The Hunger Artists

It might be surprising to learn that "A Hunger Artist" is partly inspired by the real historical practice of "professional fasting." Although many critics have overlooked this fact, Breon Mitchell, in his article "Kafka and the Hunger Artists," has uncovered the history of a world-renowned "hunger artist" whose mention in local newspapers may have sparked Kafka’s imagination. Mitchell reveals that "almost every detail" in Kafka’s narrative matches "the actual profession of fasting for pay." He asserts, "The correspondence with reality is, in fact, so close that Kafka could not possibly have written the tale without some direct or indirect knowledge of the best-known hunger artists of his time."

The phenomenon of "professional fasting" spanned from 1880 to 1922, coinciding roughly with Kafka’s lifetime. The first notable professional fast was carried out by Dr. Henry Tanner, an American who reportedly abstained from food for forty days under medical supervision. The most famous European practitioner was Giovanni Succi, likely the inspiration for Kafka’s story. Succi "performed" fasts at least 30 times, lasting up to 30 days, in various European cities. Numerous imitators followed in the footsteps of Tanner and Succi, achieving varying degrees of fame as professional fasters.

Though not confined to cages, these hunger artists were typically displayed in some form of enclosure. Similar to Kafka’s hunger artist, some even sold photographs of themselves at different stages of their fasts. However, these professional fasters generally had normal body types and appeared relatively healthy (not emaciated) both before and after their fasts. Considering this, Kafka might have blended the characteristics of another type of performer with those of the professional fasters to create his character. Claude Ambroise Seurat, known as "The Living Skeleton," had an extremely bony and skeletal physique and was showcased in "freak show" performances, which differed significantly from the acts of professional fasters.

By the time Kafka wrote his story, the advent of twentieth-century mass entertainment had led to the decline of "hunger artists." This decline coincided with the rise of circus acts featuring wild animals, particularly big cats like lions and leopards. Mitchell concludes that "from beginning to end, Kafka’s tale accurately reflects an actual development in the history of European popular culture."

Prague’s Café Life and Literary Salons

During this era, Prague was renowned for its vibrant café culture, where artists and intellectuals gathered in informal "salons." The Café Continental, a favorite haunt of Kafka, was one such notable spot. Kafka also frequented the Café Arco, Café Central, and Café Louvre. Max Brod, Kafka’s friend and editor, described these venues as "free and open to ideas, crammed together in four or five rooms, smoky, stifling, thick with the fumes of mocha coffee." More structured platforms for literary discussion included various literary meetings and clubs. Kafka became involved with the "Prague Circle," a distinguished literary society of German-Jewish authors.

German Literary Movements

Although Kafka never explicitly aligned himself with any particular literary movement, he was associated with the prominent literary figures of his time and is now seen as a representative of several literary schools. In the early twentieth century, significant schools of thought included Expressionism and Symbolism, both of which Kafka is now considered a key example. Expressionism, according to Encyclopaedia Britannica, was the "key movement in German literature" during the World War I era, emphasizing the "inner significance of things and not their external forms." Kafka’s contribution to Expressionism manifested as a "negative vision," where he portrayed the horror and uncertainty of human existence with the stark clarity of a nightmare. Similarly, the Symbolist movement focused on the inner world, creating a literary...

"A Hunger Artist" is a literary work that employs a unique narrative perspective and rich symbolism to explore themes of human aspiration and existential yearning. Kafka's tale is told through a third-person limited viewpoint that aligns predominantly with the inner thoughts of the protagonist, the hunger artist. This story is imbued with allegorical elements and absurdist qualities, making it an intriguing study of human nature and artistic pursuit.

Point of View

In "A Hunger Artist," the narrative unfolds from a third-person limited perspective. This technique allows the narrator to convey the hunger artist's internal struggles while maintaining a certain level of narrative distance. The reader is primarily aligned with the hunger artist's perspective, experiencing his emotional and psychological battles throughout the story. However, this perspective shifts in the final paragraph to provide a broader view as the protagonist's life draws to a close. This change in narrative focus not only enhances the character's depth but also accentuates the universality of his plight.

