The Metamorphosis by Franz Kafka

It took some mulling, but I believe I have alighted upon the meaning of this work, or a portion of it at least. Gregor Samsa lives with his parents and sister and provides for them through a rather grueling job in sales. But one morning, he awakes to find he has morphed into a sort of giant beetle. He is repulsive like this, and so confined to his room. His family scambles to support themselves, taking jobs and letting out a room. The boarders discover the "vermin," and threaten to leave. The distress of the situation, coupled with the malnutrition he has incurred from depression, kills Gregor. The family finds him shriveled up, and they are relieved. They discover that, because of their jobs, they are fairly well-off and can now get a smaller apartment to save even more. The sister has become a useful, beautiful young lady, and the future is filled with hope for all.

I think the moral, or message, or point, or what have you, is that though Gregor felt he was an indispensable provider for his family, he was in fact stifling them, and they could not truly flourish until he was gone. He was almost no better than vermin before his transformation, and it needed only the metamorphosis to make this apparent to all.

But somehow I feel that doesn't quite encompass all that this novel is meant to convey. I suppose I should have read the textual criticism in my version more closely. Much of it is filled with "greatest book of this century" sorts of sentiments. Naturally, I'd like to know why. I was fairly surprised at the brevity of the work. I'd imagined it to be much longer, and that is why I did not pick it up for quite a while. In fact, what prompted me to read it was a Final Jeopardy question I saw on my trip to Ohio. It referred to the first paragraph, and I could not for the life of me come up with even a decent guess. I certainly did not want that to happen again.

Well, now I've read it, and have at least cursory knowledge of it, if not an extensive understanding. If nothing else, I'll be able to answer that question on Jeopardy.

The Necklace and Other Short Stories by Guy de Maupassant

It is a funny thing, the enduring elements of literature. What remains relevant and what loses its immediacy to obscurity is often separated by finely drawn nuances. Certainly in this collection, the potently pertinent and the disappointingly antique are inextricably intermingled. De Maupassant apparently invented the modern concept of the short story, and many of those featured in this book display a universal sensibility.

"The Necklace" follows a young woman who belongs to the middle class but believes she deserves better. She borrows a rich friend's necklace and loses it, then buys a replacement on credit, and works for a decade to pay off the debt, only to discover the original was only worth a fraction of the one she bought. Thus, a woman whose previous aspirations were meaningless, works for years for something equally meaningless. The uppity upstart gets what she deserves.

A melancholy narrative tells of the stifled, uncontrollable affections of a middle-aged spinster- the tragedy of her existence, and her tragic end. An uncomfortable horror story of sorts chronicles the deterioration of a man haunted by an invisible being. Here we begin to find bits of antiquity. The story makes all sorts of "metaphysical speculations" that could only have been made in the nineteenth century.

Other stories focus on Franco-Prussian conflicts, peasant life, and prostitutes, the profundity of which is entirely lost on me. What someone hailed as technically the greatest short story ever written, "Boule-de-Suif," or "Ball of Fat," had no special merits that I could see. A rotund prostitute refuses to sleep with the occupying Prussian captain, but her compatriots, desperate to escape, convince her to override her patriotic scruples. The end finds them on a departing wagon, the prostitute, now shunned by all, weeping. I failed to sympathize with the protagonist. But from what I understand, de Maupassant was obsessed with prostitutes, and seeing how as he died from syphilis, he evidently had a deep sympathy for them.

Incidentally, de Maupassant seems to have actually gone crazy from the disease. He was committed to an asylum, and he died there. A fascinating end for an author, I must say.

Some of the stories really dragged, while others kept me going with a sort of morbid fascination. I do not believe a single story had a redeeming ending, but of course, that is too much to ask. I must merely content myself with a superb command of language and an emerging sense of irony.

I Capture the Castle by Dodie Smith

I have to say, I identified with the protagonist in the beginning. Seventeen-year-old Cassandra is an aspiring writer who adores Austen and the Brontes, but finds little in her life to inspire her own literary contribution. Our similarities, however, ended with the first chapter. Cassandra lives in an old castle in England in the 1940s, with her author-turned-hermit father, nudist model stepmother, bored and dreaming older sister, studious younger brother, and a deceased servant's orphan son who loves her in his simple and unworthy way.

The owners of the castle, two conveniently handsome, engaging brothers, come to claim their inheritance, and all their lives soon become intertwined. Rose, the older sister, becomes engaged to one of the brothers, Simon. But as Rose discovers she does not truly love him, Cassandra discovers she herself does. Unofortunately, Simon does not feel the same about her. But after Rose elopes with the younger brother Neil, Simon impulsively proposes to Cassandra. Nevertheless, she refuses, knowing he would never love her as he loved Rose.

