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賰鬲丕亘 丕賱囟丨賰 賵丕賱賳爻賷丕賳
"賰鬲丕亘 丕賱囟丨賰 賵丕賱賳爻賷丕賳" 賴賵 丕賱乇賵丕賷丞 丕賱乇丕亘毓丞 賮賷 賲爻賷乇丞 賲賷賱丕賳 賰賵賳丿賷乇丕 丕賱兀丿亘賷丞貙 賵賴賵 毓賲賱 賲賰賵賳 賲賳 爻亘毓 賲丨賰賷丕鬲 鬲鬲賳丕睾賲 賲毓 亘毓囟賴丕 賱鬲購丿禺賱賳丕 毓丕賱賲 賰賵賳丿賷乇丕 丕賱乇丕卅毓貙 賴匕丕 丕賱毓丕賱賲 丕賱賮乇賷丿 丕賱匕賷 賷賲夭噩 亘亘乇丕毓丞 賲丕 亘賷賳 丕賱毓賲賯 賵丕賱匕賰丕亍 賵丕賱賮賱爻賮丞 賲賳 噩賴丞貙 賵丕賱禺賮丞 賵丕賱賴夭賱 賵丕賱賲乇丨 賵丕賱賮賰丕賴丞 賲賳 噩賴丞 兀禺乇賶. 賵賷賯賵賱 賰賵賳丿賷乇丕 賳賮爻賴 毓賳 乇賵丕賷鬲賴 賴匕賴:
"賷鬲禺匕 賴匕丕 丕賱賰鬲丕亘 亘賰丕賲賱賴 卮賰賱 鬲賳賵賷毓丕鬲 賱丨賳賷賾丞貙 廿匕 鬲鬲賵丕賱賶 兀噩夭丕丐賴 賲孬賱賲丕 鬲鬲毓丕賯亘 兀胤賵丕乇 乇丨賱丞 鬲賯賵丿 廿賱賶 毓賲賯 賲賵囟賵毓貙 毓賲賯 賮賰乇丞 賲丕貙 兀賵 鬲賯賵丿 廿賱賶 丿丕禺賱 賵囟毓賷丞 賵丕丨丿丞 賮乇賷丿丞 賷氐毓亘 毓賱賷賾 賮賴賲賴丕 賱囟禺丕賲鬲賴丕.
廿賳賴丕 乇賵丕賷丞 丨賵賱 鬲丕賲賷賳丕貙 賵賮賷 丕賱賱丨馗丞 丕賱鬲賷 鬲禺鬲賮賷 賮賷賴丕 鬲丕賲賷賳丕 毓賳 丕賱兀賳馗丕乇貙 鬲氐亘丨 乇賵丕賷丞 賲賳 兀噩賱 鬲丕賲賷賳丕. 賮賴賷 丕賱卮禺氐賷丞 丕賱乇卅賷爻丞貙 賵賴賷 兀賷囟丕 丕賱賲爻鬲賲毓 丕賱乇卅賷爻貙 賵賰賱 丕賱丨賰丕賷丕鬲 丕賱兀禺乇賶 賲丕 賴賷 爻賵賶 鬲賳賵賷毓 毓賱賶 賯氐鬲賴丕 丕賱禺丕氐丞貙 賵鬲鬲賱丕賯賶 賮賷 丨賷丕鬲賴丕 賰賲丕 賮賷 丕賱賲乇丌丞.
廿賳賴丕 乇賵丕賷丞 鬲丿賵乇 丨賵賱 丕賱囟丨賰 賵丕賱賳爻賷丕賳貙 丨賵賱 丕賱賳爻賷丕賳 賵丨賵賱 亘乇丕睾貙 丨賵賱 亘乇丕睾 賵丨賵賱 丕賱賲賱丕卅賰丞".
"賷鬲禺匕 賴匕丕 丕賱賰鬲丕亘 亘賰丕賲賱賴 卮賰賱 鬲賳賵賷毓丕鬲 賱丨賳賷賾丞貙 廿匕 鬲鬲賵丕賱賶 兀噩夭丕丐賴 賲孬賱賲丕 鬲鬲毓丕賯亘 兀胤賵丕乇 乇丨賱丞 鬲賯賵丿 廿賱賶 毓賲賯 賲賵囟賵毓貙 毓賲賯 賮賰乇丞 賲丕貙 兀賵 鬲賯賵丿 廿賱賶 丿丕禺賱 賵囟毓賷丞 賵丕丨丿丞 賮乇賷丿丞 賷氐毓亘 毓賱賷賾 賮賴賲賴丕 賱囟禺丕賲鬲賴丕.
廿賳賴丕 乇賵丕賷丞 丨賵賱 鬲丕賲賷賳丕貙 賵賮賷 丕賱賱丨馗丞 丕賱鬲賷 鬲禺鬲賮賷 賮賷賴丕 鬲丕賲賷賳丕 毓賳 丕賱兀賳馗丕乇貙 鬲氐亘丨 乇賵丕賷丞 賲賳 兀噩賱 鬲丕賲賷賳丕. 賮賴賷 丕賱卮禺氐賷丞 丕賱乇卅賷爻丞貙 賵賴賷 兀賷囟丕 丕賱賲爻鬲賲毓 丕賱乇卅賷爻貙 賵賰賱 丕賱丨賰丕賷丕鬲 丕賱兀禺乇賶 賲丕 賴賷 爻賵賶 鬲賳賵賷毓 毓賱賶 賯氐鬲賴丕 丕賱禺丕氐丞貙 賵鬲鬲賱丕賯賶 賮賷 丨賷丕鬲賴丕 賰賲丕 賮賷 丕賱賲乇丌丞.
廿賳賴丕 乇賵丕賷丞 鬲丿賵乇 丨賵賱 丕賱囟丨賰 賵丕賱賳爻賷丕賳貙 丨賵賱 丕賱賳爻賷丕賳 賵丨賵賱 亘乇丕睾貙 丨賵賱 亘乇丕睾 賵丨賵賱 丕賱賲賱丕卅賰丞".
253 pages, Paperback
First published January 1, 1979
2072 people are currently reading
56989 people want to read
About the author
Milan Kundera
240听books18.5k听followersMilan Kundera (1 April 1929 鈥� 11 July 2023) was a Czech and French novelist. He went into exile in France in 1975, acquiring citizenship in 1981. His Czechoslovak citizenship was revoked in 1979, but he was granted Czech citizenship in 2019.
Kundera wrote in Czech and French. He revises the French translations of all his books; people therefore consider these original works as not translations. He is best known for his novels, including The Joke (1967), The Book of Laughter and Forgetting (1979), and The Unbearable Lightness of Being (1984), all of which exhibit his extreme though often comical skepticism.
Kundera wrote in Czech and French. He revises the French translations of all his books; people therefore consider these original works as not translations. He is best known for his novels, including The Joke (1967), The Book of Laughter and Forgetting (1979), and The Unbearable Lightness of Being (1984), all of which exhibit his extreme though often comical skepticism.