Imagery and Symbolism

Hunger as a Motif

The motif of hunger serves as a central symbol throughout the narrative. It encompasses the hunger artist's lifelong feelings of dissatisfaction and spiritual longing. Despite his fame and supposed success, he remains "unsatisfied" and "troubled in spirit," symbolizing an unfulfilled search for life's meaning. His dying confession, "I have to fast, I can’t help it.... I couldn’t find the food I liked," underscores his inability to partake in "the joy of life," representing a deeper spiritual void.

The Cage

The hunger artist's cage is more than just a physical enclosure; it symbolizes his self-imposed psychological and spiritual imprisonment. While the physical bars separate him from the world, the cage also represents his voluntary isolation from human connection and the pleasures of life. This setting parallels Kafka's recurring themes of entrapment found in his other works, where characters often find themselves confined in claustrophobic environments. The cage illustrates the internal barriers the hunger artist has built, which ultimately contribute to his solitude and alienation.

The Panther

The imagery of the panther, which replaces the hunger artist in the circus cage, contrasts sharply with the protagonist's existence. Unlike the emaciated hunger artist, the panther's "noble body, furnished almost to the bursting point," exudes vitality and freedom. This juxtaposition highlights the hunger artist's lack of lust for life, symbolized by his inability to experience joy even in captivity. The panther embodies a paradoxical freedom, possessing a vibrant life force despite its physical confinement.

Allegory and Parable

Allegory

"A Hunger Artist" is rich with allegorical meaning, inviting readers to interpret the narrative beyond its literal elements. The story uses material and concrete objects to express spiritual and psychological concepts. Kafka's use of allegory is both enigmatic and profound, as his works, including this story, resist a singular interpretation. The central symbol of "hunger" captures themes of spiritual, social, psychological, and existential yearning, encapsulating the broader human experience.

Parable

While "A Hunger Artist" can be classified as an allegory, it also functions as a parable. This story type involves conveying moral or philosophical lessons through simple narratives. Kafka's parables are considered among the most enigmatic in modern literature. The story pushes readers to search for deeper meaning without providing definitive answers, leaving its interpretations open-ended and thought-provoking.

Absurdism

The story embodies the essence of absurdism, a literary movement that highlights the irrationality and unpredictability of human existence. Kafka portrays the hunger artist's life as a tragicomic reflection of modern predicaments, using grotesque imagery to emphasize his plight. The protagonist's profession revolves around displaying his emaciated body as a form of "art," reaching an absurd crescendo at his death when he is no longer recognizable as human. Despite the tragedy of his alienation and dissatisfaction, the notion of fasting as an "art" injects an element of humor and absurdity, prompting readers to question the seriousness with which the hunger artist pursues his craft.

1883-1924: When Kafka was born in 1883, Prague was part of the Kingdom of Bohemia under the Hapsburg Empire. World War I, which began with the assassination of Archduke Ferdinand, significantly altered Prague's national identity. The war led to the downfall of the Hapsburg Empire, and within two years after the war, Prague became the capital of the newly established Republic of Czechoslovakia. In this new republic, Prague transitioned from a city influenced by German language and culture to one dominated by Czech language and culture.

1990s: The end of the Cold War, marked by the fall of the Berlin Wall, freed Prague from communist rule, making it the capital of the newly formed Czech Republic. As part of the Czech Republic, Prague experienced significant changes, including the introduction of a free market, a surge in tourism, the easing of censorship, and the arrival of American businesses like McDonald's.

1883-1924: Although Kafka was not widely recognized during his lifetime, he was highly respected within his small literary and intellectual circle in Prague, who acknowledged his significant talents. At 25, Kafka published his first prose pieces in Hyperion, a journal edited by his close friend Max Brod. Throughout his short life, he continued to publish in journals and released several small volumes of his stories. He died in relative obscurity, with many of his stories and novels unpublished. Some of his unpublished manuscripts were destroyed in a Nazi raid on his companion Dora Diamont’s apartment, and his work was not widely available in Prague until a decade after his death.

1990s: Franz Kafka is now regarded as one of the most important and influential writers of the twentieth century. Despite this, there is little critical consensus on the meanings of his stories. This lack of agreement has not deterred critics, who continue to produce extensive critical material on Kafka.

