Kafka Was the Rage: A Greenwich Village Memoir

Kafka Was the Rage: A Greenwich Village Memoir

by Anatole Broyard

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Overview

What Hemingway's A Moveable Feast did for Paris in the 1920s, this charming yet undeceivable memoir does for Greenwich Village in the late 1940s. In 1946, Anatole Broyard was a dapper, earnest, fledgling avant-gardist, intoxicated by books, sex, and the neighborhood that offered both in such abundance. Stylish written, mercurially witty, imbued with insights that are both affectionate and astringent, this memoir offers an indelible portrait of a lost bohemia.
 
We see Broyard setting up his used bookstore on Cornelia Street—indulging in a dream that was for him as romantic as “living off the land or sailing around the world” while exercizing his libido with a protegee of Anais Nin and taking courses at the New School, where he deliberates on “the new trends in art, sex, and psychosis.” Along the way he encounters Delmore Schwartz, Caitlin and Dylan Thomas, William Gaddis, and other writers at the start of their careers. Written with insight and mercurial wit, Kafka Was the Rage elegantly captures a moment and place and pays homage to a lost bohemia as it was experienced by a young writer eager to find not only his voice but also his place in a very special part of the world.

Product Details

ISBN-13: 9780679781264
Publisher: Knopf Doubleday Publishing Group
Publication date: 06/28/1997
Edition description: Reprint
Pages: 160
Sales rank: 473,926
Product dimensions: 5.20(w) x 8.00(h) x 0.42(d)

About the Author

Anatole Broyard was a book critic, columnist, and editor for The New York Times for eighteen years.  He is the author of the critically acclaimed Intoxicated by My Illness and Kafka Was The Rage: A Greenwich Village Memoir. He died in 1990 in Cambridge, Massachusetts.

Read an Excerpt

P R E F A T O R Y  R E M A R KS
 
I think there's a great nostalgia for life in New York City, especially in Greenwich Village in the period just after World War II. We were all so grateful to be there—it was like a reward for having fought the war. There was a sense of coming back to life, a terrific energy and curiosity, even a feeling of destiny arising out of the war that had just ended. The Village, like New York City itself, had an immense, beckoning sweetness. It was like Paris in the twenties—with the difference that it was our city. We weren't strangers there, but familiars. The Village was charming, shabby, intimate, accessible, almost like a street fair. We lived in the bars and on the benches of Washington Square. We shared the adventure of trying to be, starting to be, writers or painters.
 
American life was changing and we rode those changes. The changes were social, sexual, exciting—all the more so because we were young. It was as if we were sharing a common youth with the country itself. We were made anxious by all the changes, yet we were helping to define them.
 
The two great changes that interested me the most were the movements toward sexual freedom and toward abstraction in art and literature, even in life itself. These two movements concerned me not as social history, but as immediate issues in my daily life. I was ambivalent about both of them and my struggle with them is part of the energy of the narrative.
 
An innocent, a provincial from the French Quarter in New Orleans and from Brooklyn, I moved in with Sheri Donatti, who was a more radical version of Anais Nin, whose protégée she was. Sheri embodied all the new trends in art, sex, and psychosis. She was to be my sentimental education. I opened a bookstore, went to the New School under the GI Bill. I began to think about becoming a writer. I thought about the relation between men and women as it was in 1947, when they were still locked in what Aldous Huxley called a hostile symbiosis. In the background, like landscape, like weather, was what we read and talked about. In the foreground were our love affairs and friendships and our immersion, like swimmers or divers, in American life and art. This book is always a narrative, a story that is intimate, personal, lived through, a young man excited and perplexed by life in New York City at one of the richest times in its history.
 
The tragedy—and the comedy—of my story was that I took American life to heart with the kind of strenuous and ardent sincerity that young men usually bring to love affairs. While some of my contemporaries made a great show of political commitment, it seems to me that their politicizing of experience abstracted them from the ordinary, from the texture of things. They saw only a Platonic idea of American life. To use one of their favorite words, they were alienated. I was not. In fact, one of my problems was that I was alienated from alienation, an insider among outsiders. The young intellectuals I knew had virtually read and criticized themselves out of any feeling of nationality.
 
While there's a good deal of sexual activity in the book, none of it is casual—all of it is paid for in feeling and consciousness. In connection with both love and art, I always felt what Irving Howe called "remorse over civilization. " I think that in some ways I am a dissenter from modern life. I share the nostalgia that plays such a large part in today's fashions, for example, and in today's movies.
 
