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By Simone de Beauvoir
An exceptional autobiography by way of one of many nice literary figures of the 20th century, Simone de Beauvoir's Memoirs of a Dutiful Daughter deals an intimate photo of growing to be up in a bourgeois French kinfolk, rebelling as a teenager opposed to the normal expectancies of her type, and remarkable out on her personal with an highbrow and existential ambition particularly infrequent in a tender lady within the 1920s.
She vividly inspires her friendships, love pursuits, mentors, and the early days of an important dating of her lifestyles, with fellow pupil Jean-Paul Sartre, opposed to the backdrop of a turbulent political time.
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Franz Marc’s blue horses, the savage gods in Georg Heym’s poems ‘War’ and ‘The God of the City’, or the dictatorial Engineer in Georg Kaiser’s play Gas all demand that we look through the familiar surface of reality to discern the forces churning beneath it. The insect image may similarly suggest that, just as Georg Bendemann was truly ‘a devilish human being’, Gregor is truly an insect – disgusting to himself and others, despised, in constant danger of being crushed by his oppressive family and employers.
A young man, already a successful businessman, is writing to a friend in Russia about his engagement. Nothing extraordinary there, though we might wonder about the emotional block that has prevented Georg from breaking the news to his friend until now. Having ﬁnished the letter, Georg goes to the back of the ﬂat to show the letter to his old and inﬁrm father. ’ Instead of giving a straight answer, Georg seems to interpret this question as a reproach for neglecting his father by planning to get married.
Kafka and Ernst Weiss on the beach at Marielyst, Denmark, in 1914. is illustrated with a picture of a man tied by his hands and feet to two poles which are being moved so as to tear him apart. If for Kafka the body is capable of redemption through healthy living, it is also the supreme site of punishment. Gregor’s transformation into an insect drastically expresses Kafka’s ambivalence towards his body and towards the body in general. His 50 transformation and his failure to notice it convey the degree to which Gregor is alienated from his own body.