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Displaying 1 - 30 of 3,174 reviews
March 13, 2013
鈥淗e was well aware that of the two or three thousand times he had made love (how many times had he made love in his life?) only two or three were really essential and unforgettable. The rest were mere echoes, imitations, repetitions, or reminiscences.鈥�
Ah, the endlessly quotable Kundera. I had to hold myself back from updating my status every other page; there were just so many perfectly composed sentences I wanted to share with you, goodreaders. Sometimes that鈥檚 all it takes to win me over, a stream of perfectly composed sentences. Plot shmot. Characters shmaracters. Give me words that I want to scrawl in a notebook. Give me sentences to underscore in indelible ink.
Is it a novel? Is it a short story collection? I can鈥檛 say. There are seven semi-interrelated parts, but each could stand alone as its own story. And every once in awhile, Kundera steps in and speaks with his own voice adding a little autobiographical twist, which is odd, but seems to work in this instance. Anyway, story collection, novel, diary, or amalgam of the three, it doesn鈥檛 really matter. If you are easily turned off by sexual content, this isn鈥檛 the book for you. If you are easily rattled by misogynistic undertones, this isn鈥檛 the book for you. But if you are open minded and have a soft spot for artfully-crafted, poignant sentences, I think you will enjoy this book.
Ah, the endlessly quotable Kundera. I had to hold myself back from updating my status every other page; there were just so many perfectly composed sentences I wanted to share with you, goodreaders. Sometimes that鈥檚 all it takes to win me over, a stream of perfectly composed sentences. Plot shmot. Characters shmaracters. Give me words that I want to scrawl in a notebook. Give me sentences to underscore in indelible ink.
Is it a novel? Is it a short story collection? I can鈥檛 say. There are seven semi-interrelated parts, but each could stand alone as its own story. And every once in awhile, Kundera steps in and speaks with his own voice adding a little autobiographical twist, which is odd, but seems to work in this instance. Anyway, story collection, novel, diary, or amalgam of the three, it doesn鈥檛 really matter. If you are easily turned off by sexual content, this isn鈥檛 the book for you. If you are easily rattled by misogynistic undertones, this isn鈥檛 the book for you. But if you are open minded and have a soft spot for artfully-crafted, poignant sentences, I think you will enjoy this book.
December 25, 2021
