El estilo despojado y la sencillez de la prosa no hacen más que subrayar la complejidad de este relato que, desde su publicación en1915 ha sido objeto de las interpretaciones más variadas.

«Una mañana, tras un sueño intranquilo, Gregorio Samsa se despertó convertido en un monstruoso insecto.»

¿Puede haber algo peor? Así comienza la célebre novela de Franz Kafka y a esa primera frase, que despierta los temores del lector, le sigue un mundo de pesadilla («kafkiano») por excelencia, donde lo siniestro irrumpe sin previo aviso en lo cotidiano y todo se vuelve incierto y opresivo.

Lectura política, psicoanalítica, en clave autobiográfica, los análisis se suceden pero el misterio de La metamorfosis permanece intacto y el sentido del texto no se deja atrapar, como el mismísimo Gregorio#

Franz Kafka (1883-1924), uno de los grandes autores de la literatura del siglo XX, ha plasmado en sus novelas la pesadilla cotidiana del ser humano contemporáneo.

“Kafka is important to us because his predicament is the predicament of modern man.”-W.H. Auden

“The common experience of Kafka’s readers is one of general and vague fascination, even in stories they fail to understand, a precise recollection of strange and seemingly absurd images and descriptions-until one day the hidden meaning reveals itself to them with the sudden evidence of a truth simple and incontestable.” -Hannah Arendt

With the profoundly unsettling story of Gregor Samsa’s transformation into a gigantic insect, The Metamorphosis (1915) is Franz Kafka’s best-known work and one of the most influential pieces of 20th century literature. Without ever leaving the setting of a single apartment, the notion of a vast disaffection takes on universal truths about the tolls of modern work and the mind-body divide.

In the defining opening, “As Gregor Samsa awoke one morning from uneasy dreams, he found himself transformed in his bed into a giant insect.”, Franz Kafka begins what is one of the most analyzed and debated works of existential dread. As Gregor becomes acquainted with his new form, his boss arrives to reprimand him on his tardiness at work, and his family discovers the horrifying truth of his shocking condition. Although his sister takes measures to care for Gregor, eventually his family resents his existence as the reader is inexplicable drawn into his terrifying state of isolation. Both humane and repulsive, The Metamorphosis is an essential read of the modern classics.

A windfall for every reader: a trove of marvelous impossible-to-find Kafka stories in a masterful new translation by Michael Hofmann

“Franz Kafka is the master of the literary fragment,” as Stach comments in his afterword: "In no other European author does the proportion of completed and published works loom quite so...small in the overall mass of his papers, which consist largely of broken-off beginnings.”   In fact, as Hofmann recently added: “‘Finished' seems to me, in the context of Kafka, a dubious or ironic condition, anyway. The more finished, the less finished. The less finished, the more finished. Gregor Samsa’s sister Grete getting up to stretch in the streetcar. What kind of an ending is that?! There’s perhaps some distinction to be made between ‘finished' and ‘ended.' Everything continues to vibrate or unsettle, anyway. Reiner Stach points out that none of the three novels were ‘completed.' Some pieces break off, or are concluded, or stop—it doesn’t matter!—after two hundred pages, some after two lines. The gusto, the friendliness, the wit with which Kafka launches himself into these things is astonishing.”