Franz Kafka – Der Prozess (The Trial, 1925). Kafka’s portrayal of bureaucracy and impersonal authority highlights the cold, rational, and often emotionless nature of institutional feedback and evaluation. The protagonist is judged and processed by a system that is entirely uninterested in personal circumstances, focusing solely on procedural and performance-based criteria.
literature
detachment
Characterization and Emotional Distance: Works like Thomas Mann’s Doctor Faustus use characters such as Adrian Leverkühn to embody a distinctly German form of emotional restraint and detachment. Leverkühn is portrayed as a brilliant but emotionally distant figure, unable to connect personally with others. This detachment is interpreted as a facet of the German character, emphasizing performance, discipline, and the suppression of personal feelings in favor of professional or artistic achievement.
restraint and objectivity
Narrative Technique and Reported Speech: German literature often employs reported speech and a narrative style that maintains distance from the characters’ inner emotions. For example, Martin Walser’s Ein fliehendes Pferd (Runaway Horse) uses formal mastery and reported speech to keep the narrative focused on external actions and dialogues rather than emotional outbursts. This technique creates an atmosphere where even intense personal interactions are filtered through a lens of restraint and objectivity, mirroring the unemotional delivery of feedback in professional settings.
analytical observation
Thematic Exploration of Detachment: The tradition of professional detachment is also evident in the thematic exploration of roles and identities. Robert Musil’s Der Mann ohne Eigenschaften (The Man Without Qualities) presents a protagonist who is self-possessed and detached, navigating life with a sense of analytical observation rather than emotional engagement. This reflects the German cultural logic of evaluating situations and people based on objective qualities and performance, not personal sentiment.
composure and impartiality
Modernist and Post-War Literature: German literary modernism and post-war literature frequently highlight the tension between emotional involvement and the need for objective, rational behavior-especially in the aftermath of social and historical upheaval. These works often depict characters struggling to maintain professional composure and impartiality, reinforcing the value placed on detached, performance-focused feedback.
Wilhelm Meister
Johann Wolfgang von Goethe’s Wilhelm Meister’s Apprenticeship frequently touches on the importance of trust, personal responsibility, and the expectation that promises and agreements are to be fulfilled without external enforcement. Characters are judged by their reliability and ability to deliver on commitments.
Effi Briest
In Theodor Fontane Effi Briest the rigid adherence to social contracts and the consequences of breaking them are central. While not about business, the story reflects the broader German cultural expectation that agreements-whether social or professional-are binding and not subject to renegotiation or casual follow-up.
migration and survival
The Grapes of Wrath by John Steinbeck. In this story of migration and survival, the Joad family’s journey is marked by constant communication, checking in with each other, and following up on leads for work and shelter. Their progress depends on regular updates and ongoing discussions, reflecting the American value of staying informed and aligned as circumstances change.
letters, meetings, dialogue
American literature frequently explores themes of communication, progress, and the pursuit of shared goals, all of which require regular updates and follow-up. Whether through letters, meetings, or dialogue, characters in these works exemplify the American cultural norm of maintaining alignment and clarity through frequent contact.
POSs
The book American Gods by Neil Gaiman, follows the adventures of a man called Shadow as he travels across America. At one point during his voyage, he finds himself stranded in the middle of the Wisconsin, attempting to rent or buy a car.
As it turns out, there is nowhere nearby for him to rent, so he has to settle for buying. In an attempt to find someone willing to sell him a car, he tries talking to a woman manning the till at a gas station:
“Car died a few miles down the road. It was a pieceashit if you’ll pardon my language,“ said Shadow.
‘Pee-Oh-Esses,’ she said. ‘Yup. That’s what my brother-in-law calls ’em. He buys and sells cars in a small way. He’ll call me up, say Mattie, I just sold another Pee-Oh-Ess. Say, maybe he’d be interested in your old car. For scrap or something.’”
Eventually, Shadow meets the brother-in-law, and although he has plenty of money with him, at this point in the story he only needs to drive about 500 miles, so he tries to buy the cheapest car that could take him the full way.
“The piece of shit he chose was a 1983 Chevy Nova, which he bought, with a full tank of gas, for four hundred and fifty dollars. It had almost a quarter of a million miles on the clock, and smelled faintly of bourbon, tobacco, and more strongly of something that might well have been bananas. He couldn’t tell what color it was, under the dirt and the snow. . . The piece of shit had a radio, but nothing happened when he turned it on.”
Nevertheless, despite the poor performance of the vehicle, Shadow was content with his purchase because it was cheap.