The Burrow, by Franz Kafka

Perhaps it is The burrow the strongest work of Kafka. In this concise and powerful story, Kafka vertically explores despair, in a technique similar to that used in The Judgment, but reaching the summit in very few pages. The following happens: a mouse builds, in a work of a lifetime, his own house (the burrow). Extremely cautious, he diligently devises a structure that protects him from invaders. He thinks of all the possibilities, defends himself from all of them, thus structuring an extremely complex constructive plan. The place is the first of the precautions: aiming tranquility, he selects a quiet place, away from the movement. But can somewhere be far enough away that no one will ever find it? Difficult… anyway, there is no such certainty. Then it is necessary a camouflage at the entrance of the burrow; so even if possible invaders approached, they would not notice the door of the abode. But what if they did? What if, for once, an invader noticed it and entered the building? It is a huge risk that would compromise everything. A single invader has the power to destroy the work of a lifetime. Thus, a defense mechanism is required after entry… Reasoning in this way, imagining always possible situations, fearing the risk and desirous of eliminating the possibility of invasion, the mouse builds a gigantic labyrinth, divided into sections, full of corridors and crossroads, practically impenetrable. However, tranquility does not come. Obsessively, the mouse begins to imagine increasingly unlikely situations. He comes out of the building, start monitoring it and taking notes. He imagines that, when looking for food, he can be seen: and draws up a plan for leaving and entering the burrow. When, exhausted and still undecided, he decides to give himself a rest. He enters the burrow and nap. When he wakes up, however, he hears a noise. Small, yes; but it is necessary to know where it comes from. Would that be a threat? He needs to find out. But our mouse built around him an endless, gigantic maze, and the inspection work would take days, maybe weeks. For now, only uncertainty: it may be nothing, but it may be the end. The mouse despairs, it is no longer possible to tranquility; the noise continues, it is no longer possible to know where it comes from. Thus Kafka, with unusual mastery, presents us with a character who, to defend himself an uncertain threat, due to constant and insurmountable fear, dedicates his life to build a defense mechanism, dedicates his life in search for peace. He encounters, however, terror, disbelief: in his world, peace is impossible, the threat is constant noise and his building will always be about to collapse.

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Contradict Oneself Voluntarily

The great artist must contradict himself. Because contradiction — abominable word when applied to art… — means that the artist gave way to opposite manifestations of his personality. If he not allow himself to be ambiguous, if he does not recognize in himself duality, if he is not able to raise to the summit opposing feelings that will necessarily manifest itself at his core, then he is a minor artist, amputated, or devoid of soul amplitude or simply powerless, limping of expression.

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Inglorious Occupation

Devote to an inglorious occupation, to work with superhuman force, to live daily with misunderstanding; fleeing conviviality, to combat ignorance, to fight by means of expression; if necessary, to face penury; to look directly at pain; to walk between shadows, in silence, moving away in serene resolution; to note the ambiguous, the contrast, undecided in which to believe; to expect nothing, never!, never abandoning duty; to feel helpless, flawed, sorry for previous oversights, ashamed of the latest production; to age ingdering, frustrated, without ever losing love at work. To die, finally, suspicious of own worth…

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Fathers and Sons, by Ivan Turgenev

It is said of Bazarov — the protagonist of Fathers and Sons, by Ivan Turgenev — the first nihilistic character in history. The importance of this work, therefore, is immense. Bazarov inaugurates in the literature the posture of denial to any kind of authority or moral principle. Materialistic intellectual, he says that believes in nothing but agreeing with what can be scientifically proven through experience. Religion, tradition, art… none of this has value: past generations are “cards out of deck” and “a good chemist is twenty times more useful than any poet”. Bazarov’s psychology is interesting: although he denies everything, bends to nothing, knows his own uselessness and the insignificance of his own effort before the universe and eternity, he works hard, diligently develops his scientific research. He seems, throughout the work, absorbed, involved in something of great importance, which justifies his coldness to those around him. As he talks to his elders, he despises them; does not consider them capable of teaching at all. On the other hand, he seems, in his own rationalism, to incessantly seek knowledge. Bazarov, despite his coldness and inclination to retreat, to work, engages in various relationships throughout the work. And Turgenev manages, with mastery, to project the influence of his nihilism in his midst: intelligent, he is respected by all, however, he directs to the closest an absolute, cruel indifference, making us question about his humanity. Suddenly, Bazarov falls in love. Seeing himself in love, he feels a deep shame: romantic love is absurd, unforgivable stupidity! Then Bazarov moves away to see if he subdues his weakness. Love as a weakness? This idea is very familiar… If we do not deny science itself, like Bazarov, it is true that our individualism takes us away from relationships, fears them and does everything to avoid them; important even, it is us, and our self-esteem demands us successive manifestations of affection. And how does Turgenev ends the novel? Bazarov isolates himself, focuses on his work; he progresses, but his posture afflicts all around him. Unfortunately, he gets typhus by cutting himself with his scalpel doing the autopsy of a man overturned by the disease. He falls in bed, wraps the closest in strong commotion. He denies, however, the confession, pleaded for by the tortured father as he watched his son’s martyrdom. Bazarov dies denying others his own importance.

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