(Book 294 from 1001 books) - Kniha Sm铆chu a Zapomn臎n铆 = The Book of Laughter And Forgetting, Milan Kundera
The Book of Laughter and Forgetting is a novel by Milan Kundera, published in France in 1979. It is composed of seven separate narratives united by some common themes. The book considers the nature of forgetting as it occurs in history, politics and life in general.
The stories also contain elements found in the genre of magic realism. Plot summary: Part One: Lost Letters. Part Two: Mama. Part Three: The Angels. Part Four: Lost Letters. Part Five: Litost. Part Six: The Angels. Part Seven: The Border.
讴鬲丕亘 禺賳丿賴 賵 賮乇丕賲賵卮蹖 - 賲蹖賱丕賳 讴賵賳丿乇丕 (乇賵卮賳诏乇丕賳)貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 賲丕賴 爻倬鬲丕賲亘乇 爻丕賱2008賲蹖賱丕丿蹖
毓賳賵丕賳: 讴鬲丕亘 禺賳丿賴 賵 賮乇丕賲賵卮蹖貨 賳賵蹖爻賳丿賴: 賲蹖賱丕賳 讴賵賳丿乇丕貨 賲鬲乇噩賲: 賮乇賵睾 倬賵乇 蹖丕賵乇蹖貨 鬲賴乇丕賳貙 乇賵卮賳诏乇丕賳貨 爻丕賱1372貨 丿乇162氐貨 趩丕倬 丿蹖诏乇 爻丕賱1377貨
卮丕亘讴9645512840貨 趩丕倬 爻賵賲 爻丕賱1381貨 趩丕倬 倬賳噩賲 爻丕賱1385貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 趩讴 - 爻丿賴 蹖20賲
乇賲丕賳: 賴賮鬲 乇丕賵蹖 噩丿丕诏丕賳賴鈥� 丿丕乇丿貙 亘丕 丿丕爻鬲丕賳鈥屬囏й屰� 讴賴 賲囟丕賲蹖賳 賲卮鬲乇讴蹖 賴賲趩賵賳: 亘乇乇爻蹖 胤亘蹖毓鬲 賮乇丕賲賵卮蹖 丿乇 鬲丕乇蹖禺貙 爻蹖丕爻鬲 賵 亘賴 胤賵乇 讴賱蹖 夭賳丿诏蹖貙 丿丕乇賳丿貨 丿丕爻鬲丕賳賴丕 毓賳丕氐乇蹖 丕夭 乇卅丕賱蹖爻賲 噩丕丿賵蹖蹖 丿乇 禺賵丿 賳賴賮鬲賴 丿丕乇賳丿
趩讴蹖丿賴 丿丕爻鬲丕賳: 亘禺卮 丕賵賱: 賳丕賲賴鈥� 賴丕蹖 诏賲卮丿賴貨 亘禺卮 丿賵賲: 賲丕丿乇貨 亘禺卮 爻賵賲: 賮乇卮鬲诏丕賳貨 亘禺卮 趩賴丕乇賲: 賳丕賲賴鈥� 賴丕蹖 诏賲卮丿賴貨 亘禺卮 倬賳噩賲: 賱蹖鬲爻鬲貨 亘禺卮 卮卮賲: 賮乇卮鬲诏丕賳貨 亘禺卮 賴賮鬲賲: 賲乇夭貨
倬丿乇 芦賲蹖賱丕賳 讴賵賳丿乇丕禄貙 賳賵丕夭賳丿賴 蹖 倬蹖丕賳賵貙 賵 卮丕诏乇丿 芦賱卅賵卮 蹖丕賳丕趩讴 (丌賴賳诏爻丕夭 趩讴)禄貙 亘賵丿賳丿貨 毓賱丕賯賴 蹖 芦讴賵賳丿乇丕禄 亘賴 賲賵爻蹖賯蹖貙 丿乇 亘爻蹖丕乇蹖 丕夭 丌孬丕乇 丕蹖卮丕賳貙 亘賴 賵蹖跇賴 丿乇 乇賲丕賳 芦卮賵禺蹖禄 倬蹖丿丕爻鬲貨 芦賲蹖賱丕賳 讴賵賳丿乇丕禄 爻乇丕蹖卮 卮毓乇 乇丕貙 丕夭 趩賴丕乇丿賴 爻丕賱诏蹖貙 丌睾丕夭 讴乇丿賳丿貙 賵 丿乇 賴賮丿賴 爻丕賱诏蹖貙 倬爻 丕夭 卮讴爻鬲 芦丌賱賲丕賳禄貙 亘賴 丨夭亘 讴賲賵賳蹖爻鬲 讴卮賵乇 倬蹖賵爻鬲賳丿貙 賵 丿乇 爻丕賱1948賲蹖賱丕丿蹖 賵丕乇丿 丿丕賳卮讴丿賴 蹖 芦爻蹖賳賲丕禄 丿乇 芦倬乇丕诏禄 卮丿賳丿貨 丕蹖卮丕賳 丿乇 爻丕賱1950賲蹖賱丕丿蹖貙 丕夭 丨夭亘 讴賲賵賳蹖爻鬲 丕禺乇丕噩 卮丿賳丿貨 賳禺爻鬲蹖賳 賲噩賲賵毓賴 蹖 卮毓乇 丕蹖卮丕賳貙 亘丕 毓賳賵丕賳 芦丕賳爻丕賳貨 亘賵爻鬲丕賳 倬賴賳丕賵乇禄 丕爻鬲貙 讴賴 丿乇 丌賳 讴鬲丕亘貙 禺賵卮亘蹖賳蹖 賲賵噩賵丿貙 賵 丕丿亘蹖丕鬲 丿賵賱鬲蹖 乇丕貙 賲賵乇丿 賳賯丿 賯乇丕乇 丿丕丿賴 丕爻鬲貙 丿乇 爻丕賱1953賲蹖賱丕丿蹖貙 丿賵賲蹖賳 賵 丌禺乇蹖賳 賲噩賲賵毓賴 蹖 卮毓乇 丕蹖卮丕賳貙 亘丕 毓賳賵丕賳 芦鬲讴 诏賵蹖蹖禄 讴賴 丿乇 爻丕賱1957賲蹖賱丕丿蹖 賲賳鬲卮乇 卮丿賴 丕爻鬲貙 賵 丿乇 丌賳 芦乇賮鬲丕乇賴丕貙 讴乇丿丕乇賴丕蹖 丕賳爻丕賳蹖貙 賵 乇賵丕亘胤 毓丕卮賯丕賳賴禄貙 亘蹖鈥� 倬乇丿賴 亘丕夭賳賲丕蹖蹖 卮丿賴 丕爻鬲貨 丕蹖卮丕賳貙 丿乇 爻丕賱1960賲蹖賱丕丿蹖貙 诏夭蹖丿賴 蹖 丕卮毓丕乇 芦诏蹖賵賲 丌倬賵賱蹖賳乇禄貙 賵 亘丕夭賳賲丕蹖蹖 丕夭 丌賳鈥� 卮毓乇賴丕 乇丕 賳蹖夭貙 賲賳鬲卮乇 讴乇丿賳丿貙 賵 丿乇 賴賲丕賳爻丕賱貙 丌賲賵夭卮 丕丿亘蹖丕鬲 丿乇 丿丕賳卮讴丿賴 蹖 芦爻蹖賳賲丕禄貙 亘乇 丿賵卮 丕蹖卮丕賳貙 诏匕丕卮鬲賴 卮丿貨
賳禺爻鬲蹖賳 賳賲丕蹖卮賳丕賲賴 蹖 芦賲蹖賱丕賳 讴賵賳丿乇丕禄貙 亘丕 毓賳賵丕賳 芦賲丕賱讴丕賳 讴賱蹖丿賴丕禄 丕爻鬲貙 讴賴 亘賴 丿賵乇丕賳 鬲乇爻貙 賵 禺卮賵賳鬲貙 丿乇 賴賳诏丕賲 丕爻鬲蹖賱丕蹖 芦丌賱賲丕賳禄 賲蹖鈥屬矩必ж藏� 丿乇 爻丕賱1961賲蹖賱丕丿蹖貙 亘賴 趩丕倬 乇爻蹖丿.