Symbols and elements of loneliness are prevalent. Cassandra finds herself alone quite often. Sometimes she welcomes it, and sometimes she does not. The denouement leaves her single. The book is not a chronicle of courtship, but a coming-of-age sort of thing, a showcase of development that follows Cassandra as she acquires the qualities that will ultimately enhance her adult life. She finds independence, and apparently she is the better for it.

Cassandra briefly explores religion but concludes it is just a way to avoid the events of life. The town vicar is described as baby-faced and golden-haired, as if he had never grown up and never really lived life. Cassandra's conclusion is mystifying to me. Why God is avoidance, rather than solace or purpose, is not truly established.

Cassandra begins as a worthy protagonist, but she devolves into someone less worthy of the reader's sympathy. She blunders through servant son Stephen's emotional attachment to her, she pursues her sister's fiance, she analyzes everything into oblivion, and she continues tediously and self-centeredly until the end. For most of the book, she is unhappy, and there is not celebratory ending to countermand that. One American brother comments on how melancholy England seems to be, much as the novel as a whole is. But perhaps that is the author's aim- to capture the melancholy of adolescence in a searingly accurate manner.

Stiff Upper Lip, Jeeves by P.G. Wodehouse

I loved the title, so as my introduction to Wodehouse I selected Stiff Upper Lip, Jeeves. Wodehouse's name was mentioned on amazon.com lists and in Arthur & George, which piqued my curiousity. I am quite glad I discovered him.

Apparently with this book I jumped right into the midst of a very funny series. Bertie Wooster is an English gentleman in the early 20th century, and Jeeves is his encyclopaedic butler. Wooster gets himself into compromising situations, and Jeeves gets him out through his veritable treasure trove of knowledge and his relentless deadpan delivery.

The story is almost incidental beside the rollicking narration. Wooster's first-person voice is a linguistic exercise in absurdity. He begins adages but never finishes them, he uses fabricated abbreviations liberally, and he toys with conventional usages.

The supporting characters are merely two-dimensional caricatures of anything resembling real people. In this way, Wooster appears to be the epitome of sanity in a mad world. It is a very funny world, all the same.

Serendipitously, I came across a Jeeves and Wooster DVD at the library. I was not aware any such thing existed. The DVDs feature episodic adventures of the duo, and the series is as excellently done as the books. The characters are captured perfectly; Hugh Laurie and Stephen Fry are incredible.

Arthur & George by Julian Barnes

I enjoyed the aesthetic qualities of the author's quintessentially British name, and selected this book partially on that basis. Julian. Very nice.

The book itself was definitively British, often endeavouring to establish the nature of a "true Englishman" and then differentiate the main characters from such a definition. Arthur, of course, is Sir Arthur Conan Doyle, painted as I am sure he truly was- worlds away from his ubiquitous protagonist. It is such situations that make me wonder whether genius is actually an autonomous, lightning-strikes-once sort of individual entity that manifests itself in all kinds of forms.

But that is a separate consideration. George is the Indian-Scotsman whom Arthur really did exculpate from a wrongful conviction. The book deals with the trial and the events surrounding the ordeal. The plot was well-paced, and the narrative was absorbing. Barnes examines Doyle's increasing fascination with spiritism, and he treats such a silly belief as respectfully as possible. Of all the belief systems out there, why Doyle would alight on such a ridiculous one is baffling.

George was a very sad character, but as the author was certainly bound by history's outcome, the character must have been very close to the real man. The book is rather melancholy and inconclusive, but it provides an insightful analysis of the man behind Holmes. Barnes is a talented narrator and he has crafted a contemporary book that features a superb use of language, a complex plot, and a thoughtful composition.

Tristan and Iseult by Rosemary Sutcliff

Sutcliff skillfully wove this retelling of the epic legend. She retained an element of archaic sensibility, while writing in language the modern reader has no trouble understanding. Kudos to her for that.

The story itself is fairly captivating, as it would almost have to be considering how long it has lasted. It forms an instantly recognizable archetype: young, beautiful lovers estranged forever because of circumstances and destined to end tragically. Romeo and Juliet, anyone? I suppose such plots capture audiences because of their uncertainty and suspense, and the exquisite sadness of it all. I think there is also some schadenfreude in seeing insanely privileged individuals suffer for their own folly.

