Best Selling Books by Milan Kundera

When The Unbearable Lightness of Being was first published in English, it was hailed as "a work of the boldest mastery, originality, and richness" by critic Elizabeth Hardwick and named one of the best books of 1984 by the New York Times Book Review. It went on to win the Los Angeles Times Book Prize for Fiction and quickly became an international bestseller. Twenty years later, the novel has established itself as a modern classic. To commemorate the anniversary of its first English-language publication, HarperCollins is proud to offer a special hardcover edition. A young woman in love with a man torn between his love for her and his incorrigible womanizing; one of his mistresses and her humbly faithful lover -- these are the two couples whose story is told in this masterful novel. Controlled by day, Tereza's jealousy awakens by night, transformed into ineffably sad death-dreams, while Tomas, a successful surgeon, alternates loving devotion to the dependent Tereza with the ardent pursuit of other women. Sabina, an independent, free-spirited artist, lives her life as a series of betrayals -- of parents, husband, country, love itself -- whereas her lover, the intellectual Franz, loses all because of his earnest goodness and fidelity. In a world in which lives are shaped by irrevocable choices and by fortuitous events, a world in which everything occurs but once, existence seems to lose its substance, its weight. Hence we feel, says the novelist, "the unbearable lightness of being" -- not only as the consequence of our private acts but also in the public sphere, and the two inevitably intertwine. This magnificent novel encompasses the extremes of comedy and tragedy, and embraces, it seems, all aspects of human existence. It juxtaposes geographically distant places (Prague, Geneva, Paris, Thailand, the United States, a forlorn Bohemian village); brilliant and playful reflections (on "eternal return," on kitsch, on man and animals -- Tomas and Tereza have a beloved doe named Karenin); and a variety of styles (from the farcical to the elegiac) to take its place as perhaps the major achievement of one of the world's truly great writers.

"An absolutely dazzling entertainment. . . . Arousing on every level—political, erotic, intellectual, and above all, humorous." —Newsweek "The Book of Laughter and Forgetting calls itself a novel, although it is part fairy tale, part literary criticism, part political tract, part musicology, and part autobiography. It can call itself whatever it wants to, because the whole is genius." —New York Times Rich in its stories, characters, and imaginative range, The Book of Laughter and Forgetting is the landmark literary philosophical novel that brought Milan Kundera his first big international success in the late 1970s. Like all his work, it is valuable for far more than its historical implications. In seven wonderfully integrated parts, different aspects of human existence are magnified and reduced, reordered and emphasized, newly examined, analyzed, and experienced.

Milan Kundera's sixth novel springs from a casual gesture of a woman to her swimming instructor, a gesture that creates a character in the mind of a writer named Kundera. Like Flaubert's Emma or Tolstoy's Anna, Kundera's Agnes becomes an object of fascination, of indefinable longing. From that character springs a novel, a gesture of the imagination that both embodies and articulates Milan Kundera's supreme mastery of the novel and its purpose; to explore thoroughly the great, themes of existence.

All too often, this brilliant novel of thwarted love and revenge miscarried has been read for its political implications. Now, a quarter century after The Joke was first published and several years after the collapse of the Soviet-imposed Czechoslovak regime, it becomes easier to put such implications into perspective in favor of valuing the book (and all Kundera 's work) as what it truly is: great, stirring literature that sheds new light on the eternal themes of human existence. The present edition provides English-language readers an important further means toward revaluation of The Joke. For reasons he describes in his Author's Note, Milan Kundera devoted much time to creating (with the assistance of his American publisher-editor) a completely revised translation that reflects his original as closely as any translation possibly can: reflects it in its fidelity not only to the words and syntax but also to the characteristic dictions and tonalities of the novel's narrators. The result is nothing less than the restoration of a classic.

The author initially intended to call this novel The Lyrical Age. The lyrical age, according to Kundera, is youth, and this novel, above all, is an epic of adolescence; an ironic epic that tenderly erodes sacrosanct values: childhood, motherhood, revolution, and even poetry. Jaromil is in fact a poet. His mother made him a poet and accompanies him (figuratively) to his love bed and (literally) to his deathbed. A ridiculous and touching character, horrifying and totally innocent ("innocence with its bloody smile"!), Jaromil is at the same time a true poet. He's no creep, he's Rimbaud. Rimbaud entrapped by the communist revolution, entrapped in a somber farce.

Milan Kundera is a master of graceful illusion and illuminating surprise. In one of these stories a young man and his girlfriend pretend that she is a stranger he picked up on the road--only to become strangers to each other in reality as their game proceeds. In another a teacher fakes piety in order to seduce a devout girl, then jilts her and yearns for God. In yet another girls wait in bars, on beaches, and on station platforms for the same lover, a middle-aged Don Juan who has gone home to his wife. Games, fantasies, and schemes abound in all the stories while different characters react in varying ways to the sudden release of erotic impulses.

Kundera brilliantly examines the work of such important and diverse figures as Rabelais, Cervantes, Sterne, Diderot, Flaubert, Tolstoy, and Musil. He is especially penetrating on Hermann Broch, and his exploration of the world of Kafka's novels vividly reveals the comic terror of Kafka's bureaucratized universe. Kundera's discussion of his own work includes his views on the role of historical events in fiction, the meaning of action, and the creation of character in the post-psychological novel.

