I should like to express my gratitude to the British Academy for generous assistance in enabling me to spend a term of study leave in Germany working on Kafka. I am also most grateful to the staff of the Literaturarchiv in Marbach for their assistance when I was working there. I owe thanks too to the universities of Nottingham and Manchester for two periods of study leave enabling me to work on this book. I should also like to thank Ritchie Robertson for his kindness and help in finding paths through the forest of Kafka criticism.
I am grateful to Berg Publishers, to Oxford University Press, to the editors of the Deutsche Vierteljahrsschrift, to Peter Lang Verlag, to Professor Martin Swales and the Germanic Institute London, to Dr Heinz Ludwig Arnold and to Berghahn Books for their kind permission to use material, which has been in every case much altered and extended, from the following publications: 'Feminist Approaches to Kafka's The Castle', in Richard Sheppard (ed.), New Ways in Germanistik ( Oxford: Berg, 1989); "'Creepy-Crawlies: Gilman's The Yellow Wallpaper and Kafka's The Metamorphosis'", in Paragraph, 13/1 ( 1990), 19-29; "'Kafka's Auf der Galerie: A Resistant Reading'", Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte, 65 ( 1991), 486-501; 'The Murder of the Muse or the Wound and the Pen: Figures of Inspiration in Wedekind's Diaries and Kafka's Letters, in Rolf Kieser and Reinhold Grimm (eds.), Frank Wedekind Yearbook 1991 ( Bern, 1992), 81-100; 'Letters from a Bachelor: Kafka's Letters to Felice and Milena', in Martin Swales (ed.), London German Studies, v ( London, 1993), 119-40; 'Blaubarts Braut und die Medusa: Weibliche Figuren in Kafkas Briefen an Felice Bauer und Milena Jesenská', in Heinz Ludwig Arnold (ed.), Text + Kritik Sonderband Kafka ( Stuttgart, 1994), 272-93; 'The Double Taboo: Male Bodies in Kafka's Der Proceβ', in David Jackson (ed.), Taboos in German Literature ( Oxford, 1996).