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.

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.

“Incites us to reflect on fiction and philosophy, knowledge and truth, and brilliantly illustrates the art of the essay.” — The New Republic "Every novelist''s work contains an implicit vision of the history of the novel, an idea of what the novel is. I have tried to express the idea of the novel that is inherent in my own novels." — Milan Kundera Kundera brilliantly examines the evolution, construction, and essence of the novel as an art form through the lens of his own work and through the work of such important and diverse figures as Rabelais, Cervantes, Sterne, Diderot, Flaubert, Tolstoy, Musil, Kafka, and perhaps the least known of all the great novelists of our time, Hermann Broch. 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.

A New York Times Notable Book Irena and Josef meet by chance while returning to their homeland, which they had abandoned twenty years earlier. 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."

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.

This is the first novel by the author of "Immortality", which won "The Independent" Award for Foreign Fiction in 1991. Milan Kundera is also the author of "The Book of Laughter and Fogetting".

"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 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.

“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.

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.

"A magic curtain, woven of legends, hung before the world," writes Milan Kundera in The Curtain, his fascinating new book on the art of the novel. "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." For Kundera, that 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. In this entertaining and always stimulating essay, Kundera cleverly sketches out his personal view of the history and value of the novel in Western civilization. Too often, he suggests, a novel is thought about only within the confines of the language and nation of its origin, when in fact the novel''s development has always occurred across borders: Laurence Sterne learned from Rabelais, Henry Fielding from Cervantes, Joyce from Flaubert, García Márquez from Kafka. The real work of a novel is not bound up in the specifics of any one language: what makes a novel matter is its ability to reveal some previously unknown aspect of our existence. In The Curtain, Kundera skillfully describes how the best novels do just that.

"Irresistible. . . . Slowness is an ode to sensuous leisure, to the enjoyment of pleasure rather than just the search for it." — Mirabella 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.

A deliciously witty and entertaining "variation" on Diderot''s novel Jacques le Fatalist, written for Milan Kundera''s "private pleasure" in the aftermath of the Russian invasion of Czechoslovakia. When the "heavy Russian irrationality" fell on Czechoslovakia, Milan Kundera explains, he felt drawn to the spirit of the eighteenth century—"And it seemed to me that nowhere was it to be found more densely concentrated than in that banquet of intelligence, humor, and fantasy, Jacques le Fataliste." The upshot was this "Homage to Diderot," which has now been performed throughout the United States and Europe. Here, Jacques and His Master, newly translated by Simon Callow, is a text that will delight Kundera''s admirers throughout the English-speaking world.

"A defense of fiction and a lesson in the art of reading." —New York Times Book Review "Testaments Betrayed is to be savored paragraph by paragraph. . . . It must be purchased, read, pondered, and argued within the margins. And frequently reread." — Washington Post A brilliant and thought-provoking essay from one of the twentieth century’s masters of fiction, Testaments Betrayed is written like a novel: the same characters appear and reappear throughout the nine parts of the book, as do the principal themes that preoccupy the author. Kundera is a passionate defender of the moral rights of the artist and the respect due a work of art and its creator’s wishes. The betrayal of both—often by their most passionate proponents—is one of the key ideas that informs this strikingly original and elegant book.

In this dark farce of a novel, set in an old-fashioned Central European spa town, eight characters are swept up in an accelerating dance: a pretty nurse and her repairman boyfriend; an oddball gynecologist; a rich American (at once saint and Don Juan); a popular trumpeter and his beautiful, obsessively jealous wife; an disillusioned former political prisoner about to leave his country and his young woman ward.Perhaps the most brilliantly plotted and sheer entertaining of Milan Kundera''s novels, Farewell Waltz poses the most serious questions with a blasphemous lightness that makes us see that the modern world has deprived us even of the right to tragedy. Written in Bohemia in 1969-70, this book was first published (in 1976) in France under the title La valse aux adieux (Farewell Waltz), and later in thirty-four other countries. This beautiful new translation, made from the French text prepared by the novelist himself, fully reflects his own tone and intentions. As such it offers an opportunity for both the discovery and the rediscovery of one of the very best of a great writer''s works.

