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In Book Two of The Fateful Adventures of the Good Soldier vejk, the reader boards a military train bound for the front-or so it appears. What follows is not a march toward battle but a prolonged detour through mishap, misidentification, and the self-consuming logic of military bureaucracy. At every stop-railway stations, police offices, infirmaries, barracks-vejk is examined, interrogated, classified, misplaced, and examined again. Each authority must determine who he is, where he belongs, and whether he is an idiot, a criminal, or a spy.
Rather than advancing the plot through decisive action, Haek responds to this diagnostic frenzy with episodes: monologues, cross-examinations, false conclusions, and comical reversals. The novel begins to test itself, submitting its protagonist to trial after trial without ever reaching judgment. Identity exists only as something provisional-what can be written down, stamped, transferred, or revoked.
This volume is the second of the two commonly regarded as the "easier" parts of the novel-praised for their narrative coherence, episodic clarity, and accessibility-yet it is here that Haek's method fully crystallizes. The story becomes centrifugal rather than linear, throwing vejk outward through institutions that cannot contain him. Along the way, the book accumulates reports, testimonies, dossiers, and tales within tales, revealing a world governed less by intention than by paperwork.
What begins as a journey toward war widens into an inquiry into obedience, responsibility, and command. vejk obeys every order, misunderstands nothing essential, and steadily disarms authority by exposing its contradictions. Book Two stands at the threshold of the novel's deeper structural logic, where comedy, bureaucracy, and moral inquiry converge-without resolution, and without appeal.
The Centennial Edition includes extensive analytical apparatus, among it
Frantiek Josef and the Grammar of Czech Subjecthood in Haek's Opening Line and vejk on Trial: Rethinking Haek's Novel as a Pendulum of Prosecution and Defense.
An additional companion essay, Svejkardom: Recognition, Survival, and the Grammar of a World, extends this interpretive framework online at [...]
Together these translator-authored texts examine how Czech morphosyntax, procedural language, and the experiential concept vejkárna (svejkardom) shape contemporary readings of Haek's novel.
Rather than advancing the plot through decisive action, Haek responds to this diagnostic frenzy with episodes: monologues, cross-examinations, false conclusions, and comical reversals. The novel begins to test itself, submitting its protagonist to trial after trial without ever reaching judgment. Identity exists only as something provisional-what can be written down, stamped, transferred, or revoked.
This volume is the second of the two commonly regarded as the "easier" parts of the novel-praised for their narrative coherence, episodic clarity, and accessibility-yet it is here that Haek's method fully crystallizes. The story becomes centrifugal rather than linear, throwing vejk outward through institutions that cannot contain him. Along the way, the book accumulates reports, testimonies, dossiers, and tales within tales, revealing a world governed less by intention than by paperwork.
What begins as a journey toward war widens into an inquiry into obedience, responsibility, and command. vejk obeys every order, misunderstands nothing essential, and steadily disarms authority by exposing its contradictions. Book Two stands at the threshold of the novel's deeper structural logic, where comedy, bureaucracy, and moral inquiry converge-without resolution, and without appeal.
The Centennial Edition includes extensive analytical apparatus, among it
Frantiek Josef and the Grammar of Czech Subjecthood in Haek's Opening Line and vejk on Trial: Rethinking Haek's Novel as a Pendulum of Prosecution and Defense.
An additional companion essay, Svejkardom: Recognition, Survival, and the Grammar of a World, extends this interpretive framework online at [...]
Together these translator-authored texts examine how Czech morphosyntax, procedural language, and the experiential concept vejkárna (svejkardom) shape contemporary readings of Haek's novel.
In Book Two of The Fateful Adventures of the Good Soldier vejk, the reader boards a military train bound for the front-or so it appears. What follows is not a march toward battle but a prolonged detour through mishap, misidentification, and the self-consuming logic of military bureaucracy. At every stop-railway stations, police offices, infirmaries, barracks-vejk is examined, interrogated, classified, misplaced, and examined again. Each authority must determine who he is, where he belongs, and whether he is an idiot, a criminal, or a spy.
Rather than advancing the plot through decisive action, Haek responds to this diagnostic frenzy with episodes: monologues, cross-examinations, false conclusions, and comical reversals. The novel begins to test itself, submitting its protagonist to trial after trial without ever reaching judgment. Identity exists only as something provisional-what can be written down, stamped, transferred, or revoked.
This volume is the second of the two commonly regarded as the "easier" parts of the novel-praised for their narrative coherence, episodic clarity, and accessibility-yet it is here that Haek's method fully crystallizes. The story becomes centrifugal rather than linear, throwing vejk outward through institutions that cannot contain him. Along the way, the book accumulates reports, testimonies, dossiers, and tales within tales, revealing a world governed less by intention than by paperwork.
What begins as a journey toward war widens into an inquiry into obedience, responsibility, and command. vejk obeys every order, misunderstands nothing essential, and steadily disarms authority by exposing its contradictions. Book Two stands at the threshold of the novel's deeper structural logic, where comedy, bureaucracy, and moral inquiry converge-without resolution, and without appeal.
The Centennial Edition includes extensive analytical apparatus, among it
Frantiek Josef and the Grammar of Czech Subjecthood in Haek's Opening Line and vejk on Trial: Rethinking Haek's Novel as a Pendulum of Prosecution and Defense.
An additional companion essay, Svejkardom: Recognition, Survival, and the Grammar of a World, extends this interpretive framework online at [...]
Together these translator-authored texts examine how Czech morphosyntax, procedural language, and the experiential concept vejkárna (svejkardom) shape contemporary readings of Haek's novel.