My story is not only a memoir, a history—it's a valentine to that time and place. It's also a plea, a cry, an appeal for the survival of city life. There's a sociology concealed in the book, just as a body is concealed in its clothes.
 
Anatole Broyard
Southport, Connecticut
April 1989
 
P A R T  O N E

Sheri
 
1
 
My life, or career, in Greenwich Village began when Sheri Donatti invited me to move in with her. Invited is not the right word, but I don't know how else to describe it. I had just come out of the army and I was looking for a place I could afford when I met
 
Sheri at a party. She had two apartments, she said, and if I understood her way of talking, she was suggesting that I might come and look at one of them. Sheri Donatti had the kind of personality that was just coming into vogue in Greenwich Village in 1946. This was a time when Kafka was the rage, as were the Abstract Expressionists and revisionism in psychoanalysis. Sheri was her own avant-garde. She had erased and redrawn herself, redesigned the way she walked, talked, moved, even the way she thought and felt.
 
She was a painter and she looked more like a work of art than a pretty woman. She had a high, domelike forehead, the long silky brown hair of women in portraits, wide pale blue eyes with something roiling in their surface. Her nose was aquiline, her mouth thin and disconsolate, her chin small and pointed. It was the kind of bleak or wan beauty Village people liked to call quattrocento.
 
Her body seemed both meager and voluptuous. Her waist was so small, it cut her in two, like a split personality, or two schools of thought. Though her legs and hips were sturdy and richly curved, her upper body was dramatically thin. When she was naked it appeared that her top half was trying to climb up out of the bottom, like a woman stepping out of a heavy garment. Her gestures and motions were a slow dance, a parody of classical poses. They were very deliberate, performed at half speed, as if she had to remember each time, to remind herself, how human beings behaved.
 
Yet with all this, all the affectation, there was something striking about her. She was a preview of things to come, an invention that was not quite perfected but that would turn out to be important, a forerunner or harbinger, like the shattering of the object in Cubism or atonality in music. When I came to know her better, I thought of her as a new disease.
 
* * *
 
Twenty-three Jones Street was a shabby tenement with iron stairs that gave off a dull boom and padlocked toilets on each landing. There was no bell and the downstairs door was not locked, so I walked up to the second floor as Sheri Donatti had told me to do. When she answered the door, I saw that she was bare-legged and that her dark dress clung rather lovingly to her thighs.
 
There were three small rooms, with the kitchen in the center. She led me into her studio, as she called it, where there were paintings on the wall and an unfinished canvas on an easel. We sat down and started to manufacture or assemble a conversation. Like everything else about her, her style of talking took some getting used to. She gave each syllable an equal stress and cooed or chanted her vowels. Her sentences had no intonation, no rise and fall, so that they came across as disembodied, parceled out, yet oracular too. She reminded me of experimental writing, of "the revolution of the word" in the little magazines of the thirties. She talked like a bird pecking at things on the ground and then arching its neck to swallow them.
 
She went in for metaphors and reckless generalizations, the kind of thing French writers put in their journals. Everything she said sounded both true and false. At the same time I could feel the force of her intelligence, and some of her images were remarkable.
 
It occurred to me that our conversation might be an interview, a test of my suitability as a tenant or neighbor, so I began to inflate my remarks. I was wearing army fatigues and she asked me whether I had been in the war. She said, Did you kill anyone?
 
No, I said. I wish I had. I would feel further along in life.
 
Just when I was beginning to think she'd forgotten why I had come, she got up and offered to show me the other apartment, which was just across the hall. I had been looking forward to this moment, imagining myself with a place of my own in Greenwich Village—but in my first glimpse of the other apartment, I realized that my thinking had been too simple. Already I could tell that nothing about Sheri Donatti was simple, that behind each gesture there was another one. Behind the door of the other apartment, for example, there was an enormous old-fashioned printing press. It loomed like a great black animal, a bear or a buffalo, in the little kitchen.
 
It was an immensely heavy and powerful machine and I could tell by her manner, by the way she presented it, that it was hers. There was more to this Sheri Donatti than I had thought. This was another aspect of her. She was the driver of this locomotive. The thing took up most of the kitchen, which was as big as the other two rooms put together. I felt that I had entered its lair, its den—this behemoth lived here. The apartment was occupied. There was no room for me, unless I slept in its arms.
 
I glanced into the other rooms, which were piled with boxes, clothes, and paintings. The apartment was chock-full, crammed with stuff. I had the impression that I was being given a riddle or puzzle to solve. How did I fit into this already-congested space? Was she offering me the place or not? I saw that I would have to ask her. Even if it made me feel slow-witted, someone who doesn't understand the form or get the joke, I had to ask her: I can have this apartment?
 