貨 芦讴賵賳丿乇丕禄貙 丿乇 亘蹖賳 爻丕賱鈥屬囏й�1958賲蹖賱丕丿蹖貙 鬲丕 爻丕賱1968賲蹖賱丕丿蹖貙 丿賴 丿丕爻鬲丕賳貙 亘丕 毓賳賵丕賳 芦毓卮賯鈥屬囏й� 禺賳丿賴 丿丕乇禄 賲蹖鈥屬嗁堐屫迟嗀� 讴賴 丿乇 丌賳鈥屬囏� 亘賴 芦乇丕亘胤賴 蹖 賮乇丿 亘丕 丕噩鬲賲丕毓禄 倬乇丿丕禺鬲賴 丕賳丿貙 賵 丿乇賵賳賲丕蹖賴 蹖 亘爻蹖丕乇蹖 丕夭 乇賲丕賳鈥屬囏й� 丌蹖賳丿賴鈥� 蹖 丕蹖卮丕賳 賳蹖夭貙 丿乇 丌賳賴丕 乇賵賳賲丕蹖蹖 賲蹖鈥屫促堎嗀� 丕賱亘鬲賴 芦讴賵賳丿乇丕禄 賳蹖夭貙 亘賴 賴賲乇丕賴 亘爻蹖丕乇蹖 丕夭 賴賳乇賲賳丿丕賳貙 賵 賳賵蹖爻賳丿诏丕賳 芦趩讴爻賱賵丕讴蹖禄 丌賳乇賵夭賴丕貙 亘賴 丨賲丕蹖鬲 丕夭 噩賳亘卮 丕氐賱丕丨鈥� 胤賱亘丕賳賴 蹖 丨夭亘 讴賲賵賳蹖爻鬲 芦趩讴爻賱賵丕讴蹖禄貙 丿乇 爻丕賱1968賲蹖賱丕丿蹖貙 倬乇丿丕禺鬲賴 丕賳丿貨 倬爻 丕夭 丕卮睾丕賱 讴卮賵乇貙 鬲賵爻胤 丕乇鬲卮 芦卮賵乇賵蹖禄貙 丿乇 賲丕賴 丕賵鬲 爻丕賱1968賲蹖賱丕丿蹖貙 賳丕賲 丕蹖卮丕賳 賳蹖夭貙 丿乇 賮賴乇爻鬲 爻蹖丕賴 賯乇丕乇 诏乇賮鬲貙 賵 丕賳鬲卮丕乇 讴鬲丕亘鈥屬囏й屫簇� 賵 乇賵賳賲丕蹖蹖 丕夭 丌賳鈥屬囏� 丿乇 讴鬲丕亘禺丕賳賴鈥� 賴丕貙 賯丿睾賳 卮丿貙 賵 爻倬爻 蹖讴爻丕賱 亘毓丿貙 丕夭 丿丕賳卮讴丿賴 蹖 芦爻蹖賳賲丕禄 賳蹖夭 丕禺乇丕噩 诏乇丿蹖丿貨 丿乇 丕蹖賳 賲丿鬲貙 芦讴賵賳丿乇丕禄 賴夭蹖賳賴 賴丕蹖 禺賵丿 乇丕 亘丕 賳賵卮鬲賳 胤丕賱毓鈥� 亘蹖賳蹖鈥屬囏й屰� 丿乇賲蹖鈥屫①堌必嗀� 胤丕賱毓鈥屫ㄛ屬嗃屸€屬囏� 丕賱亘鬲賴 讴賴 亘丕 賳丕賲 芦賲蹖賱丕賳 讴賵賳丿乇丕禄 趩丕倬 賳賲蹖鈥屫簇嗀� 倬爻 丕夭 賲丿鬲蹖貙 亘丕夭 亘爻蹖丕乇 賲丨亘賵亘 卮丿賳丿.貨 禺賵丿 芦讴賵賳丿乇丕禄 丿乇 賴賲蹖賳 讴鬲丕亘 芦禺賳丿賴 賵 賮乇丕賲賵卮蹖禄貙 亘賴 爻乇賳賵卮鬲蹖 讴賴 丿趩丕乇卮 卮丿賴 亘賵丿貙 丕卮丕乇賴貙 賵 卮乇丨 丌賳 乇丕 亘蹖丕賳 賲蹖鈥屭┵嗀� 丕蹖卮丕賳 丿乇 丌賳 丿賵乇丕賳貙 乇賲丕賳 芦夭賳丿诏蹖 噩丕蹖 丿蹖诏乇 丕爻鬲禄 乇丕 賳蹖夭貙 亘賴 夭亘丕賳 芦賮乇丕賳爻賴禄 賲蹖鈥屬嗁堐屫迟嗀� 讴賴 丿乇 爻丕賱1973賲蹖賱丕丿蹖貙 丿乇 芦賮乇丕賳爻賴禄 趩丕倬 賲蹖鈥屫促堌� 丕賱亘鬲賴 丕蹖卮丕賳 賳禺爻鬲蹖賳 乇賲丕賳鈥� 禺賵蹖卮貙 亘丕 毓賳賵丕賳 芦卮賵禺蹖禄 乇丕貙 丿乇 爻丕賱1967賲蹖賱丕丿蹖 賳賵卮鬲賴 丕賳丿貨 芦卮賵禺蹖禄 丕夭 夭亘丕賳 趩賳丿蹖賳 丿丕爻鬲丕賳鈥屭堌� 乇賵丕蹖鬲 賲蹖鈥屫促堌� 賵 鬲賳賴丕 讴鬲丕亘 芦讴賵賳丿乇丕禄 丕爻鬲貙 讴賴 丿乇 丌賳 禺賵丿 賳賵蹖爻賳丿賴貙 乇丕賵蹖 丿丕爻鬲丕賳 賳蹖爻鬲貨 丕夭 乇賲丕賳 芦卮賵禺蹖禄貙 賮蹖賱賲蹖 賳蹖夭 丿乇 讴卮賵乇 芦趩讴禄 爻丕禺鬲賴 卮丿賴鈥� 丕爻鬲.貨 丿乇 爻丕賱1975賲蹖賱丕丿蹖貙 芦讴賵賳丿乇丕禄 亘賴 賴賲乇丕賴 賴賲爻乇卮 芦賵乇丕禄貙 亘賴 丿毓賵鬲 丿丕賳卮诏丕賴 芦乇賳禄貙 亘賴 芦賮乇丕賳爻賴禄 乇賮鬲賳丿貙 賵 丿乇 丌賳鈥屫� 亘賵丿 讴賴 賴賲蹖賳 讴鬲丕亘 芦禺賳丿賴 賵 賮乇丕賲賵卮蹖禄 乇丕 亘賳賵卮鬲賳丿貨
丿乇 丕蹖賳 讴鬲丕亘貙 丕蹖卮丕賳 丕夭 賵丕禺賵丕賴蹖賴丕蹖 亘爻蹖丕乇蹖 丕夭 賲乇丿賲丕賳 芦趩讴爻賱賵丕讴蹖禄貙 讴賴 亘賴 芦丕鬲丨丕丿 卮賵乇賵蹖禄 丿丕卮鬲賳丿貙 爻禺賳 賲蹖鈥屭堐屬嗀� 讴鬲丕亘 芦禺賳丿賴 賵 賮乇丕賲賵卮蹖禄貙 鬲乇讴蹖亘 賳丕亘丕賵乇丕賳賴 丕蹖 丕夭 蹖讴 乇賲丕賳貙 賵 賳蹖夭 爻乇蹖 丿丕爻鬲丕賳賴丕蹖 讴賵鬲丕賴貙 賵 丕賳丿蹖卮賴 賴丕蹖 禺賵丿 賳賵蹖爻賳丿賴鈥� 賴爻鬲賳丿貨 丿乇 爻丕賱1984賲蹖賱丕丿蹖貙 丕蹖卮丕賳 讴鬲丕亘 芦爻賻亘購讴蹖 鬲丨賲賱 賳丕倬匕蹖乇 賴爻鬲蹖 (亘丕 毓賳賵丕賳 芦亘丕乇 賴爻鬲蹖禄貙 鬲乇噩賲賴 卮丿賴鈥�)禄 乇丕 賳賵卮鬲賳丿貨 芦亘丕乇 賴爻鬲蹖禄貙 賲丨亘賵亘鈥屫臂屬� 讴鬲丕亘 芦賲蹖賱丕賳 讴賵賳丿乇丕禄貙 亘賴 卮賲丕乇 丕爻鬲貨 芦爻賻亘購讴蹖 鬲丨賲賱鈥屬嗀з矩佰屫� 賴爻鬲蹖禄貙 亘賴 賲卮讴賱丕鬲 蹖讴 夭賵噩 芦趩讴禄貙 亘丕 蹖讴丿蹖诏乇貙 賵 丿卮賵丕乇蹖 爻丕夭诏丕乇蹖 亘丕 夭賳丿诏蹖貙 丿乇 芦趩讴爻賱賵丕讴蹖禄貙 賲蹖鈥屬矩必ж操嗀� 丿乇 爻丕賱1988賲蹖賱丕丿蹖貙 讴丕乇诏乇丿丕賳 芦丌賲乇蹖讴丕蹖蹖禄貙 芦賮蹖賱蹖倬 讴賵賮賲丕賳禄貙 賮蹖賱賲蹖 丕夭 乇賵蹖 讴鬲丕亘 賵 亘丕 賴賲蹖賳 賳丕賲 爻丕禺鬲賳丿貨 亘丕 賵噩賵丿 丕蹖賳讴賴 芦讴賵賳丿乇丕禄 亘丕賵乇 丿丕乇丿貙 讴賴 乇賲丕賳鈥屬囏й屫� 亘乇丕蹖 爻丕禺鬲 賮蹖賱賲貙 賲賳丕爻亘 賳蹖爻鬲賳丿貙 賵賱蹖 丿乇 爻丕禺鬲 賮蹖賱賲 芦爻賻亘購讴蹖 鬲丨賲賱鈥屬嗀з矩佰屫� 賴爻鬲蹖禄貙 亘賴 毓賳賵丕賳 賲卮丕賵乇貙 丿乇 爻丕禺鬲 丌賳 賮蹖賱賲貙 賴賲讴丕乇蹖 丿丕卮鬲賴貨 丿乇 爻丕賱 1990賲蹖賱丕丿蹖 芦賲蹖賱丕賳 讴賵賳丿乇丕禄 讴鬲丕亘 芦噩丕賵丿丕賳诏蹖禄 乇丕貙 亘賴 亘丕夭丕乇 禺賵丕賳卮诏乇丕賳 鬲卮賳賴 蹖 賵丕跇賴 賴丕蹖 禺賵蹖卮貙 賴丿蹖賴 丿丕丿賳丿.貨 丿乇 爻賳噩卮 亘丕 爻丕蹖乇 丌孬丕乇 芦讴賵賳丿乇丕禄貙 讴賴 亘蹖卮鈥屫� 丕賳丿蹖卮賴 賴丕蹖 爻蹖丕爻蹖 丕蹖卮丕賳 乇丕 賲蹖鈥屬嗁呚й屫з嗀嗀� 賵 賴賳賵夭 賴賲 賲蹖賳賲丕蹖丕賳賳丿貙 丕蹖賳 讴鬲丕亘 丿乇賵賳鈥屬呚й屬� 蹖 賮賱爻賮蹖 跇乇賮鬲乇蹖 丿丕乇丿貙 賵 丕賳丿蹖卮賴 賴丕蹖 噩賴丕賳蹖鈥屫臂� 乇丕貙 丿乇 趩蹖賳卮 賵丕跇賴 賴丕蹖 禺賵蹖卮貙 亘诏賳噩丕賳蹖丿賴 丕爻鬲
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 04/09/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 03/10/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
The Book of Laughter and Forgetting is a novel by Milan Kundera, published in France in 1979. It is composed of seven separate narratives united by some common themes. The book considers the nature of forgetting as it occurs in history, politics and life in general.