1883–1924: During Kafka’s lifetime, Prague had a vibrant café culture where artists and intellectuals gathered for informal "salons." The Café Continental, which Kafka frequently visited, was a notable venue for such gatherings. More formal settings for literary discussions included various literary meetings and clubs. Kafka was associated with the "Prague Circle," an internationally recognized literary society of German-Jewish authors.

1990s: Following the conclusion of the Cold War, Prague's connection to Kafka has evolved into a major tourist draw. The part of the city that was once Kafka's beloved and despised Jewish ghetto has transformed into an American-style tourist hotspot, complete with Kafka-themed T-shirts, souvenirs, and guided tours. David Zane has wryly, though perhaps accurately, described this trend by saying that Kafka is now "finding his place amidst the KITSCH." Zane elaborates, "After years of neglect or treating him as an outcast, the new Czech Republic is finally embracing its peculiar Jewish son, no longer seen as a threat and now suddenly BANKABLE as a tourist attraction." He concludes, "the irony would not be lost on him."

Sources

Beck, Evelyn Torton. Kafka and the Yiddish Theater: Its Impact on His Work. University of Wisconsin Press, 1971, pp. 200-202.

Britannica Online [database online], Chicago, Ill.: Encyclopaedia Britannica, Inc., 1999- [cited 2 June 1999], available from Encyclopaedia Britannica, Inc., Chicago, Ill., s.v. ‘‘Allegory,’’ ‘‘The Art of Literature: DRAMA: Comedy: KINDS OF COMEDY IN DIVERSE HISTORICAL PERIODS: The absurd,’’ ‘‘The Art of Literature: NARRATIVE FICTION: Fable, parable and allegory,’’ ‘‘German Literature: The 20th century: MAJOR LITERARY TRENDS AND CONDITIONS,’’ and ‘‘Kafka, Franz.’’

Brod, Max. Franz Kafka: A Biography. Schocken Books, 1937.

Carter, F. W. ‘‘Kafka’s Prague,’’ in The World of Franz Kafka, edited by J. P. Stern. New York: Reinhart and Winston, 1980, pp. 31-32, 34-35.

Glatzer, Nahum N., ed. Kafka: The Complete Stories. New York: Schocken Books, 1971.

Kempf, Franz R. Everyone’s Darling: Kafka and the Critics of His Short Fiction. Camden House, Columbia, S.C., 1994, pp. 1-4.

Mairowitz, David Zane and Robert Crumb. Introducing Kafka. Cambridge, England: Totem Books, 1994, pp. 5, 17, 73, 154, 175.

Mitchell, Breon. ‘‘Kafka and the Hunger Artists,’’ in Kafka and the Contemporary Critical Performance, edited by Alan Udoff. Indiana University Press, 1987, pp. 238, 248, 251, 252.

Spann, Meno. Franz Kafka. Boston: Twayne, 1976.

Stern, J. P., ed. The World of Franz Kafka. New York: Reinhart and Winston, 1980.

Udoff, Alan, ed. Kafka and the Contemporary Critical Performance. Indiana University Press, 1987, pp. 1, 3.

Unseld, Joachim. Kafka: A Writer’s Life. Ariadne, Riverside, CA, 1994, pp. 225, 230, 235, 237, 238, 262, 264.

Further Reading

Beck, Evelyn Torton. Kafka and the Yiddish Theater, Its Impact on His Work. University of Wisconsin Press, 1971. Explores Kafka’s life and work in the context of the Yiddish Theater dramas he frequently attended.

Gilman, Sander L. Franz Kafka: The Jewish Patient. Routledge, New York, 1995. Analyzes Kafka’s life and work in relation to tuberculosis perceptions during his era, as well as Kafka’s views of his own body as Jewish, male, and afflicted with tuberculosis.

Wagenbach, Klaus. Kafka’s Prague: A Travel Reader. Overlook, Woodstock, NY, 1996. A tourist guide to contemporary Prague for Kafka enthusiasts, featuring numerous photos and suggested walking tours of locations significant to Kafka’s life and work.