A Hunger Artist
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|"A Hunger Artist"|
|Original title||"Ein Hungerkünstler"|
|Translator||H. Steinhauer and Helen Jessiman (1938)|
Willa and Edwin Muir (1948)
|Country||Germany (written in Austria-Hungary)|
|Published in||Die neue Rundschau|
|Published in English||1938|
"A Hunger Artist" (German: "Ein Hungerkünstler") is a short story by Franz Kafka first published in Die neue Rundschau in 1922. The story was also included in the collection A Hunger Artist (Ein Hungerkünstler), the last book Kafka prepared for publication, printed by Verlag Die Schmiede after Kafka's death. The protagonist, a hunger artist who experiences the decline in appreciation of his craft, is an archetypical creation of Kafka: an individual marginalized and victimized by society at large. The title of the story has been translated also to "A Fasting Artist" and "A Starvation Artist".
"A Hunger Artist" was first published in the periodical Die neue Rundschau in 1922 and was subsequently included as the title piece in the short story collection. "A Hunger Artist" explores the familiar Kafka themes of death, art, isolation, asceticism, spiritual poverty, futility, personal failure and the corruption of human relationships.
"A Hunger Artist" is told retrospectively through third-person narration. The narrator looks back several decades from "today", to a time when the public marvelled at the professional hunger artist, a public performer who fasts for many days. It then depicts the waning interest in such displays.
The story begins with a general description of "the hunger artist" and then narrows in on a single performer, the protagonist. The hunger artist performed in a cage for the curious spectators, and was attended by teams of watchers (usually three butchers) who ensured that he was not secretly eating. Despite such precautions, many, including some of the watchers themselves, were convinced that the hunger artist cheated. Such suspicions annoyed the hunger artist, as did the forty-day limit imposed on his fasting by his promoter, or "impresario". The impresario insisted that after forty days public sympathy for the hunger artist inevitably declined. The hunger artist, however, found the time limit irksome and arbitrary, as it prevented him from bettering his own record, from fasting indefinitely. At the end of a fast the hunger artist, amid highly theatrical fanfare, would be carried from his cage and made to eat, both of which he always resented.
These performances, followed by intervals of recuperation, were repeated for many years. Despite his fame, the hunger artist felt dissatisfied and misunderstood. If a spectator, observing his apparent melancholy, tried to console him, he would erupt in fury, shaking the bars of his cage. The impresario would punish such outbursts by apologizing to the audience, pointing out that irritability was a consequence of fasting. He would then mention the hunger artist's boast that he could fast much longer than he was doing, but would show photographs of the hunger artist near death at the end of a previous fast. In this way he suggested that the hunger artist's sadness and poor physique was caused by fasting, when, in the hunger artist's view, he was depressed because of the premature cessation of his fasts. The impresario's "perversion of the truth" further exasperated the hunger artist.
Seemingly overnight, popular tastes changed and public fasting went out of fashion. The hunger artist broke his ties with the impresario and hired himself to a circus, where he hoped to perform truly prodigious feats of fasting. No longer a main attraction, he was given a cage on the outskirts of the circus, near the animal cages. Although the site was readily accessible, and crowds thronged past on their way to see the animals, any spectators who stopped to see him created an obstruction in the flow of people on their way to the animals. At first the hunger artist looked forward to the passing of the crowds, but in time he grew irritated by the noise and disruption caused by the people, and the stench, the roaring, and the feeding of the animals depressed him. Eventually, the hunger artist was completely ignored. No one, not even the artist himself, counted the days of his fast. One day an overseer noticed the hunger artist's cage with its dirty straw. He wondered why the cage was unused; when he and the attendants inspected it, however, they found the hunger artist near death. Before he died he asked forgiveness and confessed that he should not be admired, since the reason he fasted was simply that he could not find food to his liking. The hunger artist was buried with the straw of his cage and replaced by a panther. Spectators crowded about the panther's cage because the panther took so much joy in life, unlike the hunger artist. The story also mentions that the panther was always brought the food he liked, a hint to the readers that can be interpreted in many ways.
There is a sharp division among critical interpretations of "A Hunger Artist". Most commentators concur that the story is an allegory, but they disagree as to what is represented. Some critics[who?], pointing to the hunger artist's asceticism, regard him as a saintly or even Christ-like figure. In support of this view they emphasize the unworldliness of the protagonist, the priest-like quality of the watchers, and the traditional religious significance of the forty-day period. Other critics[who?] insist that "A Hunger Artist" is an allegory of the misunderstood artist, whose vision of transcendence and artistic excellence is rejected or ignored by the public. This interpretation is sometimes joined with a reading of the story as autobiographical. According to this view, this story, written near the end of Kafka's life, links the hunger artist with the author as an alienated artist who is dying.
