Oskar Kokoschka’s 1925 portrait of Karl Kraus. Museum Moderner Kunst, Vienna.

This week, to celebrate the launch of our Fall issue, we will preview a few of our favorite footnotes from “Against Heine,” Jonathan Franzen’s translation of the Austrian writer Karl Kraus. Click here to get your subscription now!

In the end, the people who never came out of their province will go farther than the people who never came into one.⁸⁹

(p. 216)

⁸⁹ I think there’s a lot of truth in this, but Kraus also seems to be making an implicit claim about his own decision to remain rooted in Vienna, in contradistinction to Heine. Here’s the story I tell myself about his agon with Heine. Basically, Kraus arrives too late. He’s an assimilated Jew who has an enormous facility with language but strikingly less talent with “original” forms like poetry, drama, and fiction. And unfortunately there’s already been a German-speaking Jew like him—Heine—who, worse yet, became one of the most famous and influential writers of the previous century. Kraus needs room to live and to work and to believe in the necessity of his work, and what does he have to hold on to in his struggle against his famous precursor? His feeling that there was something wrong with Heine—with the work, the man, his language. And so the story that he tells himself is that Heine was a proto-Kraus who betrayed his gifts by his moral failings and thereby betrayed assimilated German Jews, too. Heine helped create the stereotype of the rootless, linguistically facile Jew. Without Heine, no feuilleton, yes. But also: without Heine, Kraus could simply have been a great satirist who happened to be Jewish. Hence, I propose, the ferocity of the attack in this essay, and the peculiarly moral tone of it. If Kraus also sounds an anti-Semitic note, it’s because he’s trying to annihilate the bad Jew, the stereotypical Jew, so as not to hate himself. That so many Gentile German philistines are willing to forgive Heine’s Jewishness only adds to his rage.

I, too, often make moral arguments about art, but on my better days I’m suspicious of them, because I’m aware of the envy, the powerlessness and self-pity, that lurks behind them. Back in the nineties, I spent a lot of time assembling a moral case against John Updike. I was offended (rightly, I still think) by Updike’s famous comparison of a writer’s work to excretion: you take in life, digest it, and shit it out in paragraphs. Updike was very proud of his three-pages-per-day regularity, and I didn’t need to know much about his personal history to imagine his mother crowing over the neatness and beauty of his daily bowel movements. My moral complaint was that Updike had tremendous, Nabokov-level talent and was wasting it, because he was too charmed by his daily dumps and too afraid of irregularity to take the kind of big literary risks that might have blocked him for a year or two. His lifelong penchant for alliteration was of a piece with this. It made reading even his otherwise fine stories about the Maples painful; I couldn’t get through more than a few lines without running aground on the anal-retentive preciousness of his prose. Updike was exquisitely preoccupied with his own literary digestive processes, and his virtuosity in clocking and rendering the minutiae of daily life was undeniably unparalleled, but his lack of interest in the bigger postwar, postmodern, socio-technological picture marked him, in my mind, as a classic self-absorbed sixties-style narcissist. David Foster Wallace was the one who actually called Updike an asshole in print (in the New York Observer), but I felt the same way. If you’d suggested that I envied Updike for his unobstructed productivity, or for all the women he got to go to bed with him (and then wrote about in graphic detail), I would only have restated my moral case more trenchantly.

Later on, after Updike ceased to seem like such a threat, I went through a period of feeling deeply censorious of Philip Roth, because he didn’t seem to care about his many glaring technical deficiencies as a fiction writer, and because his admirers didn’t seem to, either. Roth’s writing seemed to me, as Kraus says of Heine’s, “always and overplainly informative,” which was why, I believed, the philistines had come to tolerate him a lot better than he tolerated the philistines. As with Updike, my judgments had a flavor of Krausian moralism: Roth was lazy, Roth was an asshole, etc. Naturally, I believed that I was merely sticking up for vital aesthetic virtues—a fiction writer ought to be able to write good dialogue, create convincing and well-rounded female characters, and let a story tell itself without discursive intrusions—but these “vital” virtues happened to coincide with some of my own abilities as a fiction writer. To make my moral case against Roth, I had to ignore or downplay other plausible virtues, most notably Roth’s heroic fearlessness of his readers’ moral judgments, because I subterraneanly envied his fearlessness and wanted people to pay attention to me and not him. This was the kind of thing that Nietzsche had in mind when he mocked the “slave” mentality of moral judgments.

“Heine and the Consequences” is the document of Kraus’s struggle to overcome his great precursor. On his own terms, he may have succeeded; his best-known and most shattering work, The Last Days of Mankind (a documentary “drama” of the First World War) was written in the decade that followed. German readers, however, are not so convinced that he vanquished Heine. My friend Daniel Kehlmann, the Austrian novelist, loves the essay and grants that Kraus scores a lot of points off Heine in it. “But,” he says, “Heine is still wonderful, too.”