Rather than advancing the plot through decisive action, Haek responds to this diagnostic frenzy with episodes: monologues, cross-examinations, false conclusions, and comical reversals. The novel begins to test itself, submitting its protagonist to trial after trial without ever reaching judgment. Identity exists only as something provisional-what can be written down, stamped, transferred, or revoked.
This volume is the second of the two commonly regarded as the "easier" parts of the novel-praised for their narrative coherence, episodic clarity, and accessibility-yet it is here that Haek's method fully crystallizes. The story becomes centrifugal rather than linear, throwing vejk outward through institutions that cannot contain him. Along the way, the book accumulates reports, testimonies, dossiers, and tales within tales, revealing a world governed less by intention than by paperwork.
What begins as a journey toward war widens into an inquiry into obedience, responsibility, and command. vejk obeys every order, misunderstands nothing essential, and steadily disarms authority by exposing its contradictions. Book Two stands at the threshold of the novel's deeper structural logic, where comedy, bureaucracy, and moral inquiry converge-without resolution, and without appeal.
The Centennial Edition includes extensive analytical apparatus, among it
Frantiek Josef and the Grammar of Czech Subjecthood in Haek's Opening Line and vejk on Trial: Rethinking Haek's Novel as a Pendulum of Prosecution and Defense.
An additional companion essay, Svejkardom: Recognition, Survival, and the Grammar of a World, extends this interpretive framework online at [...]
Together these translator-authored texts examine how Czech morphosyntax, procedural language, and the experiential concept vejkárna (svejkardom) shape contemporary readings of Haek's novel.
Über den Autor
Jaroslav Haek (30 April 1883 - 3 January 1923), an author and satirist from Prague, he lived a short and extremely turbulent life. He is best known for his famous satirical novel The Fateful Adventures of the Good Soldier vejk During the World War, but also wrote more than 1,200 short stories/feuilletons/articles, numerous poems, and co-authored some cabaret plays. Even before writing The Good Soldier vejk (1921-22), Jaroslav Haek had a reputation as a prominent satirist, but was also viewed as controversial, due to a period as an active anarchist. Haek was also known for his many pranks. Haek had repeated conflicts with the police, mostly due to drunkenness and public disorder. He was also under surveillance due to his involvement in the Anarchist movement. He was jailed several times, the most serious case was in 1907 when he was sentenced for inciting violence against the police during a demonstration on 1 May 1907. In 1911 Haek had thought up vejk. Five stories about the soldier were published, although very different from the later novel in style and content. On 17 February 1915 he was drafted into Austro-Hungarian Army, sent to the front in early July, and was captured by the Russians on 24 September 1915. In Russian POW camp Haek contracted typhus. In the spring of 1916, he volunteered for the Czechoslovak Brigade (later a.k.a Legions), recruiting among prisoners of war. He also worked as a journalist for weekly echoslovan in Kiev. Sent to the front in May 1917, on 2 July 1917, Haek took part in the battle of Zborów. After the Russian October Revolution in 1917 and the peace treaty between the new Soviet state and the Central Powers, the Legions were placed under French command to be transferred to the western front via Vladivostok. Jaroslav Haek preferred that his countrymen remain in Russia, in the hope that the front against the Central Powers would be reopened. Many left-wing groups disapproved of Lenin's Brest-Litovsk peace treaty, and it would have been natural for Haek to align with those. In March 1918, fleeing from the advancing Germans, he reported to the Czech social democrats (Communists) in Moscow. In April he left the Czech Corps disagreeing with their transfer to France. In the spring of 1918, the relationship between the Czechs and the Bolsheviks deteriorated, and an armed rebellion broke out. This led Haek into direct conflict with his former comrades. He and other Czech Communists were branded as traitors, and arrest orders were issued, with an emphasis on Haek (Omsk 25 July 1918). By now all bridges had been burnt and from October he worked directly for the Bolshevik's 5th Army. Haek was mainly responsible for propaganda and recruitment among the foreign prisoners of war. In the summer of 1920 the Bolsheviks had in effect won the Russian Civil War, and the many foreigners were deemed more useful as agitators in their home countries. On 26 August 1920 Haek was ordered to report to the leadership of the Czech Communist Party. He arrived in Prague on 19 December, and spent a week in quarantine in Pardubice. By then the communist uprising had failed and the organizers had been arrested. If Haek was controversial in pre-war Prague, he was even more so now; there was the threat of legal proceedings because of bigamy and he was widely unpopular due to his Bolshevik past. Around February/March 1921 he started to write The Good Soldier vejk, planned to have six parts. The first part and the first chapter of the second were completed in ikov and was initially sold in instalments. Before the novel's November 1921 breakthrough, Haek had moved to Lipnice (on 25 August 1921) where he completed part two, wrote part three, and started on the fourth part of The Good Soldier vejk. Unfortunately, his health took a downturn; the hard life had taken its toll. Jaroslav Haek never managed to complete the fourth part of his epic novel and died on 3 January 1923.
Details
| Erscheinungsjahr: | 2026 |
|---|---|
| Genre: | Importe, Romane & Erzählungen |
| Rubrik: | Belletristik |
| Medium: | Taschenbuch |
| ISBN-13: | 9798994308424 |
| Sprache: | Englisch |
| Einband: | Kartoniert / Broschiert |
| Autor: | Ha¿ek, Jaroslav |
| Hersteller: | Keenan, Sadlon & Lord, Inc. |
| Verantwortliche Person für die EU: | Libri GmbH, Europaallee 1, D-36244 Bad Hersfeld, gpsr@libri.de |
| Maße: | 229 x 152 x 20 mm |
| Von/Mit: | Jaroslav Ha¿ek |
| Erscheinungsdatum: | 14.02.2026 |
| Gewicht: | 0,544 kg |