Kafka is an ethical, not an aesthetic, writer. There is no conclusion to his books. The Castle was actually unfinished, but what ending could there be to it? And there is some doubt about the proper order of the chapters in The Trial—it does not really seem to matter very much in which order you read them, since the book as a whole does not get you anywhere. (An uncharitable reader might disagree, and say that it throws fresh light on the Judiciary.) In this it is faithful to life as we actually experience it. There is no 'happy ending' or 'tragic ending' or 'comic ending' to life, only a 'dead ending'—and then we start again.We suffer, because we refuse to be reconciled with this lamentable fact; and even though we may say that life is meaningless we continue to think and act as if it had a meaning. Kafka's heroes (or hero, 'K.'—himself and not himself) obstinately persist in making efforts that they understand perfectly well are quite pointless—and this with the most natural air in the world. And, after all, what else can one do? Notice, in The Trial, how the notion of guilt is taken for granted. K. does not question the fact that he is guilty, even though he does not know of what he is guilty—he makes no attempt to discover the charge against him, but only to arrange for his defence. For both Kierkegaard and Heidegger, guilt is fundamental in human existence. (And it is only the Buddha who tells us the charge against us—avijjā.)
Nanavira Thera
existentialism