“I can’t imagine reading this book without being challenged and instructed, amused, amazed and aroused, and ultimately delighted.” —John Simon, New York Times Book Review Milan Kundera’s brilliant collection of essays is a passionate defense of art in an era that, he argues, no longer values art or beauty. With the same dazzling mix of emotion and ideas that characterizes his bestselling novels, the internationally acclaimed author revisits the artists whose works help us better understand what it means to be human. Elegant, startlingly original, and provocative, Encounter combines many of the author’s signature themes with personal reflections and stories.

“We should welcome the context Kundera gives for the struggles between Russia and Europe, and the plight of those caught between them. His defense of small languages, small cultures, and small nations feels pressing.”—Claire Messud, Harper''s Magazine “Kundera focuses on the relationship of Europe’s central ‘small nations’ like Czechoslovakia and Ukraine to Western culture and argues that their cultural identities were increasingly threatened.”—New York Book Review A short collection of brilliant early essays that offers a fascinating context for Milan Kundera’s subsequent career and holds a mirror to much recent European history. It is also remarkably prescient with regard to Russia’s current aggression in Ukraine and its threat to the rest of Europe. Milan Kundera’s early nonfiction work feels especially resonant in our own time. In these pieces, Kundera pleads the case of the “small nations” of Europe who, by culture, are Western with deep roots in Europe, despite Russia imposing its own Communist political regimes in Hungary, Czechoslovakia, Poland, Ukraine, and elsewhere. Kundera warns that the real tragedy here is not Russia but Europe, whose own identity and culture are directly challenged and threatened in a way that could lead to their destruction. He is sounding the alarm, which chimes loud and clear in our own twenty-first century. The 1983 essay translated by Edmund White (“The Tragedy of Central Europe”), and the 1967 lecture delivered to the Czech Writers’ Union in the middle of the Prague Spring by the young Milan Kundera (“Literature and the Small Nations”), translated for the first time by Linda Asher, are both written in a voice that is at once personal, vehement, and anguished. Here, Kundera appears already as one of our great European writers and truly our contemporary. Each piece is prefaced by a short presentation by French historian Pierre Nora and Czech-born French political scientist Jacques Rupnik.

Klima, a famous jazz trumpeter receives a phone call from a young nurse with whom he spent a brief night. She tells him she is pregnant and that he is the father of the unborn child. So begins a chain of events which unfolds over the next five days. Klima''s beautiful jealous wife, the nurse''s jealous boyfriend, a fanatical gynaecologist, a rich American and an elderly political prisoner who is holding a farewell party are all drawn into this black comedy.

Una brillante disección del amor que se ha convertido en uno de los grandes hitos de la literatura contemporánea. Más de 1.000.000 de ejemplares vendidos. Un clásico de la novela contemporánea. La insoportable levedad del ser narra una extraordinaria historia de amor, es decir, de celos, sexo, traiciones, muerte y, también, de las debilidades y paradojas de Teresa, Tomás, Franz y Sabina, cuyos destinos se entrelazan irremediablemente. Los celos de Teresa hacia Tomás, el terco amor de éste por ella -junto con su irrefrenable deseo de otras mujeres-, el idealismo de Franz, amante de Sabina, y la necesidad de Sabina de perseguir una libertad que sólo conduce a una insoportable levedad, se convierten en una reflexión sobre los problemas filosóficos que afectan a nuestra existencia.

Constitué de conférences, d''articles et d''entretiens, cet essai est centré sur les rapports que Kundera entretient avec ses propres romans autant que sur l''art du roman européen en général. Kundera affirme, dans l''avant-propos, qu''il n''a pas la moindre ambition théorique et que son livre est la "confession d''un praticien". De très bons chapitres sur Cervantes, Flaubert, Broch et Kafka. En appendice, l''auteur recense en 71 mots-clés les "difficultés et éblouissements qu''ont occasionnés les traductions de ses livres en de nombreuses langues" (B. Poirot-Delpech), p. 149-187. Premier choix.