Resistance is futile

Why does Franz Kafka's world of nightmare bureaucracy and modernist alienation remain a cultural touchstone, a century after his death?

- Claire Armitstead

AFTER SPLITTING UP WITH DIANE KEATON in the film Annie Hall, Woody Allen's lugubrious Alvy hooks up with a hippy-dippy music journalist for a one-night stand that does neither of them any favours. "Sex with you is really a kafkaesque experience," says Pam, over a postcoital cigarette. "I mean that as a compliment." Given that Pam (a fabulously drifty Shelley Duvall) is a self-confessed Rosicrucian, with a chat-up style that leans heavily on the word "transplendent", it's clear that finding a philosophical vocabulary for life's highs and lows is not her strongest suit.

Annie Hall was released in 1977 - 30 years after the first usage of the adjective "kafkaesque" was recorded in the Oxford English Dictionary. One might have thought that such a resounding satirical takedown in an Oscar-winning film would make the word an embarrassment. But no. Fastforward to 2010 and it was back in the satirical crosshairs, as the title of an episode in the third series of Breaking Bad, in which bags of blue meth from Walt and Jesse's superlab are distributed in tubs of batter to fried chicken restaurants across the American south-west. The pair's lawyer, Saul, tries to persuade a bemused Jesse to launder his ill-gotten gains by becoming the tax-paying proprietor of a nail salon. When the leader of Jesse's support group says his working conditions sound kafkaesque, he has no idea how right he is.