The stories also contain elements found in the genre of magic realism. Plot summary: Part One: Lost Letters. Part Two: Mama. Part Three: The Angels. Part Four: Lost Letters. Part Five: Litost. Part Six: The Angels. Part Seven: The Border.
讴鬲丕亘 禺賳丿賴 賵 賮乇丕賲賵卮蹖 - 賲蹖賱丕賳 讴賵賳丿乇丕 (乇賵卮賳诏乇丕賳)貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 賲丕賴 爻倬鬲丕賲亘乇 爻丕賱2008賲蹖賱丕丿蹖
毓賳賵丕賳: 讴鬲丕亘 禺賳丿賴 賵 賮乇丕賲賵卮蹖貨 賳賵蹖爻賳丿賴: 賲蹖賱丕賳 讴賵賳丿乇丕貨 賲鬲乇噩賲: 賮乇賵睾 倬賵乇 蹖丕賵乇蹖貨 鬲賴乇丕賳貙 乇賵卮賳诏乇丕賳貨 爻丕賱1372貨 丿乇162氐貨 趩丕倬 丿蹖诏乇 爻丕賱1377貨
卮丕亘讴9645512840貨 趩丕倬 爻賵賲 爻丕賱1381貨 趩丕倬 倬賳噩賲 爻丕賱1385貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 趩讴 - 爻丿賴 蹖20賲
乇賲丕賳: 賴賮鬲 乇丕賵蹖 噩丿丕诏丕賳賴鈥� 丿丕乇丿貙 亘丕 丿丕爻鬲丕賳鈥屬囏й屰� 讴賴 賲囟丕賲蹖賳 賲卮鬲乇讴蹖 賴賲趩賵賳: 亘乇乇爻蹖 胤亘蹖毓鬲 賮乇丕賲賵卮蹖 丿乇 鬲丕乇蹖禺貙 爻蹖丕爻鬲 賵 亘賴 胤賵乇 讴賱蹖 夭賳丿诏蹖貙 丿丕乇賳丿貨 丿丕爻鬲丕賳賴丕 毓賳丕氐乇蹖 丕夭 乇卅丕賱蹖爻賲 噩丕丿賵蹖蹖 丿乇 禺賵丿 賳賴賮鬲賴 丿丕乇賳丿
趩讴蹖丿賴 丿丕爻鬲丕賳: 亘禺卮 丕賵賱: 賳丕賲賴鈥� 賴丕蹖 诏賲卮丿賴貨 亘禺卮 丿賵賲: 賲丕丿乇貨 亘禺卮 爻賵賲: 賮乇卮鬲诏丕賳貨 亘禺卮 趩賴丕乇賲: 賳丕賲賴鈥� 賴丕蹖 诏賲卮丿賴貨 亘禺卮 倬賳噩賲: 賱蹖鬲爻鬲貨 亘禺卮 卮卮賲: 賮乇卮鬲诏丕賳貨 亘禺卮 賴賮鬲賲: 賲乇夭貨
倬丿乇 芦賲蹖賱丕賳 讴賵賳丿乇丕禄貙 賳賵丕夭賳丿賴 蹖 倬蹖丕賳賵貙 賵 卮丕诏乇丿 芦賱卅賵卮 蹖丕賳丕趩讴 (丌賴賳诏爻丕夭 趩讴)禄貙 亘賵丿賳丿貨 毓賱丕賯賴 蹖 芦讴賵賳丿乇丕禄 亘賴 賲賵爻蹖賯蹖貙 丿乇 亘爻蹖丕乇蹖 丕夭 丌孬丕乇 丕蹖卮丕賳貙 亘賴 賵蹖跇賴 丿乇 乇賲丕賳 芦卮賵禺蹖禄 倬蹖丿丕爻鬲貨 芦賲蹖賱丕賳 讴賵賳丿乇丕禄 爻乇丕蹖卮 卮毓乇 乇丕貙 丕夭 趩賴丕乇丿賴 爻丕賱诏蹖貙 丌睾丕夭 讴乇丿賳丿貙 賵 丿乇 賴賮丿賴 爻丕賱诏蹖貙 倬爻 丕夭 卮讴爻鬲 芦丌賱賲丕賳禄貙 亘賴 丨夭亘 讴賲賵賳蹖爻鬲 讴卮賵乇 倬蹖賵爻鬲賳丿貙 賵 丿乇 爻丕賱1948賲蹖賱丕丿蹖 賵丕乇丿 丿丕賳卮讴丿賴 蹖 芦爻蹖賳賲丕禄 丿乇 芦倬乇丕诏禄 卮丿賳丿貨 丕蹖卮丕賳 丿乇 爻丕賱1950賲蹖賱丕丿蹖貙 丕夭 丨夭亘 讴賲賵賳蹖爻鬲 丕禺乇丕噩 卮丿賳丿貨 賳禺爻鬲蹖賳 賲噩賲賵毓賴 蹖 卮毓乇 丕蹖卮丕賳貙 亘丕 毓賳賵丕賳 芦丕賳爻丕賳貨 亘賵爻鬲丕賳 倬賴賳丕賵乇禄 丕爻鬲貙 讴賴 丿乇 丌賳 讴鬲丕亘貙 禺賵卮亘蹖賳蹖 賲賵噩賵丿貙 賵 丕丿亘蹖丕鬲 丿賵賱鬲蹖 乇丕貙 賲賵乇丿 賳賯丿 賯乇丕乇 丿丕丿賴 丕爻鬲貙 丿乇 爻丕賱1953賲蹖賱丕丿蹖貙 丿賵賲蹖賳 賵 丌禺乇蹖賳 賲噩賲賵毓賴 蹖 卮毓乇 丕蹖卮丕賳貙 亘丕 毓賳賵丕賳 芦鬲讴 诏賵蹖蹖禄 讴賴 丿乇 爻丕賱1957賲蹖賱丕丿蹖 賲賳鬲卮乇 卮丿賴 丕爻鬲貙 賵 丿乇 丌賳 芦乇賮鬲丕乇賴丕貙 讴乇丿丕乇賴丕蹖 丕賳爻丕賳蹖貙 賵 乇賵丕亘胤 毓丕卮賯丕賳賴禄貙 亘蹖鈥� 倬乇丿賴 亘丕夭賳賲丕蹖蹖 卮丿賴 丕爻鬲貨 丕蹖卮丕賳貙 丿乇 爻丕賱1960賲蹖賱丕丿蹖貙 诏夭蹖丿賴 蹖 丕卮毓丕乇 芦诏蹖賵賲 丌倬賵賱蹖賳乇禄貙 賵 亘丕夭賳賲丕蹖蹖 丕夭 丌賳鈥� 卮毓乇賴丕 乇丕 賳蹖夭貙 賲賳鬲卮乇 讴乇丿賳丿貙 賵 丿乇 賴賲丕賳爻丕賱貙 丌賲賵夭卮 丕丿亘蹖丕鬲 丿乇 丿丕賳卮讴丿賴 蹖 芦爻蹖賳賲丕禄貙 亘乇 丿賵卮 丕蹖卮丕賳貙 诏匕丕卮鬲賴 卮丿貨
