Charles Neider – författare

First published in 1949, Kafka: His Mind and Art begins with an extended analysis of the Kafka literature, with emphasis on its shortcomings and their effect on Kafka’s vogue. Chapter two presents in broad terms a new aspect of Kafka which after the biographical chapter, chapter three, is studied in detail for the next two chapters. Up to this point the treatment does not presuppose a special key, but in chapters six and seven the secret key is discussed. To avoid confusion and unnecessary complications, the discussion of the key and its implications is delayed until more traditional ground has been covered.

The author argues that it is appropriate to indicate only that the expressionist movement was not solely religious, that it arose from a dissatisfaction with a stagnant, spiritless society as well as with current modes in art and literature, and that Kafka avoided identifying himself- at least in his work- with any of the three or four factions of the movement. This is an important historical document for students of literature.

First published in 1949, Kafka: His Mind and Art begins with an extended analysis of the Kafka literature, with emphasis on its shortcomings and their effect on Kafka’s vogue. Chapter two presents in broad terms a new aspect of Kafka which after the biographical chapter, chapter three, is studied in detail for the next two chapters. Up to this point the treatment does not presuppose a special key, but in chapters six and seven the secret key is discussed. To avoid confusion and unnecessary complications, the discussion of the key and its implications is delayed until more traditional ground has been covered.

The author argues that it is appropriate to indicate only that the expressionist movement was not solely religious, that it arose from a dissatisfaction with a stagnant, spiritless society as well as with current modes in art and literature, and that Kafka avoided identifying himself- at least in his work- with any of the three or four factions of the movement. This is an important historical document for students of literature.

Mark Twain''s daughter, Susy, wrote: "Papa…doesn''t like to go to church at all, why I never understood, until just now, he told us the other day that he couldn''t bear to hear any one talk but himself, but that he could listen to himself talk for hours without getting tired, of course he said this in joke, but I''ve no dought [sic] it was founded on truth."—from the book

Here is one of the great autobiographies of the English language: exuberant, wonderfully contemporary in spirit, written by a man twice as large as life, who—he said so himself—had no trouble remembering everything that had ever happened to him, and a lot of things besides.

Nothing ever happened to Mark Twain in a small way. His adventures were invariably fraught with drama. Success and failure for him were equally spectacular. And so he roared down the years, feuding with publishers, being a sucker for inventors, always learning wisdom at the point of ruin and always relishing the absurd spectacle of humankind, whom he regarded with a blend of vitriol and affection.