when asked what sorts of books she published, replied, "Classic books." One of the students asked her, "You mean like Kafka?" Apparently she said, "Oh, I don't think I would publish Kafka."
Ultimately — or at the limit — in order to see a photograph well, it is best to look away or close your eyes. 'The necessary condition for an image is sight,'Janouch told Kafka; and Kafka smiled and replied: 'We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes.
This brings me back to the image of Kafka standing before a fish in the Berlin aquarium, a fish on which his gaze fell in a newly found peace after he decided not to eat animals. Kafka recognized that fish as a member of his invisible family- not as his equal, of course, but as another being that was his concern.
Since my first encounter with Kafka's writing, I've been interested in a quality that, while he was alive, stood in the way of his achieving a large reputation: his allegory.
I guess I will say, going back to the Judaism questions, there are mental reflexes or patterns that I think of as Jewish in my own feelings about mysticism and theology.Franz Kafka is someone I very much revere. If I believed in holy texts I'd go to him as a touchstone. Not that I read Kafka all the time at this point. In a way, this is what I most want to talk about and it's the hardest to talk about.
Franz Kafka is dead. He died in a tree from which he wouldn't come down. "Come down!" they cried to him. "Come down! Come down!" Silence filled the night, and the night filled the silence, while they waited for Kafka to speak. "I can't," he finally said, with a note of wistfulness. "Why?" they cried. Stars spilled across the black sky. "Because then you'll stop asking for me."
I've always felt that the basic unit of writing fiction is the sentence, and the basic unit of the screenplay is the scene.
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