Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-g7gxr Total loading time: 0 Render date: 2024-11-05T19:53:51.811Z Has data issue: false hasContentIssue false
This chapter is part of a book that is no longer available to purchase from Cambridge Core

5 - Karel Čapek's Can(n)on of Negation

Get access

Summary

Within its definition an idea

Contains its own negation.

Josef and Karel Čapek, Adam the Creator

Do I contradict myself?

Very well, then, I contradict myself.

Walt Whitman, Song of Myself

Karel Čapek's life as a writer largely coincides with that of T. G. Masaryk's Czechoslovak republic. Čapek published at least two volumes of short stories (many of which he wrote in collaboration with his brother, Josef) during the so-called Great War; but the bulk of his output spans the years from 1918 up until his death at the end of 1938, a few months after Chamberlain (and Daladier) met with Hitler (and Mussolini) at Munich and perfidiously awarded Nazi Germany the Sudetenland. Over the course of those two decades hardly a year went by without a volume appearing in Čapek's name, thanks in no small part to his regular contributions, from 1921 on, to the newspaper Lidové noviny, in which a fair number of his short stories and novels (among other things) originally appeared. Two periods, however, stand out as having been especially productive for his literary imagination: the early 1920s and the mid-1930s. The second of these moments is marked by, though not confined to, what Čapek advertises as a trilogy, comprising Hordubal (1933), Meteor (Povětroň, 1934), and An Ordinary Life (Obyčejný Život, 1934). The same is also true for the earlier moment, except that its trilogy neither Čapek nor anyone else has recognized as such. Presumably the prime reason why R.U.R. (1920; rev. ed., 1921), The Makropulos Secret (Věc Makropulos, 1922), and The Absolute at Large (Továrna na absolutno, 1922) have not been regarded as belonging together is that the first two are plays and the last a roman feuilleton. That they have none of the elements in common which normally make for a trilogistic connection doesn't help; but this is equally the case with the three 1930s’ novels. They, too, share neither characters nor plotline nor mise en scène. An argument for seeing the three immediately post-war works as a trilogy might therefore begin with the grounds for accepting Hordubal, Meteor, and An Ordinary Life as one.

The Point-of-View Trilogy

Hordubal tells the story of its eponym after his return from America, where he had been a manual laborer for eight years.

Type
Chapter
Information
Visions and Re-Visions
(Re)constructing Science Fiction
, pp. 79 - 113
Publisher: Liverpool University Press
Print publication year: 2005

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×