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Contents ( 51)
  1. Roberto Calasso
  2. Contents
  3. Note for Lucien
  4. Living in the Torrent
  5. Exempla Voluptatis
  6. The Grand Ball
  7. Treacherous Trifles
  8. Dismal Glory
  9. “The Mysterious Force of Legitimacy”
  10. Arcana Imperii
  11. The Origins of Sweetness
  12. Eulogius
  13. L’Autrichienne
  14. The Woodcutter and the Fisherman
  15. Goethe in Venice
  16. On Taste
  17. Metamorphoses of Style
  18. A Belated Nostalgia for Sorrow
  19. The Languor of a Park in Berry
  20. Around Port-Royal
  21. The Ruin of Kasch
  22. Among the Ruins of Kasch
  23. Elements of Sacrifice
  24. Law and Order
  25. The Forest Doctrine
  26. Archives and Will-o’-the-Wisps
  27. Postcards from the Quaternary
  28. The Demon of Repetition
  29. Goethe’s Birthday
  30. Sacrificial Crumbs
  31. The Antiromantic Child
  32. Limits
  33. Process
  34. Glosses on Marx
  35. Ricardo’s Ruthlessness
  36. Geldkristall
  37. History Makes Experiments
  38. The Artificial Barbarian
  39. Un frisson nouveau
  40. Behind the Glass
  41. Bien-aimé
  42. A Visit to Picpus
  43. “The Organization Wouldn’t Like That”
  44. The Moscow Doorkeeper
  45. Montaigne’s Wake
  46. The Wolf-Man Recalls
  47. Voices from the Palais-Royal
  48. Mundus Patet
  49. Letter from Saint Petersburg
  50. Notes
  51. THE BEGINNING

In a letter to Robert Klopstock, Kafka proposes two versions of the story of Abraham: “I can imagine another Abraham, who surely would never manage to become a patriarch, or even a ragman: this Abraham would be as prompt as a waiter to comply with the request for the sacrifice, but he would still never manage to perform the sacrifice because he can’t get away from home, he is indispensable; he is needed to run the house, there’s always something to be looked after, the house is not in order, but if the house is not in order he cannot leave until it’s sorted out, the Bible itself confirms it, for it says: ‘He set his house in order’ and Abraham already had an abundance of everything; if he hadn’t had a house, where would he have brought up his son, and on what beam would he have placed the knife?

… … …

“And then another Abraham. One who really wants to carry out the sacrifice in the right way and has rightly understood the meaning of it all, but cannot believe it’s really up to him, this repulsive old man and his son, that dirty youth. He has no lack of true faith, such faith he has, he would sacrifice in the right state of mind, if only he could believe it was really up to him. He’s worried about setting off by horse as Abraham with his son, but being transformed along the way into Don Quixote. The world would then be horrified if it had seen Abraham, yet this Abraham fears the world would die of laughter at seeing him. But it is not the ridiculous in itself that he fears—or rather, he fears that as well, especially of everyone laughing together—but above all he fears that such ridicule will make him even older and more repulsive, and his son dirtier, even more unworthy to be called. An Abraham who comes without being called! It’s rather as though the best student had to solemnly receive a prize at the end of the school year and in the midst of the silence of anxious expectation the worst student came forward from his dirty back bench, because he’d misheard his name, and then the whole class bursts out laughing. And perhaps he hadn’t even heard wrongly, perhaps his name had actually been called out and it’s the teacher who wants the award for the best also to be a punishment for the worst.

“Terrible things … That’s enough.”439

In a letter to Gershom Scholem, a few months before his death, Walter Benjamin referred to his final discovery on Kafka: “… I think that the key to Kafka would fall into the hands of the one who is able to extract from Jewish theology its comic aspects.440 Has there ever been such a man? or perhaps you could be him?”