賳禺爻鬲蹖賳 賳賲丕蹖卮賳丕賲賴 蹖 芦賲蹖賱丕賳 讴賵賳丿乇丕禄貙 亘丕 毓賳賵丕賳 芦賲丕賱讴丕賳 讴賱蹖丿賴丕禄 丕爻鬲貙 讴賴 亘賴 丿賵乇丕賳 鬲乇爻貙 賵 禺卮賵賳鬲貙 丿乇 賴賳诏丕賲 丕爻鬲蹖賱丕蹖 芦丌賱賲丕賳禄 賲蹖鈥屬矩必ж藏� 丿乇 爻丕賱1961賲蹖賱丕丿蹖貙 亘賴 趩丕倬 乇爻蹖丿.貨 芦讴賵賳丿乇丕禄貙 丿乇 亘蹖賳 爻丕賱鈥屬囏й�1958賲蹖賱丕丿蹖貙 鬲丕 爻丕賱1968賲蹖賱丕丿蹖貙 丿賴 丿丕爻鬲丕賳貙 亘丕 毓賳賵丕賳 芦毓卮賯鈥屬囏й� 禺賳丿賴 丿丕乇禄 賲蹖鈥屬嗁堐屫迟嗀� 讴賴 丿乇 丌賳鈥屬囏� 亘賴 芦乇丕亘胤賴 蹖 賮乇丿 亘丕 丕噩鬲賲丕毓禄 倬乇丿丕禺鬲賴 丕賳丿貙 賵 丿乇賵賳賲丕蹖賴 蹖 亘爻蹖丕乇蹖 丕夭 乇賲丕賳鈥屬囏й� 丌蹖賳丿賴鈥� 蹖 丕蹖卮丕賳 賳蹖夭貙 丿乇 丌賳賴丕 乇賵賳賲丕蹖蹖 賲蹖鈥屫促堎嗀� 丕賱亘鬲賴 芦讴賵賳丿乇丕禄 賳蹖夭貙 亘賴 賴賲乇丕賴 亘爻蹖丕乇蹖 丕夭 賴賳乇賲賳丿丕賳貙 賵 賳賵蹖爻賳丿诏丕賳 芦趩讴爻賱賵丕讴蹖禄 丌賳乇賵夭賴丕貙 亘賴 丨賲丕蹖鬲 丕夭 噩賳亘卮 丕氐賱丕丨鈥� 胤賱亘丕賳賴 蹖 丨夭亘 讴賲賵賳蹖爻鬲 芦趩讴爻賱賵丕讴蹖禄貙 丿乇 爻丕賱1968賲蹖賱丕丿蹖貙 倬乇丿丕禺鬲賴 丕賳丿貨 倬爻 丕夭 丕卮睾丕賱 讴卮賵乇貙 鬲賵爻胤 丕乇鬲卮 芦卮賵乇賵蹖禄貙 丿乇 賲丕賴 丕賵鬲 爻丕賱1968賲蹖賱丕丿蹖貙 賳丕賲 丕蹖卮丕賳 賳蹖夭貙 丿乇 賮賴乇爻鬲 爻蹖丕賴 賯乇丕乇 诏乇賮鬲貙 賵 丕賳鬲卮丕乇 讴鬲丕亘鈥屬囏й屫簇� 賵 乇賵賳賲丕蹖蹖 丕夭 丌賳鈥屬囏� 丿乇 讴鬲丕亘禺丕賳賴鈥� 賴丕貙 賯丿睾賳 卮丿貙 賵 爻倬爻 蹖讴爻丕賱 亘毓丿貙 丕夭 丿丕賳卮讴丿賴 蹖 芦爻蹖賳賲丕禄 賳蹖夭 丕禺乇丕噩 诏乇丿蹖丿貨 丿乇 丕蹖賳 賲丿鬲貙 芦讴賵賳丿乇丕禄 賴夭蹖賳賴 賴丕蹖 禺賵丿 乇丕 亘丕 賳賵卮鬲賳 胤丕賱毓鈥� 亘蹖賳蹖鈥屬囏й屰� 丿乇賲蹖鈥屫①堌必嗀� 胤丕賱毓鈥屫ㄛ屬嗃屸€屬囏� 丕賱亘鬲賴 讴賴 亘丕 賳丕賲 芦賲蹖賱丕賳 讴賵賳丿乇丕禄 趩丕倬 賳賲蹖鈥屫簇嗀� 倬爻 丕夭 賲丿鬲蹖貙 亘丕夭 亘爻蹖丕乇 賲丨亘賵亘 卮丿賳丿.貨 禺賵丿 芦讴賵賳丿乇丕禄 丿乇 賴賲蹖賳 讴鬲丕亘 芦禺賳丿賴 賵 賮乇丕賲賵卮蹖禄貙 亘賴 爻乇賳賵卮鬲蹖 讴賴 丿趩丕乇卮 卮丿賴 亘賵丿貙 丕卮丕乇賴貙 賵 卮乇丨 丌賳 乇丕 亘蹖丕賳 賲蹖鈥屭┵嗀� 丕蹖卮丕賳 丿乇 丌賳 丿賵乇丕賳貙 乇賲丕賳 芦夭賳丿诏蹖 噩丕蹖 丿蹖诏乇 丕爻鬲禄 乇丕 賳蹖夭貙 亘賴 夭亘丕賳 芦賮乇丕賳爻賴禄 賲蹖鈥屬嗁堐屫迟嗀� 讴賴 丿乇 爻丕賱1973賲蹖賱丕丿蹖貙 丿乇 芦賮乇丕賳爻賴禄 趩丕倬 賲蹖鈥屫促堌� 丕賱亘鬲賴 丕蹖卮丕賳 賳禺爻鬲蹖賳 乇賲丕賳鈥� 禺賵蹖卮貙 亘丕 毓賳賵丕賳 芦卮賵禺蹖禄 乇丕貙 丿乇 爻丕賱1967賲蹖賱丕丿蹖 賳賵卮鬲賴 丕賳丿貨 芦卮賵禺蹖禄 丕夭 夭亘丕賳 趩賳丿蹖賳 丿丕爻鬲丕賳鈥屭堌� 乇賵丕蹖鬲 賲蹖鈥屫促堌� 賵 鬲賳賴丕 讴鬲丕亘 芦讴賵賳丿乇丕禄 丕爻鬲貙 讴賴 丿乇 丌賳 禺賵丿 賳賵蹖爻賳丿賴貙 乇丕賵蹖 丿丕爻鬲丕賳 賳蹖爻鬲貨 丕夭 乇賲丕賳 芦卮賵禺蹖禄貙 賮蹖賱賲蹖 賳蹖夭 丿乇 讴卮賵乇 芦趩讴禄 爻丕禺鬲賴 卮丿賴鈥� 丕爻鬲.貨 丿乇 爻丕賱1975賲蹖賱丕丿蹖貙 芦讴賵賳丿乇丕禄 亘賴 賴賲乇丕賴 賴賲爻乇卮 芦賵乇丕禄貙 亘賴 丿毓賵鬲 丿丕賳卮诏丕賴 芦乇賳禄貙 亘賴 芦賮乇丕賳爻賴禄 乇賮鬲賳丿貙 賵 丿乇 丌賳鈥屫� 亘賵丿 讴賴 賴賲蹖賳 讴鬲丕亘 芦禺賳丿賴 賵 賮乇丕賲賵卮蹖禄 乇丕 亘賳賵卮鬲賳丿貨
