Every author has a unique literary style, no matter what the author is writing about; there is no authors’ writing that is the same as another. There could be similarities, but it is never exactly the same. In each of the novels, The Trial, The Fixer, and The Ministry of Special Cases, there is a different style that is used to illustrate the protagonists’ struggle. All three of these novels illustrate Jewish imprisonment through different ways. Franz Kafka writes in a way that pushes the boundaries of literature, he makes the reader nervous. In The Trial he never actually reveals the crime that Josef K. is being accused of. Bernard Malamud uses irony and repetition throughout The Fixer to dramatize Yakov Bok’s experience of literal imprisonment.
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In The Trial Kafka creates the opposite of this traditional idea with Josef K. Kafka suggests through his writing that his version of the protagonist-to-world relationship is either outrageously illogical, or perhaps imaginary. He does this through the different levels of pandemonium, the bewilderment of surface-level events, the absence of traditional plot structure, and the apparent insanity of its conclusion. It is as if Kafka wants the reader to be as unsure as the main character, if not more.
Malamud takes a different approach to a somewhat similar plot. The Trial and The Fixer have plotlines with Jewish men, wrongly accused and working their way through the court system. The plots are similar and both authors exhibit a dark side in their writing. Malamud incorporates a sense of hope in the suffering, while Kafka leaves that entirely open to the …show more content…
Nathan Englander makes a very blunt metaphor when Kaddish is traded two nose jobs in exchange for his work, one for him and one for his wife, Lillian. It has been a Stereotype for a long time that people of Jewish heritage have large noses. By getting nose jobs the reader may conclude that Kaddish and his wife are trying to erase their Jewish heritage. Lillian’s nose job backfires though, and later turns into a medical emergency. Englander makes the point repeatedly that those who run from their history and tradition will eventually have it backfire on them.
The reader can sense that a part of Englander’s voice gives tribute to the Jewish past. He was raised as an Orthodox Jew, and has abandoned that in theory, but one can see in his writing, that he is rebelling against his rebellion. It’s as if he is unsure of his decision to abandon the Orthodox Judaism. Englander’s characters have a helpless bond to a Jewish tradition that gives them an identity, weather it is desired or
In The Trial Kafka creates the opposite of this traditional idea with Josef K. Kafka suggests through his writing that his version of the protagonist-to-world relationship is either outrageously illogical, or perhaps imaginary. He does this through the different levels of pandemonium, the bewilderment of surface-level events, the absence of traditional plot structure, and the apparent insanity of its conclusion. It is as if Kafka wants the reader to be as unsure as the main character, if not more.
Malamud takes a different approach to a somewhat similar plot. The Trial and The Fixer have plotlines with Jewish men, wrongly accused and working their way through the court system. The plots are similar and both authors exhibit a dark side in their writing. Malamud incorporates a sense of hope in the suffering, while Kafka leaves that entirely open to the …show more content…
Nathan Englander makes a very blunt metaphor when Kaddish is traded two nose jobs in exchange for his work, one for him and one for his wife, Lillian. It has been a Stereotype for a long time that people of Jewish heritage have large noses. By getting nose jobs the reader may conclude that Kaddish and his wife are trying to erase their Jewish heritage. Lillian’s nose job backfires though, and later turns into a medical emergency. Englander makes the point repeatedly that those who run from their history and tradition will eventually have it backfire on them.
The reader can sense that a part of Englander’s voice gives tribute to the Jewish past. He was raised as an Orthodox Jew, and has abandoned that in theory, but one can see in his writing, that he is rebelling against his rebellion. It’s as if he is unsure of his decision to abandon the Orthodox Judaism. Englander’s characters have a helpless bond to a Jewish tradition that gives them an identity, weather it is desired or