The thirteen stories encompassed in The Street of Crocodiles center basically around the unusual antics of Jacob, the narrator Jozef's father. Jacob is a merchant who runs a textile shop in the city's clamoring Street of Crocodiles, a business focus with confounded lanes that Jozef frequently portrays for readers. Jacob is not a normal textile merchant, in any case – he likewise fights a steady franticness that changes him by night into a mad scientist and superhuman, who exists between the grounds of the real world and dream. Jozef watches this frenzy all through the thirteen stories, outlining his father’s plunge into dream.
Jacob's frenzy is entangled – while it gets magic Jozef's reality, it likewise brings dread and tumult. Jacob directs various analyses and keeps an assortment of outlandish birds in the upper room, guaranteeing that they can transform into monsters. He additionally muses on the philosophy of presence, intriguing and beguiling Jozef with his contemplations on being alive. Then again, Jacob's franticness makes a vein of dread and paranoia through the family, as Jacob battles against forces that are not real. In the long run, Jacob's franticness prompts his demise, and Jozef thinks back on his father with worship, not angrily, but instead pleased with the inventive nature of his father's wild psyche.
Other recurring characters in the story incorporate the maid Adela, the one voice of reason in the house, who frequently battles Jacob's "experiments" by doing things like discharging the birds from the attic. Adela gives consistency to Jozef all through his childhood. Different characters incorporate Touya, a youthful "mad girl" who investigates the city, and whose life as a destitute, mentally sick woman is luxuriously envisioned by Schulz.
Emil, Jozef's cousin, rises as a symbol of failure – he is one of barely any relatives who figure out how to get away from the small, magical town, yet he is wiped out and exhausting, giving little profundity to the narrative. Mr. Charles is a similar character, exuberant and affable in his dozing, dreaming, and morning life, who completely loses himself the moment he leaves for work and does not recoup until the night when he goes to bed.
Schulz makes an enthusiastic narrative that exemplifies a magical city and its mad occupants, delineating both the battle with psychological maladjustment and the intensity of the imagination, especially contrasted with the drudgery of capitalism and working life.
