Abstract
The article situates Arendt's reading of Kafka within a tradition of interpretation that emphasises the redemptive character of his authorship, especially with respect to the final chapter of America (The Lost One) "The Nature Theatre of Oklahama." It shows how Arendt's reading overlooks the sombre engagement with issues of race and American history that is pursued in Kafka's text by means of an indirect meditation on photography. The essay then considers the implications of this reading not only for Arendt's under standing of Kafka but also her engagement with photography and the issue of race in American history.
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