A man rides an empty suit. The suit tells others what to think of the man, though it would not fit him. The man does not control the suit, but merely takes a ride upon it, come what may.
In his twenties, Franz Kafka composed a long story, “Description of a Struggle”, which remains one of his most enigmatic works. It follows a dream-like logic from a party, to a stroll through Prague, to an encounter with “a monstrously fat man” being borne in a litter by four naked men, to a supplicant once known by the fat man who prayed by bashing his own head against the stone floor of a church, to a final scene on a mountaintop, where a stabbing takes place, though it does not seem to be very consequential. The end.
Max Brod thought it was a work of genius, though John Updike thought it was adolescent posturing. (¿Por qué no los dos?) Like all of Kafka’s works, it shows up on your doorstep like a locked desk that you are sure contains something you need, but the key is locked inside it; and when you finally bash the desk open, you find your own corpse with a toe tag reading “GUILTY OF BREAKING THE DESK”. Maybe some of the strange imagery Kafka himself could neither explain nor control, maybe some of it spoke of his own secrets, maybe all of it is an existential parable.
One thing is for sure: the story shatters in every way. We might expect a story with a beginning, middle, and end: nope. We might expect some clarity about just whose story it is: nope. We might expect facts to stay fixed, or people to inhabit their own bodies: nope. We might expect some thread of consistency, conversations that make even minimal sense, words of wisdom that do not culminate in irrelevant banalities. Nope, nope, nope. That the work is offered as a story, and even as a description, is an exaggeration. It’s something, all right, and we may try to read it as a story, but the damned thing will not cooperate. It keeps falling apart the more we try to hold it together, like a human life, come to think of it.