Varieties of the Fantastic in Fiction

The focus on transformation is apparent in both of the following stories: “Fatso” and “The Metamorphosis.” Both stories focus on a physical transformation, not the meaning behind it. Transformation is physical, emotional, and mental, though the transformation does not have to have all three characteristics.

In “The Metamorphosis” Franz Kafka presents the transformation of a man — Gregor — into a beetle. He is no ordinary beetle, and only his physical appearance has changed. Gregor is a human-sized beetle trying to go about his life as usual. A disturbing scene is one of unlocking a door:

but on the other hand his jaws were certainly very strong; with their help he did manage to set the key in motion, heedless of the fact that he was undoubtedly damaging them somewhere, since a brown fluid issued from his mouth, flowed over the key, and dripped onto the floor. ‘Just listen to that,’ said the chief clerk next door; ‘he’s turning the key.’  (Kafka, 123)

This description of Gregor is one that strikes a feeling of unease within readers as what we — as readers — have accepted is a rather large beetle being able to turn a key like a human. The disturbance to readers is rooted in that unease. This story has many different interpretations that are important to consider. Was Gregor disabled? Did Gregor simply feel like a burden on his family? Either theory can be seen within the context of the story, so there may never be a final answer.

“Fatso” is another story with a physical transformation. This story, written by Etgar Keret, takes on all three of the categories previously mentioned. This story is interesting as it is written in the second-person point of view. “Your” girlfriend turns into a man at night who is utterly different from her. His looks are different, his personality is different, and he almost seems not to know who “you” are. This man is the only one who gets a name, “Fatso.”

She’s not so young any more, and neither are you, and suddenly you find yourselves talking about a baby. And at night, you and fatso hit the town like you’ve never done in your life. He takes you to restaurants and bars you didn’t even know existed, and you dance on the tables together, and break plates like there’s no tomorrow. He’s really nice, the fatso, a little crass, especially with women; sometimes the things he comes out with make you want to sink into the floor. (Keret, 5)

This story makes the relationship between two people appear as one with three people caught in the relationship. While Fatso and “you” have a best friend relationship, the woman and “you” have a romantic one. The relationship seems to be an acceptable situation with minimal questioning. Why was the character “you” able to take the news and situation with such grace?

Both of these stories take the transition as an accepted fact. Very few questions are asked. Here is where the stories differ, in “Fatso,” the relationship stays intact. The relationship seems to be strengthened by the transformation of the woman. However, in “Metamorphosis,” the family has a disgusted reaction. The relationship between the characters crumbles and falls apart at the seams. In “Fatso,” all three characters live and plan a future. With “The Metamorphosis,” our main character — Gregor — dies.

It did not take her long to establish the truth of the matter, and her eyes widened, she let out a whistle, yet did not waste much time over it but tore open the door of the Samsas’ bedroom and yelled into the darkness at the top of her voice: ‘Just look at this, it’s dead; it’s lying here dead and done for!’ … ‘Well,’ said Mr. Samsa, ‘now thanks be to God.’ He crossed himself, and the three women followed his example. (Kafka, 160)