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The Kraus Project: Essays by Karl Kraus, by Jonathan Franzen, Karl Kraus
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A great American writer's confrontation with a great European critic—a personal and intellectual awakening
A hundred years ago, the Viennese satirist Karl Kraus was among the most penetrating and farsighted writers in Europe. In his self-published magazine, Die Fackel, Kraus brilliantly attacked the popular media's manipulation of reality, the dehumanizing machinery of technology and consumer capitalism, and the jingoistic rhetoric of a fading empire. But even though he had a fervent following, which included Franz Kafka and Walter Benjamin, he remained something of a lonely prophet, and few people today are familiar with his work. Luckily, Jonathan Franzen is one of them.
In The Kraus Project, Franzen, whose "calm, passionate critical authority" has been praised in The New York Times Book Review, not only presents his definitive new translations of Kraus but annotates them spectacularly, with supplementary notes from the Kraus scholar Paul Reitter and the Austrian author Daniel Kehlmann. Kraus was a notoriously cantankerous and difficult writer, and in Franzen he has found his match: a novelist unafraid to voice unpopular opinions strongly, a critic capable of untangling Kraus's often dense arguments to reveal their relevance to contemporary America.
While Kraus is lampooning the iconic German poet and essayist Heinrich Heine and celebrating his own literary hero, the Austrian playwright Johann Nestroy, Franzen is annotating Kraus the way Kraus annotated others, surveying today's cultural and technological landscape with fearsome clarity, and giving us a deeply personal recollection of his first year out of college, when he fell in love with Kraus's work. Painstakingly wrought, strikingly original in form, The Kraus Project is a feast of thought, passion, and literature.
- Sales Rank: #768503 in eBooks
- Published on: 2013-10-01
- Released on: 2013-10-01
- Format: Kindle eBook
From Publishers Weekly
Franzen (Freedom) approaches his latest project with characteristic ambition: to provide an accessible translation of key essays by the early 19th-century Austrian critic Karl Kraus (1874–1936), explain and contextualize Kraus's biting satire, come to terms with the young man he was when he first encountered the self-styled wrathful prophet, and draw contemporary relevance from Kraus's work. The result is clear, polished, and often funny—no small accomplishment, given Kraus's notoriously difficult to translate prose. Franzen has similar aims; he leaves to Reitter the scholarly legwork of explaining obscure cultural references and providing analysis, and instead uses the copious footnotes to provide current analogies for Kraus's targets and reflect on his own studies in Germany, which lead to meditations on his upbringing, relationships, literary aspirations, and search for a literary father. Several footnotes extend for pages, turning Kraus into background music for scholarly speculation and ruminations. When the narratives coalesce, the spasm of pleasure amply repays the reader's dogged attention, revealing two literary minds operating at the peak of their maturity and strength. Agent: Susan Golomb, Susan Golomb Agency. (Oct.)
From Bookforum
It is the achievement of The Kraus Project to provide a solid picture of what makes Kraus incomparable and, paradoxically enough, relevant. Franzen builds a very effective case that Kraus’s criticisms of media technology—particularly of the way that it deformed language and thought—pull him out of the Vienna of a hundred years ago and reveal him to be a timely visionary. Yet as valid as Franzen’s case for revisiting Kraus may be, The Kraus Project shows him as a more fascinating figure than that—a writer whose words are intransigent and dated and oddly fresh, all at once. —Eric Banks
Review
“Soulful, counterintuitive, revealing.” ―Dwight Garner, New York Times on Farther Away
“Engrossing, highly original...As a declared enemy of the easy response in an instant-access culture, Franzen finds in the unduly neglected Kraus a model of how to provoke readers while at the same time getting them to do some work.” ―The New York Times Book Review
“It is the achievement of The Kraus Project to provide a solid picture of what makes Kraus incomparable and, paradoxically enough, relevant.” ―Bookforum
“Kraus is one of the most uproarious and relevant writers who ever lived.” ―Slate
Most helpful customer reviews
63 of 68 people found the following review helpful.
Disappointing
By E. A. Moon
I was looking forward so much to 'The Kraus Project' that I pre-ordered it. It would seem that someone like me would be the perfect audience for this book. While I can read some German, Kraus in the original is quite beyond me. I've read some Kraus in translation (and enjoyed it overall) and am very interested in the culture of German-speaking countries, especially from the late 19th century to before WWII. I, like Franzen, spent a life-changing time abroad in school in Germany in the 1980s when I was in my 20s (Munich for me, Berlin for him).
Franzen translated two long essays by Karl Kraus ('Heine and the consequences' and 'Nestroy and posterity'), two shorter essays ('Afterword to "Heine and the consequences"' and 'Between two strands of life: final word') and a poem ('Let no one ask ...'). He was assisted by two people--Kraus scholar Paul Reitter (professor at Ohio State University), and the Austrian novelist Daniel Kehlmann. It is a bilingual edition, and there are incredibly copious footnotes by Franzen, Reitter and Kehlmann. Some of the footnotes explain what Kraus was getting at (cultural allusions, etc.). A lot of the footnotes are really autobiographical essays by Franzen describing his time in Germany in the early 80s where he first studied Kraus and became enamored of him.
