Only yesterday, Gregor Samsa was a meek salesman, browbeaten by his unappreciative employer and depended on fiercely by his ungrateful family. This morning, Gregor awakens to discover that, overnight, he has been transformed into a monstrous insect. As Gregor frantically tries to conceal his predicament, neither his family nor his unsympathetic employer accept that a terrible metamorphosis has upended his existence. Is Gregor’s condition only temporary? Will he eventually revert back to the person he was and resume his normal life? Or might he have to accept that his transformation is only an outward expression of how he—and those in his life—actually see him? First published in 1915, Kafka’s best-known tale has inspired numerous interpretations for more than a century and helped to establish the term “Kafkaesque� as a reference to a bizarre and nightmarish experience. This collection of his short fiction, in a new translation, includes more than 30 of his short stories and sketches, including “In the Penal Colony,� “The Stoker,� “The Judgment,� “A Country Doctor,� “A Hunger Artist,� and more.  

Kafka first made the acquaintance of Milena Jesenska in 1920 when she was translating his early short prose into Czech, and their relationship quickly developed into a deep attachment. Such was his feeling for her that Kafka showed her his diaries and, in doing so, laid bare his heart and his conscience. Milena, for her part, was passionate and intrepid, cool and intelligent in her decisions but reckless when her emotions were involved. Kafka once described her as living her life 'so intensely down to such depths'. If she did suffer through him, it was part of her great appetite for life. However while at times Milena's 'genius for living' gave Kafka new life, it ultimately exhausted him, and their relationship was to last little over two years. In 1924 Kafka died in a sanatorium near Vienna, and Milena died in 1944 at the hands of the Nazis, leaving these letters as a moving record of their relationship.

Introducing Little Clothbound Classics: irresistible, mini editions of short stories, novellas and essays from the world's greatest writers, designed by the award-winning Coralie Bickford-Smith. Celebrating the range and diversity of Penguin Classics, they take us from snowy Japan to springtime Vienna, from haunted New England to a sun-drenched Mediterranean island, and from a game of chess on the ocean to a love story on the moon. Beautifully designed and printed, these collectible editions are bound in colourful, tactile cloth and stamped with foil. One morning, ordinary salesman Gregor Samsa wakes up to find himself transformed into a giant cockroach. Metamorphosis, Kafka's masterpiece of unease and black humour, is one of the twentieth century's most influential works of fiction, and is accompanied here by two more classic stories. 'He is the greatest German writer of our time. Such poets as Rilke or such novelists as Thomas Mann are dwarfs or plaster saints in comparison to him' - Vladimir Nabokov

Like George Orwell, Franz Kafka has given his name to a world of nightmare, but in Kafka's world, it is never completely clear just what the nightmare is. The Trial, where the rules are hidden from even the highest officials, and if there is any help to be had, it will come from unexpected sources, is a chilling, blackly amusing tale that maintains, to the very end, a relentless atmosphere of disorientation. Superficially about bureaucracy, it is in the last resort a description of the absurdity of 'normal' human nature. Still more enigmatic is The Castle. Is it an allegory of a quasi-feudal system giving way to a new freedom for the subject? The search by a central European Jew for acceptance into a dominant culture? A spiritual quest for grace or salvation? An individual's struggle between his sense of independence and his need for approval? Is it all of these things? And K? Is he opportunist, victim, or an outsider battling against elusive authority? Finally, in his fables, Kafka deals in dark and quirkily humorous terms with the insoluble dilemmas of a world which offers no reassurance, and no reliable guidance to resolving our existential and emotional uncertainties and anxieties.

The story itself, Kafka's most famous, hardly needs describing - a travelling salesman, Gregor Samsa, wakes up one morning to find he has been transformed into an enormous bug - but Faber Finds is offering something rare, the very first English translation which has been out of print for over sixty years.

This pioneering translation by A. L. Lloyd was first published in 1937. A. L. Lloyd was multi-talented: ethnomusicologist, journalist, radio and television broadcaster, and translator. In this his centenary year (2008) Faber Finds is celebrating him in his first and last roles. His major work, Folk Song in England, is being reissued as are his Lorca and Kafka translations. As well as both being published in 1937 both were firsts; has anyone else had Spanish and German translations published in the same year?

It should also be mentioned that A. L. Lloyd was a lifelong communist. It is a delicious irony therefore that one of the first reviews of the Kafka was by Evelyn Waugh in the short-lived "Night" "and Day"; it was a good one too.

A collection of Kafka's greatest short fiction, translated by Michael Hofmann Kafka's masterpiece of unease and black humour, Metamorphosis, the story of an ordinary man transformed into an insect, is brought together in this collection with the rest of his works that he thought worthy of publication. It includes Contemplation, a collection of his earlier short studies; The Judgement, written in a single night of frenzied creativity; The Stoker, the first chapter of a novel set in America; and an eyewitness account of an air display. Together, these stories, fragments and miniature gems reveal the breadth of his vision, his sense of the absurd, and above all his acute, uncanny wit. Translated with an introduction by Michael Hofmann

The whole town got involved with the hunger-artist; from day to day of his starving, people’s participation grew; everyone wanted to see the hunger-artist at least once a day; on the later days there were season-ticket holders who sat for days on end in front of his little cage

Reading these stories by the master of the absurd is like entering a dreamworld in which nothing, and yet somehow everything, makes sense.