No catches, no fine print just unadulterated book loving, with your favourite books saved to your own digital bookshelf.
New members get entered into our monthly draw to win £100 to spend in your local bookshop Plus lots lots more…Find out more
The French-Czech novelist Milan Kundera was born in the Czech Republic and has lived in France since 1975. He is the author of the internationally acclaimed and bestselling novels The Joke, Life is Elsewhere, The Farewell Waltz, The Book of Laughter and Forgetting, The Unbearable Lightness of Being, Immortality, and the short-story collection Laughable Loves -- all originally in Czech. His more recent novels , Slowness, Identity, and Ignorance, as well as his nonfiction works, The Art of the Novel, Testaments Betrayed, The Curtain, and Encounter, were originally written in French.
'It is impossible to do justice here to the subtleties, comedy and wisdom of this very beautiful novel. The author of The Joke is clearly one of the best to be found anywhere.' Salman Rushdie, Observer
The classic of literary criticism from one of the world's greatest novelists. In seven independent, but closely related chapters, Milan Kundera presents his personal conception of the European novel, which he describes as 'an art born of the laughter of God'. 'Invigoratingly suggestive . . . Kundera's map of the development of the European novel is outlined with the reckless brevity of the man who knows exactly what and where the salient points are.' London Review of Books 'Kundera is the saddest, funniest and most loveable of authors.' The Times
Faber Stories, a landmark series of individual volumes, presents masters of the short story form at work in a range of genres and styles. A chance encounter leads a man to spend the afternoon with an older woman, now a widow, who escaped him fifteen years earlier. Neither of them doubts that the day will end in disgust, but for one intimate moment each finds a way to overcome mortality. Written in 1969, before Milan Kundera was known to English-speaking readers, this story renders male and female characters painful equals, and prompted Philip Roth to admire its 'detached Chekhovian tenderness'. Bringing together past, present and future in our ninetieth year, Faber Stories is a celebratory compendium of collectable work.
A new edition of the seminal novel by a literary master, to celebrate the 40th anniversary of its first publication. 'One is torn between profound pleasure in the novel's execution and wonder at the pain that inspired it.' Ian McEwan 'A masterpiece.' Salman Rushdie This book is a novel in the form of variations. The various parts follow each other like the various stages of a voyage, leading into the interior of a theme, the interior of a thought, the interior of a single, unique situation the understanding of which recedes from my sight into the distance. It is a book about laughter and forgetting, about forgetting and about Prague, about Prague and about the angels.
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 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. Now, far from watching out, 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.
The new novel from Milan Kundera 'Enchanting ... it explores all aspects of a declining civilisation without taking any of them too seriously ... In this novel of Flaubertian seduction, free of blame and guilt, insignificance is the very essence of life.' La Repubblica 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 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. Now, far from watching out, 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.
Milan Kundera has established himself as one of the great novelists of our time with such books as The Unbearable Lightness of Being, Immortality and The Book of Laughter and Forgetting. In Testaments Betrayed, he proves himself a brilliant defender of the moral rights of the artist and the respect due to a work of art and its creator's wishes. The betrayal of bothoften by their most passionate proponentsis the principal theme of this extraordinary work. Readers will be particularly intrigued by Kundera's impassioned attack on society's shifting moral judgments and persecutions of art and artists, from Mayakovsky to Rushdie.
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.
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 hasa 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 Kunderas brilliant new 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 authors signature themes with personal reflections and stories.
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.
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 ("e;innocence with its bloody smile"e;!), 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'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 "e;dancers"e; 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 "e;losing sight"e; 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 New York Times Notable BookIrena 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 "e;their memories no longer match."e;
A young woman obsessed with a man torn between his love for her and his womanizing; one of his mistresses and her faithful lover--these are the two couples whose story is told in this masterful novel by Czech-born Milan Kundera.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. We feel "e;the unbearable lightness of being"e; not only as the consequence of our private actions but also in the public sphere, and the two inevitably interwine.
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.