She smiled at the question she had forced on me.
 
I’ll take it, I said.

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Kafka Was the Rage: A Greenwich Village Memoir 4.4 out of 5 based on 0 ratings. 7 reviews.
Guest More than 1 year ago
I couldn't stop reading this book. Everything about it pulled me in, and it didn't leave my hands for the day and a half it took me to read it. I atually read it for one of my classes, and it has been one of the best reads I've had! The language, images, dialogue, etc. were truly amazing. When I got done, I wished there were about another 200 pages more!!!
Guest More than 1 year ago
This is the kind of book that gets passed from reader to reader with exhortations of 'You have GOT to read this....' It's the kind of book that develops acolytes--like 'Leaves of Grass' or WALDEN, it offers a passionate yet clear-headed design for living. Broyard was a literary sensualist, who saw the people in his life as characters out of a rich and teeming novel. He came to New York in the 1940s with peeled eyes, drinking it all in. He bought a bookshop, studied psychology and jazz and art, slept with a whole lot of women, and ate, drank and breathed literature. Broyard's sensibility is right on the surface--he doesn't pretend to be 'objective.' The people he knew are as he remembers them (40 years later), and his descriptions of them are dazzling. You want to meet these people and live this life. There isn't a single stale image or cliched passage. Every observation feels freshly thought-out. At the end I felt a sense of loss--not just for a vanished way of New York life, or because the book was cut short by Broyard's illness and untimely death, but because I was reluctant to leave the writer's mind.
Guest More than 1 year ago
To read your soul written by another writer is amazing to say the least. I enjoy Anatole, this is an amazing book.
gibbon on LibraryThing More than 1 year ago
Broyard was not a native of Greenwich Village, nor even of New York; and perhaps because of this he was able to write about his experiences there after WW II with more objectivity. His descriptions of his relationships with young women (after his first astounding capture and subjugation by a protege of Anais Nin) would be funny of they were not so sad. Before the birth-control pill, before abortion on demand, life for both sexes was totally different , and Broyard looking back saw how different it could have been.
bookworm12 on LibraryThing More than 1 year ago
After World War II, Greenwich Village became the center of the bohemian revolution in America. Artistic twenty-somethings flocked to the New York neighborhood in droves. It drew them in the same way Paris had drawn their predecessors in the 1920s. Broyard returned from serving in the war to find that the country had changed in his absence. He, like so many others, made his way to Greenwich, where he pursued his dream of opening a bookstore. ¿Looking back at the late 1940s, it seems to me now that Americans were confronting their loneliness for the first time. Loneliness was like the morning after the war, like a great hangover. The war had broken the rhythm of American life, and when we tried to pick it up again, we couldn¿t find it ¿ it wasn¿t there.¿The sense of loneliness the author speaks about is palpable in this book. He explores his odd relationship with a self-involved woman that seems to leave him feeling more alone when he¿s with her than when he isn¿t. I liked a few passages from this memoir more than I liked it as a whole. It gave me a better picture of the history of Greenwich Village and I¿m glad I read it before spending more time in the area, but I wouldn¿t recommend it as a general read. ¿To open a bookshop is one of the persistent romances, like living off the land or sailing around the world.¿ ¿Books were our weather, our environment, our clothing. We didn¿t simply read books; we became them. We took them into ourselves and made them into our histories. Books were to us what drugs were to young men in the sixties.¿
jwhenderson on LibraryThing More than 1 year ago
This is a book that carries you away to another time and place written by a near perfect writer. It was a joy to read and imagine the feeling of excitement experienced by the denizens of Greenwich Village in 1946. This memoir is full of life, yet the undercurrent of mortality seems to be there as well.It is full of unique moments whether chatting with Delmore Schwartz at the San Remo Bar or running into Auden on the street; there is always living a bohemian life with friends, and best of all reading, discussing, living with books. Anatole Broyard tells of opening a used book store when books were still truly appreciated (well at least more than now). And he indulged in psychoanalysis - his analyst was "the sort of man who read Schiller, Heine, and Kleist, who listened to Schubert and Mahler". Who wouldn't want to engage an analyst like that; perhaps he could only be equaled by the analyst in Daniel Menaker's novel, The Treatment. This is a delightful read whose only downside is length - it is too short and you will finish it wishing there was more.
Anonymous More than 1 year ago
If you love the Village and if you love New York City, this book will be a treasure.