The phrase “soothed his hot belly” completes the image with a sexual innuendo of a comforting yet stimulating effect that this fantasy produces for Gregor. The diction of “salvage” also illustrates Gregor’s attempts to retain this vestige of his humanity, especially while the women are “depriving him of everything he loved” (33) by clearing out his room. As he suspects that Grete wishes to remove the picture, Gregor reacts like a man protecting his girlfriend as he “squatted on his picture and would not give it up” (34) instead of an insect sticking to a “glossy” magazine photo. Gregor’s willingness to confront his little sister and “fly in Grete’s face” (34) rather than relinquish the object of his sexual desire reinforces the symbolic importance this magazine photo has on Gregor’s attempt to retain his humanity even while his appearance transforms to an insect-like form. Kafka, through his use of diction and descriptive imagery, illustrates that the magazine picture remains an object of Gregor’s sexual desire, and even after Gregor’s metamorphosis to a human-insect, he still clings to the natural human need for a sexual
The phrase “soothed his hot belly” completes the image with a sexual innuendo of a comforting yet stimulating effect that this fantasy produces for Gregor. The diction of “salvage” also illustrates Gregor’s attempts to retain this vestige of his humanity, especially while the women are “depriving him of everything he loved” (33) by clearing out his room. As he suspects that Grete wishes to remove the picture, Gregor reacts like a man protecting his girlfriend as he “squatted on his picture and would not give it up” (34) instead of an insect sticking to a “glossy” magazine photo. Gregor’s willingness to confront his little sister and “fly in Grete’s face” (34) rather than relinquish the object of his sexual desire reinforces the symbolic importance this magazine photo has on Gregor’s attempt to retain his humanity even while his appearance transforms to an insect-like form. Kafka, through his use of diction and descriptive imagery, illustrates that the magazine picture remains an object of Gregor’s sexual desire, and even after Gregor’s metamorphosis to a human-insect, he still clings to the natural human need for a sexual