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When Karl Rossmann leaves his suitcase with a stranger in Chapter 1, the German stoker informs him that “different ports have different morals” (5): In Prague, his suitcase would’ve been safe, but America is different. Karl is uncertain how to handle himself in a new country, and while he wants to belong, he also doesn’t want to lose his tenuous connection with his cultural identity.
Karl’s first confrontation with police is in front of Brunelda’s apartment—one that echoes other scenes in which he is judged and deemed suspicious. Such scenes are often linked to his status as an exile. Fearing that the policeman will take him back to the Hotel Occidental, Karl does not answer his questions; the policeman then requests immigration papers. Karl does not have them, so the policeman says he will have to take him to the police station. This situation is linked to both Karl’s immigrant identity and behavior, as the policeman describes him as “a surly fellow” (144). Karl attracts unwanted attention because he does not yet understand America’s cultural customs. Whether it is for obvious or subtle reasons, Karl does not naturally fit anywhere.
Karl’s interactions with Therese provide a different perspective on the difficulties that many immigrants face. This contrast emphasizes how sheltered Karl was in his first few months in America due to his fortunate encounter with his uncle. Therese’s traumatic past provides a foil to Karl’s arrival. On a freezing night, a homeless Therese and her mother wandered the streets for hours—with “the only explanation [being] that her mother was trying to run away from her” (103). Therese cries when she recounts her mother’s death: She was climbing onto a scaffolding that “soared up into the blue sky” (104) when she fell. This tragic tale presents a more realistic take on impoverished immigrant life.
However, the novel does not delve into this sort of tragedy, with its focus being on Karl. Franz Kafka instead focuses on the realities of exile, instability, and isolation through the absurdity of Karl’s life. The absurd scenarios that Karl finds himself in offer a simplified, symbolic vision of America in the 20th century.
The novel’s exploration of labor is established in Karl’s interactions with the stoker and ship crew. Karl asks the stoker about his career, and he complains about his boss, a Romanian man named Schubal. The stoker feels unappreciated for his work. When Karl’s true identity as the nephew of a wealthy businessman is revealed, he is clueless as to how to navigate his newfound social status—or why his status bars him from befriending the stoker.
At the Hotel Occidental, Karl sees Giacomo sleeping on the job; the Head Cook reassures him that everyone grows accustomed to their role’s long hours. When Karl eventually replaces Giacomo as a lift-boy, he notes that it was likely his taking “the odd catnap […] that had cost him his job” (96). Though Karl is somewhat naive, he can perceive the strict nature of America’s work culture—especially how difficult it is for low-level workers. After Karl is fired from the hotel, he ponders how “it had still all been in vain, because his lift-boy work hadn’t, as he’d hoped, turned out to be a prelude to some higher position” (136). The precarious position of workers opens Karl’s eyes to the true nature of capitalism and employment in the US—and how expendable he is to the system.
Upon reflecting on his evening at Mr. Pollunder’s estate, Karl realizes he was tricked by Mr. Green—who likely set him up to offend Jakob, to remove a potential heir to Jakob’s business. It is never clarified whether the scheme was solely carried out by Green, or if Pollunder and Klara were involved. Green keeping Karl at the estate until after midnight emphasizes the manipulative nature of business. Despite recognizing this trickery, Karl still fails to comprehend how a capitalist system functions, or how brutal and unforgiving it can be—especially toward those without wealth or security.
From the balcony of his uncle’s apartment, Karl observes the “swirling kaleidoscope of distorted human figures” (28) that populate the city. Karl is fascinated by what America has to offer but also overwhelmed. Karl’s innocence makes him endearing, but it also leads to his struggle with adulthood. The novel is a bildungsroman, a story about Karl’s transition from innocence to experience. Karl starts out as a child and becomes an independent man who no longer wishes to return to the shelter of his parents’ home. Though Karl is only 15, he is treated as an adult throughout the novel.
Karl’s trusting nature leaves him vulnerable to predation, but the stoker from the first chapter makes him feel more at ease. He instantly imagines the stoker as a father figure, and when he leaves the ship, he feels a sense of loss (though their meeting was relatively brief). Everywhere Karl goes, he seeks the protection of a mother and father. However, he is continually denied this unconditional love and must learn to navigate the world on his own.
In each of Karl’s temporary homes, he has a distorted family composed of a mother and father figure. These situations echo his exile by his parents, no matter how different they appear. Karl desires parents, a family, who will accept him—but the work world is not the place for such a dream. Karl’s feelings of rejection and shame make him desperate—but once he gains experience dealing with people, he is able to demand respect.
Karl’s interactions with women (or there lack of) particularly speak to his innocence—Klara initiating one such interaction. There is an implication that Klara is attracted to Karl when she states he is “quite a good-looking boy” and that if he knew “ju-jitsu,” he probably would’ve given her “a thrashing” (47). Upon pinning him down, she says “Don’t you like me? Didn’t you want to come up to my room with me?” (47). Following this, Klara reveals that she is dating Mr. Mak, and Karl is once again confused by her actions. But as the novel progresses, Karl learns from his repeated failures: When he helps Brunelda escape Delamarche, he proceeds with confidence and ease.
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