The book came about a week ago, and as I read I got this awful, sinking 'the emperor has no clothes' feeling that just got stronger the more I read. I'm not talking about Jonathan Franzen and his collaborators. I'm talking about Kraus himself.
I've heard forever that Kraus is untranslatable, but what that really seems to mean is, he's almost unreadable no matter what the language. Even with the footnotes, it was a VERY hard slog to see what Kraus was getting at, and sometimes it was just plain impossible. It wasn't the fault of the translation. One of Franzen's assistants is Austrian, a native speaker of German; the other is an academic and a Kraus specialist, obviously with extreme fluency in German. If these two people threw up their hands and said they didn't know what the hell Kraus was getting at (which happened on several occasions in the book), how is a non-specialist reader supposed to figure it out? Perhaps more important, if it's that prolix in the original, why should anyone care to read it in English?
There were things I liked about 'The Kraus Project'. I don't disagree with Kraus's gimlet-eyed look at the downside of mass media and technology. The poem at the end was lovely, well translated and explained. For the most part, the footnotes were interesting and I read every single one of them (which anyone will have to do to have any hope of understanding the essays). Because this a bilingual edition, people who can read German have the original right there to compare with the translation--I often looked at the German as well as the English. The cover is great. Clearly a lot of editorial care was taken with the book.
Just as clearly, this was a labor of love on Jonathan Franzen's part, and I feel quite sad that I finished this book without feeling at least some of that love myself. I really wanted to love this, and didn't, despite the best efforts of Franzen, Reitter and Kehlmann. There were a few things I liked about it, and I think it is amazing that any publisher would have agreed to put out such a fine edition of a book that will appeal to such a tiny readership. Overall though, I can't remember the last time I have been so disappointed in a book.
10 of 11 people found the following review helpful.
The Main Feat Is Its Readability
By Matt M. Martin
When I first saw this book, I balked. It looked like a tedious vanity project, something that would never get published if it wasn't attached to Jonathan Franzen LTD. Translating a notoriously unreadable and unlikeable early 20th-century Austrian misanthrope's time-specific essays? Well...
It's nice to be proven wrong, though, and if anything, this shows how strong a writer Franzen is. The book translates two long essays by Kraus (along with two afterwords and a poem), retaining the original German on the left page with the English translation on the right. Franzen, helped substantially by Paul Reitter and Daniel Kehlmann, then annotates the text, with footnotes that far outstretch the original text.
This is a blessing, really. Kraus divides his essays lambasting and lauding two writers of his era, and while he has some sharp turns of phrase and certainly a wry wit, he also writes a lot of sentences that are dense as meteorite (some of which neither Franzen, Reitter, nor Kehlmann can parse out). Kraus is also given to a bad blend of topicality and vagueness, being either too specific or not enough, with sentences like "...the milder jarring of his times denied his response the consciousness of its finality--that blessed incentive to seal revenge on the material in his enjoyment of form." You have to know exactly who he's talking about, what the person he's talking about has done, and then you have to infer what Kraus means from his cryptic hinting. 100 years later, Franzen invites us to skip this line.
The reason for the book now is that Franzen sees a great similarity between Kraus' writings about feuilletons (writers of travel fluff, today's Travel + Leisure contributors) and today's blog culture. Franzen sees Kraus as a man who was clairvoyant by a century, and in annotating Kraus, Franzen includes some of his own best editorial writing yet, arguing against total electronic distraction, informational pornography, sensationalizing influences in all media, and more generally, the fact that everything is wrong about the technochemical hellscape we're rushing to change the world into.
And Franzen's right. He's right about everything, which is probably why he's so despised by Internet culture. The burden of being right is heavy, and Franzen bears it here, mimicking Kraus but being far more readable, humorous, clear-headed, and thus persuasive.
What's surprising here, though, and what makes this book so good, is how personal this is. Franzen uses a couple of the annotations as a way to resurrect and reconcile his difficult younger self, the self who originally studied Kraus while living in Germany. Moreso than even The Discomfort Zone, Franzen offers very personal essays on his first marriage and its dissolution, his flailing for identity as a young man, and his yin-yanging pride and self-loathing. It's fascinating reading, Franzen at his most open (indeed, the jacket photograph shows him as a hopelessly nerdy, Doogie Howser-like scholar suspicious of the very camera taking his photo). This is where the book shines, because while its history can be interesting, it's also weighed down in Viennese ephemera, all of which only makes Franzen's sudden personal essays all that much more sudden and welcome. That he has the confidence to sneak in some of his best nonfiction work in an offputting translation project shows a master at work.
17 of 21 people found the following review helpful.
Resurrecting Talent
By Arthur Chandler
Karl Kraus is a difficult author to get close to, in part because of his prickly personality, in part because of his flailing outbursts, expressing his dislikes by alternating between sweeping denunciations and bitter aphorisms.
The translator(s) deserves praise for attempting a resurrection of attention to Kraus. A few of Franzen's apt translations from the first essay:
"Nothing is more important to journalism than restoring the gloss, again and again, to the glaze of corruption."
"She' a lazy Susan of the mind"
"... an observer who in opulent adjectives amply compensates for what Nature denied him in nouns..."
If you wants more Kraus: delve into Jonathan McVity's translations of Dicta and Contradicta. In the meantime: thanks and praise to Franzen for these fresh translations.
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