Whether the protagonist's starving is seen as spiritual or artistic, the panther is regarded as the hunger artist's antithesis: satisfied and contented, the animal's corporeality stands in marked contrast to the hunger artist's ethereality. A final interpretive division surrounds the issue of whether "A Hunger Artist" is meant to be read ironically. Some critics[who?] consider the story a sympathetic depiction of a misunderstood artist who seeks to rise above the merely animal parts of human nature (represented by the panther) and who is confronted with uncomprehending audiences. Others[who?] regard it as Kafka's ironic comment on artistic pretensions. The hunger artist comes to symbolize a joy-deprived man who shows no exuberance, who regards even his own tremendous discipline as inauthentic, and the panther who replaces him obviously is meant to show a sharp contrast of the two. Still at least one interpretation is that Kafka is expressing the world's indifference to his own artistic scruples, through the plight of the hunger artist.
The moral of the story, says literature critic Maud Ellmann, is that it is not by food that we survive but by the gaze of others and "it is impossible to live by hunger unless we can be seen or represent doing so" (1993:17).
- A comics adaptation of the story, illustrated by Peter Kuper, is included in Give It Up!.
- Introducing Kafka, a graphic novel written by David Zane Mairowitz and illustrated by Robert Crumb, examines Kafka's life and work and includes a retelling of "A Hunger Artist".
- The Hunger Artists Theatre Company staged an adaptation of the story entitled The Pledge Drive: Ruminations On The Hunger Artist, written by Jason Lindner. In the play, The Hunger Artist was the host of a pledge drive in which the guests were other people who were bound by their identities.
- The stop motion animated film The Hunger Artist by Tom Gibbons. 2002, US, 16 minutes.
- A Japanese film adaption "The Artist of Fasting" by Masao Adachi. 2016, Japan, 104 minutes.
- The story was retold as a solo show of the same name by the theater company Sinking Ship Productions, adapted by playwright Josh Luxenberg, performer Jonathan Levin, and director Joshua William Gelb and presented Off-Broadway by The Tank at the Connelly Theater in 2017. The production was nominated for two Drama Desk Awards in its New York run, and was one of the top rated shows of the 2017 Edinburgh Festival Fringe.
- Gray, Richard T. (2005). A Franz Kafka Encyclopedia. Greenwood Publishing Group. p. 206. ISBN 978-0-313-30375-3. Retrieved 21 August 2012.
- Ethical Significance of Free Choice: A Reply to Professor West, The RA Posner - Harv. L. Rev., 1985
- Gooldin, Sigal (2003). "Fasting Women, Living Skeletons and Hunger Artists: Spectacles of Body and Miracles at the Turn of a Century". Body & Society. 9 (2): 27–53. doi:10.1177/1357034X030092002.
- "The Pledge Drive: Ruminations On The Hunger Artist". Hunger Artists Theatre Company. May 2006. Retrieved 2007-03-29.[dead link]
- Collins-Hughes, Laura (June 9, 2017). "Review: Kafka With Puppets, Ghost Light and Shadows". The New York Times. Archived from the original on June 15, 2017. Retrieved June 16, 2017.
- "2018 Nominees and Winners". www.dramadeskawards.com. Retrieved 2018-10-13.
- "Top rated shows of 2017 | Edinburgh Festival". edinburghfestival.list.co.uk. Retrieved 2018-10-17.
- Kafka, Franz (1996). The Metamorphosis and Other Stories, trans. Donna Freed. New York: Barnes & Noble. ISBN 1-56619-969-7.
|German Wikisource has original text related to this article:|
|Wikimedia Commons has media related to Ein Hungerkünstler (Franz Kafka).|
- A translation of the story
- Efraim Sicher - "The Semiotics of Hunger" Essay on "A Hunger Artist" and the concept of artistic hunger.
- Hunger Artists: Fasting Wonders History of real hunger artists, from ShowHistory.com
- "A Hunger Artist" narrated by Marc Cashman a podcast of the story
- Analysis of "A Hunger Artist" on Lit React
- A Hunger Artist public domain audiobook at LibriVox