More in ‘Theodor Adorno’

Two subjects that even most conscientious readers know not enough about: concrete poetry and the German-language, postwar literary avant-garde. These subjects reach their dark syzygy in the work of Heimrad Bäcker, an Austrian poet, editor, and publisher of a certain generation whose transcript—the lowercase is not just correct but imperative—has recently been translated into English.
We’ll ...

It would be hard to overstate the importance of the Frankfurt School in recent American thought. Philosophers, psychologists, and sociologists like Theodor Adorno, Walter Benjamin, Herbert Marcuse, Erich Fromm, and Max Horkheimer—to name just the best-known members of the group—helped to develop a subtle and powerful way of thinking about the problems of modern society. Critical Theory, as it is usually capitalized, adapted the revolutionary impulse of Marxism to 20th-century conditions, in which mass culture and totalitarianism seemed to shut off any real possibility of social transformation. Especially appealing to academics is the way Critical Theory makes the analysis of culture feel like a revolutionary act in and of itself. Reading Adorno on modern music, or Benjamin on literature, it is momentarily possible to believe that criticism is a weapon of liberation, rather than simply a hermetic exercise for intellectuals.

Before we arrive at the Office—Franz Kafka’s, or anyone’s—we first have to make a survey of the origins of that institution. We first have to make a working genesis, a hypothetical creation myth for our cubicle. How did we get to Kafka? How was he—Franz Kafka, l’artiste bourgeois—arrived at? What was the process that resulted ...