丿乇 丕蹖賳 讴鬲丕亘貙 丕蹖卮丕賳 丕夭 賵丕禺賵丕賴蹖賴丕蹖 亘爻蹖丕乇蹖 丕夭 賲乇丿賲丕賳 芦趩讴爻賱賵丕讴蹖禄貙 讴賴 亘賴 芦丕鬲丨丕丿 卮賵乇賵蹖禄 丿丕卮鬲賳丿貙 爻禺賳 賲蹖鈥屭堐屬嗀� 讴鬲丕亘 芦禺賳丿賴 賵 賮乇丕賲賵卮蹖禄貙 鬲乇讴蹖亘 賳丕亘丕賵乇丕賳賴 丕蹖 丕夭 蹖讴 乇賲丕賳貙 賵 賳蹖夭 爻乇蹖 丿丕爻鬲丕賳賴丕蹖 讴賵鬲丕賴貙 賵 丕賳丿蹖卮賴 賴丕蹖 禺賵丿 賳賵蹖爻賳丿賴鈥� 賴爻鬲賳丿貨 丿乇 爻丕賱1984賲蹖賱丕丿蹖貙 丕蹖卮丕賳 讴鬲丕亘 芦爻賻亘購讴蹖 鬲丨賲賱 賳丕倬匕蹖乇 賴爻鬲蹖 (亘丕 毓賳賵丕賳 芦亘丕乇 賴爻鬲蹖禄貙 鬲乇噩賲賴 卮丿賴鈥�)禄 乇丕 賳賵卮鬲賳丿貨 芦亘丕乇 賴爻鬲蹖禄貙 賲丨亘賵亘鈥屫臂屬� 讴鬲丕亘 芦賲蹖賱丕賳 讴賵賳丿乇丕禄貙 亘賴 卮賲丕乇 丕爻鬲貨 芦爻賻亘購讴蹖 鬲丨賲賱鈥屬嗀з矩佰屫� 賴爻鬲蹖禄貙 亘賴 賲卮讴賱丕鬲 蹖讴 夭賵噩 芦趩讴禄貙 亘丕 蹖讴丿蹖诏乇貙 賵 丿卮賵丕乇蹖 爻丕夭诏丕乇蹖 亘丕 夭賳丿诏蹖貙 丿乇 芦趩讴爻賱賵丕讴蹖禄貙 賲蹖鈥屬矩必ж操嗀� 丿乇 爻丕賱1988賲蹖賱丕丿蹖貙 讴丕乇诏乇丿丕賳 芦丌賲乇蹖讴丕蹖蹖禄貙 芦賮蹖賱蹖倬 讴賵賮賲丕賳禄貙 賮蹖賱賲蹖 丕夭 乇賵蹖 讴鬲丕亘 賵 亘丕 賴賲蹖賳 賳丕賲 爻丕禺鬲賳丿貨 亘丕 賵噩賵丿 丕蹖賳讴賴 芦讴賵賳丿乇丕禄 亘丕賵乇 丿丕乇丿貙 讴賴 乇賲丕賳鈥屬囏й屫� 亘乇丕蹖 爻丕禺鬲 賮蹖賱賲貙 賲賳丕爻亘 賳蹖爻鬲賳丿貙 賵賱蹖 丿乇 爻丕禺鬲 賮蹖賱賲 芦爻賻亘購讴蹖 鬲丨賲賱鈥屬嗀з矩佰屫� 賴爻鬲蹖禄貙 亘賴 毓賳賵丕賳 賲卮丕賵乇貙 丿乇 爻丕禺鬲 丌賳 賮蹖賱賲貙 賴賲讴丕乇蹖 丿丕卮鬲賴貨 丿乇 爻丕賱 1990賲蹖賱丕丿蹖 芦賲蹖賱丕賳 讴賵賳丿乇丕禄 讴鬲丕亘 芦噩丕賵丿丕賳诏蹖禄 乇丕貙 亘賴 亘丕夭丕乇 禺賵丕賳卮诏乇丕賳 鬲卮賳賴 蹖 賵丕跇賴 賴丕蹖 禺賵蹖卮貙 賴丿蹖賴 丿丕丿賳丿.貨 丿乇 爻賳噩卮 亘丕 爻丕蹖乇 丌孬丕乇 芦讴賵賳丿乇丕禄貙 讴賴 亘蹖卮鈥屫� 丕賳丿蹖卮賴 賴丕蹖 爻蹖丕爻蹖 丕蹖卮丕賳 乇丕 賲蹖鈥屬嗁呚й屫з嗀嗀� 賵 賴賳賵夭 賴賲 賲蹖賳賲丕蹖丕賳賳丿貙 丕蹖賳 讴鬲丕亘 丿乇賵賳鈥屬呚й屬� 蹖 賮賱爻賮蹖 跇乇賮鬲乇蹖 丿丕乇丿貙 賵 丕賳丿蹖卮賴 賴丕蹖 噩賴丕賳蹖鈥屫臂� 乇丕貙 丿乇 趩蹖賳卮 賵丕跇賴 賴丕蹖 禺賵蹖卮貙 亘诏賳噩丕賳蹖丿賴 丕爻鬲
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 04/09/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 03/10/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
December 6, 2020
Just like you've gotta travel to the city of Prague in the Czech Republic to feel it's overpoweringly Wonderland-esque vibe, you must read this novel. Can't tell you about it, you just have to do it yourself. Its bonkers-brilliant! Phantasmagoric originality like this--a virtual valentine full of passions submerged & portends of an oversoul/celestial awareness to that fantastic aforementioned European city--comes very seldom in a reader's so-sweet life. You won't truly forget The Book of Laughter and Forgetting.
