Amerika: The Missing Person

Amerika’s fragmented chapters (Chapters 8-9) leave many gaps in Karl’s story between his leaving Brunelda and Delamarche’s apartment and when he arrives at the Theater of Oklahoma. In 1-2 paragraphs, fill in these gaps while taking account for Karl’s growth and transformation as a character.

The final chapter is distinctly different from the rest of the novel in that Karl finally finds a place where he belongs. Does the Theater of Oklahoma symbolize an afterlife or utopia? How does the theater appear to be representative of paradise? How does it fall short of paradise?

Beyond his initial exile from Prague, how does Karl’s estrangement from his parents influence his choices in America? In what ways does Karl continue to seek his parents’ approval, despite their absence?

How does Karl’s background contribute to his difficulties in America? In what ways does Karl attempt to bridge this cultural gap and become more American, and in what ways does he resist embracing his new home?

In Amerika, characters of various socioeconomic backgrounds interact with each other. According to the novel, how does class function in American society? How is class conflict depicted?

At the Theater of Oklahoma, Fanny tells Karl: “You’re an artist” (205). Karl then proceeds to seek employment as a technical worker for the theater. Why do you think Karl resists Fanny’s label? What is the significance of this for Karl’s future?

Delamarche and Robinson are the most stable “family” Karl has throughout the novel, despite them being con artists who take advantage of him. Why do you think Karl remains loyal to them? What does this signify about Karl’s nature?

Some scenes, such as Karl’s unceremonious firing from the Hotel Occidental, are depicted with excruciating detail. How does Franz Kafka use language to portray Karl’s inner life and perspective on the world? Why does Kafka choose to expand such scenes, while others are glossed over?