“Kundera once more delivers a seductive, intelligent entertainment … [with] elegance and grace.” — Washington Post Book World “Nothing short of masterful.” — Newsweek A brilliant novel set in contemporary Prague, by one of the most distinguished writers of our time. A man and a woman meet by chance while returning to their homeland, which they had abandoned 20 years earlier when they chose to become exiles. Will they manage to pick up the thread of their strange love story, interrupted almost as soon as it began and then lost in the tides of history? The truth is that after such a long absence “their memories no longer match.” We always believe that our memories coincide with those of the person we loved, that we experienced the same thing. But this is just an illusion. Only those who return after 20 years, like Ulysses returning to his native Ithaca, can be dazzled and astounded by observing the goddess of ignorance first-hand. Kundera is the only author today who can take dizzying concepts such as absence, memory, forgetting, and ignorance, and transform them into material for a novel, masterfully orchestrating them into a polyphonic and moving work.

“Slender but weighty. . . . What is moving about this novel is its embrace of what has always driven Kundera, the delicate state of living between being and nothingness.”— Boston Globe From the internationally acclaimed, bestselling author of The Unbearable Lightness of Being, an entertaining and enchanting novel—"a fitting capstone on an extraordinary career." (Slate) Casting light on the most serious of problems and at the same time saying not one serious sentence; being fascinated by the reality of the contemporary world and at the same time completely avoiding realism—that’s The Festival of Insignificance. Readers who know Milan Kundera’s earlier books know that the wish to incorporate an element of the “unserious” in a novel is not at all unexpected of him. In Immortality, Goethe and Hemingway stroll through several chapters together talking and laughing. And in Slowness, Vera, the author’s wife, says to her husband: “you’ve often told me you meant to write a book one day that would have not a single serious word in it…I warn you: watch out. Your enemies are lying in wait.” Kundera is finally and fully realizing his old aesthetic dream in this novel that we could easily view as a summation of his whole work. A strange sort of summation. Strange sort of epilogue. Strange sort of laughter, inspired by our time, which is comical because it has lost all sense of humor. What more can we say? Nothing. Just read.

“A magic curtain, woven of legends, hung before the world. Cervantes sent Don Quixote journeying and tore through the curtain. The world opened before the knight-errant in all the comical nakedness of its prose.” In this thought-provoking, endlessly enlightening, and entertaining essay on the art of the novel, renowned author Milan Kundera suggests that “the curtain” represents a ready-made perception of the world that each of us has—a pre-interpreted world. The job of the novelist, he argues, is to rip through the curtain and reveal what it hides. Here an incomparable literary artist cleverly sketches out his personal view of the history and value of the novel in Western civilization. In doing so, he celebrates a prose form that possesses the unique ability to transcend national and language boundaries in order to reveal some previously unknown aspect of human existence.

Milan Kundera's lightest novel, a divertimento, an opera buffa, Slowness is also the first of this author's fictional works to have been written in French. Disconcerted and enchanted, the reader follows the narrator of Slowness through a midsummer's night in which two tales of seduction, separated by more than two hundred years, interweave and oscillate between the sublime and the comic. Underlying this libertine fantasy is a profound meditation on contemporary life: about the secret bond between slowness and memory, about the connection between our era's desire to forget and the way we have given ourselves over to the demon of speed. And about "dancers" possessed by the passion to be seen, for whom life is merely a perpetual show emptied of every intimacy and every joy.

There are situations in which we fail for a moment to recognize the person we are with, in which the identity of the other is erased while we simultaneously doubt our own. This also happens with couples--indeed, above all with couples, because lovers fear more than anything else "losing sight" of the loved one. With stunning artfulness in expanding and playing variations on the meaningful moment, Milan Kundera has made this situation--and the vague sense of panic it inspires--the very fabric of his new novel. Here brevity goes hand in hand with intensity, and a moment of bewilderment marks the start of a labyrinthine journey during which the reader repeatedly crosses the border between the real and the unreal, between what occurs in the world outside and what the mind creates in its solitude. Of all contemporary writers, only Kundera can transform such a hidden and disconcerting perception into the material for a novel, one of his finest, most painful, and most enlightening. Which, surprisingly, turns out to be a love story.

Farewell Waltz is a dark farce that takes on sex, murder, and motherhood with a lightheartedness at once chilling and profound. It is one of Kundera's most accessible novels. Celebrated and distinguished, with an international following, Kundera commands a legion of readers who will be eager to discover, and rediscover, this gem of a novel.aSet in an old-fashioned Central European spa town, eight chracters are swept up as in an accelerating dance: a pretty nurse and her repairman boyfriend; and oddball gynecologist; a rich American (at once saint and Don Juan); a popular trumpeter and his beautiful, obsessively jealous wife; and unillusioned former political prisoner about to leave his country and his young woman ward.aThis beautiful new translation, made-like the now standard 1996 translation of Milan Kundera'sThe Book of Laughter and Forgetting-from the French text prepared by the novelist himself, fully reflects his own tone and intentions. As such, it offers an opportunity both for the discover and the rediscovery of one of the very best of a great writer's works.