It truly is the protagonists' folly that leads to the tragic end. Sutcliff makes a poor case for their uncontrollable ardour for each other, merely attributing it to a moment in which each gazed into the other's eyes and felt some sort of intangible bond. They had no true points of connection that they could not have had with their respective spouses. She is gorgeous and he is handsome, but that does not mean they are irrevocably destined for each other.

Marriage is for procreation and the spurring on of one another towards righteousness, if you've biblical inclinations. It is not just the satisfaction of lust. Pleasure is an essential component, but it is not the only one. Relationships need to be established upon something more than just physical attraction. Not that any of this was given any consideration here. It was a romance, after all. They die in the end. How romantic.

The Black Arrow by Robert Louis Stevenson

I read the introduction to the book (after I had finished the story so it wouldn't influence my opinion, like I usually do) and I completely agree with it. The Black Arrow was definitely one of Stevenson's "minor works" and not entirely a classic in its own right, but a good story nevertheless.

It is really just a boys' adventure novel- simplistic, fast-paced, and fun, with a convenient moral at the end. Richard Shelton discovers his place in society during the War of the Roses in England in the 1400s. Accuracy and authenticity are not the author's major concerns, as there are numerous curiously prescient allusions to a yet-to-be-born Shakespeare, and many speech conventions contemporary of Stevenson.

Dick, as the protagonist is often called, rescues a young lady from an undesirable marriage, and revenges himself upon his father's murderer. He learns about right and wrong, and the far-reaching consequences of his actions.

The characters are rather simple, and their internal development merely superficial. But it makes for a good leisure read. Nineteenth-century "tushery," or books where authors use "tush" and other uncommon words often, a term Stevenson himself coined, is exceedingly diverting. What was perhaps considered unworthy then is highbrow compared to most of today's escapist fiction.

I found this book to be a lot of fun. The plot kept me turning the pages eagerly to the end. It was much more enthralling than say, Ivanhoe, a similar but infinitely more tedious novel. The adventure was, for lack of a better term, higher- more exciting and epic, like a medieval romantic adventure should be.

The Mayor of Casterbridge by Thomas Hardy

Thomas Hardy's writing was as dark and melancholy as I'd heard it was, but The Mayor of Casterbridge had a happy ending, and that always redeems a book in my eyes. The story was riveting, and the style was comprehensible. A man, in a drunken impulse, sells his wife and daughter to a passing sailor. The rest of the book chronicles the results of this, the ensuing tangle and and confusion of relations as the years progress, and the final state of affairs after all the threads have been sorted out.

The characters are interesting, but not terribly engaging. Henchard is the faulty man whose overly impulsive nature ultimately destroys him. Elizabeth-Jane is supposed to be the daughter whom Henchard sold, but is actually the offspring of Henchard's wife and the sailor. Elizabeth-Jane, through tenacious self-discipline and a strong sense of propriety, develops into a sensible, well-informed girl. She eventually marries well, forming the happy ending I mentioned before.

Most of the story is the interplay of the various connected people, and it is fun to follow. Because the reader does not form much emotional attachment to the characters, due perhaps to the author's intent, one can just stand a distance and events resolve themselves into a cohesive narrative. A lot of the novel is rather sad and pathetic, but not all of it. Elizabeth-Jane begins with the view that life is mostly a tragedy punctuated intermittently with moments of happiness, but by the end such an outlook is modified a bit, because her situation has become one of complete satisfaction.

A Passage to India by E.M. Forster

Forster was a fairly insightful guy. A Room with a View involved fascinating character development and apt observances of the human condition, and A Passage to India did too. Still, his worldview was unabashedly atheistic, and his main conclusion was merely a cry for universal brotherhood. Nevertheless, the narrative was enjoyable.

Forster himself seems to enjoy complex relationships and broken engagements, common subjects in the two books of his that I have read. I think he also saw travel as a venue by which a person's character is thrown into relief and magnified. Perhaps, and especially for the early 20th-century Briton, when one is removed from the confines of conventional society, one is able to act how one would without that outside control.

The book gained a new level of realism for me when I dined at an Indian restaurant. The cuisine was fabulous, and it felt as if I could taste and feel the novel, after having read it. Eating unfamiliar food is a singular joy: one does not exactly know what one is dining on, but as it is delicious and exquisitely exotic, it makes for a culinary adventure. So, in that way, I took my own little passage to India, and the experience of the Imperial British visitor became that much more real to me. In fact, I would go so far as to recommend that one should immediately make reservations for the nearest Indian restaurant as soon as one has finished the book. It makes a delicious accompaniment.