March 11, 2020
Safe to say Kundera isn't the favourite writer of many feminists. His male characters tend to be hedonistic womanisers who have a tendency to exonerate their egotistic behaviour by positing sexual dichotomies and generalisations. This kind of thing: "For he was aware of the great secret of life: Women don't look for handsome men. Women look for men who have had beautiful women. Having an ugly mistress is therefore a fatal mistake." Now this isn't by any stretch of the imagination a "great secret of life". There's some truth in it but not enough, no matter how much irony you lace it with, to make it some kind of code by which to live. He also sometimes has his male characters fantasise about rape. Harvey Weinstein probably wouldn't have too many problems identifying with a Kundera lead male character. And Kundera returns to this male so often in his fiction that you sense he might be a little vain about his own sexual exploits. Frankly, it can get irritating. Roland Barthes urged readers to separate a literary work from its creator in order to liberate the text from interpretive tyranny. DH Lawrence said, trust the tale, not the teller. But ironically there was an awful lot of the teller in Lawrence's tales. It isn't always easy not to read swathes of autobiography into a writer's work, especially when, as Kundera and Lawrence do, they almost obsessively return to the same characters and themes over and over again. At one point in the novel Kundera tells us love is continual interrogation. "I don't know of a better definition of love." I'm not sure many people would agree. More likely, love is a continual turning of the other cheek. Interrogation comes only at times of crisis. But again it compels us to form an idea of the man Kundera is. He's a man always looking for the exit. But Kundera is aware of this conundrum and makes a point now and again of making an appearance as the author, sometimes disagreeing with something one of his characters thinks or says. In this way he turns ideas and actions into questions. Kundera isn't interested in moral or any other kind of certainties. He's continually crossing borders both physically and figuratively in his novels. Exploring those crude common delineating lines that provide a sham sense of identity. So when he has a character fantasise about rape he's not giving a Harvey Weinstein a leg up, he's not deploying some crass moral wall chart, as commercial fiction does, by which we are to evaluate his characters; he's plumbing the wellsprings of the human condition and compelling us to ask difficult questions. Basically, to my mind, it's crass and lazy to dismiss him as a misogynist.
The novel itself takes a while to get going but the final stretch is fabulous. In his prime, his novels always have an eloquent purity of expression and seem effortless as if they grew organically from a seed. Somewhere between 4 and 5 stars.
As a footnote I started watching the Dustin Hoffman film Little Big Man the other night. Early on a teenage white girl is brought into a Cheyenne camp and is worried she's going to be raped. It's quickly made obvious she harbours a desire to be raped and is disappointed she isn't. All done to get a pornographic giggle from the audience while simultaneously showing us in the most vulgar patronising form imaginable that Cheyenne men aren't animals. At that point I turned the thing off. That's what I call offensive.
The novel itself takes a while to get going but the final stretch is fabulous. In his prime, his novels always have an eloquent purity of expression and seem effortless as if they grew organically from a seed. Somewhere between 4 and 5 stars.
As a footnote I started watching the Dustin Hoffman film Little Big Man the other night. Early on a teenage white girl is brought into a Cheyenne camp and is worried she's going to be raped. It's quickly made obvious she harbours a desire to be raped and is disappointed she isn't. All done to get a pornographic giggle from the audience while simultaneously showing us in the most vulgar patronising form imaginable that Cheyenne men aren't animals. At that point I turned the thing off. That's what I call offensive.
January 20, 2023
This work by , published in 1979 is composed of seven separate narratives united by some common themes. The book considers the nature of forgetting as it occurs in history, politics and life in general. The stories also contain elements found in the genre of Magical Realism (a la ). best explains it: 'A whirling dance of a book... Kundera is a self confessed hedonist in a world beset by politics, and his marvellous novel mingles a hedonist's love of eroticism, fantasy and fun with knife-sharp political satire'. The book is set in the background of Communist ruled Czechoslovakia. A 7 out of 12, strong Three Star read for me
2012 and 2011 read
2012 and 2011 read
October 30, 2022
賳丨賳 噩賲賷毓丕 兀爻乇賶 鬲氐賵乇 賲爻賰賵賰 毓賲丕 賴賵 賲賴賲 賵 賲丕 賱賷爻 賰匕賱賰. 廿匕 賳乇賰夭 賳馗乇賳丕 丕賱賯賱賯 毓賱賶 丕賱賲賴賲 亘賷賳賲丕 禺賽賮賷丞 賷卮賳 丕賱鬲丕賮賴 賲賳 賵乇丕亍 馗賴賵乇賳丕 丨乇亘賴 丕賱鬲賷 爻鬲睾賷乇 丕賱毓丕賱賲 亘毓賲賯 賵 鬲賳賯囟 毓賱賷賳丕 賮賷 睾賮賱丞 賲賳丕.賴匕丕 丕賱賰鬲丕亘 睾乇賷亘 毓噩賷亘 賵 賲乇賷亘 兀賷囟丕. 毓丕賱賲 賰賵賳丿賷乇丕 賴賵 毓丕賱賲 賲鬲賲賷夭 賱丕 卮賰 賮賷 匕賱賰 賮賴賵 賷禺賱胤 丕賱噩丿 亘丕賱賴夭賱 賵 丕賱賮賱爻賮丞 亘丕賱亘爻丕胤丞 賵 丕賱爻賷丕爻丞 亘丕賱賮賳 亘丕賱鬲丕乇賷禺 亘丕賱賱賴賵 亘丕賱毓亘孬 賵 賷兀禺匕賰 賮賷 乇丨賱丕鬲 胤賵賷賱丞 孬賲 賷毓賵丿 亘賰 賲乇丞 兀禺乇賶 廿賱賶 賳賯胤丞 丕賱亘丿丕賷丞 丿賵賳 兀賳 鬲丿乇賷 賮賷賲丕 匕賴亘鬲 賵 賱賲賻 乇噩毓鬲.
賴賵 賰鬲丕亘 兀賯乇亘 賱賱乇賵丕賷丞 賷賳賯爻賲 廿賱賶 爻亘毓丞 兀噩夭丕亍. 賴匕丕 丕賱乇賯賲 丕賱爻丨乇賷 丕賱匕賷 賷禺賮賷 丌賱丕賮 丕賱兀爻乇丕乇. 鬲卮鬲乇賰 噩賲賷毓 丕賱兀噩夭丕亍 賮賷 兀賲乇賷賳 賱丕 孬丕賱孬 賱賴賲丕. 兀賲丕 丕賱兀賵賱 賮賴賵 睾乇亘丞 丕賱賲孬賯賮 丕賱鬲卮賷賰賷 亘毓丿 丕賱睾夭賵 丕賱爻賵賮賷鬲賷 賮賷 丕賱爻亘毓賷賳賷丕鬲 賵 丕賱孬丕賳賷 賴賵 丕賱噩賳爻. 賷爻鬲禺丿賲 賰賵賳丿賷乇丕 丕賱噩賳爻 賰賲賮鬲丕丨 賱賰賱 卮賷亍 賵 兀賷 卮賷亍 賵 賷賱丨 賮賷 匕賱賰 亘賱丕 賴賵丕丿丞 賵 亘鬲賮丕氐賷賱 丿賯賷賯丞 噩丿丕. 賵 廿賳 賰丕賳 亘賷賳 丕賱廿亘丕丨賷丞 賵 丕賱兀亘丕丨賴 (丕賱鬲賷 賴賷 賯賱丞 丕賱兀丿亘) 卮毓乇丞 賮賯丿 賳噩丨 賮賷 丕賱丨賮丕馗 毓賱賶 鬲賱賰 丕賱卮毓乇丞 賰孬賷乇丕.
賴賵 賮賷 丕賱賳賴丕賷丞 兀丿亘 爻丕禺乇 賷乇賷丿 賲賳賰 兀賳 鬲爻亘丨 賲毓賴 亘兀賮賰丕乇賰 賮賷 亘丨丕乇 賲馗賱賲丞 賵 賲賵囟賵毓丕鬲 賮乇賷丿丞 賯賱賲丕 鬲噩丿賴丕 毓賳丿 睾賷乇賴.
August 31, 2018
鈥淭he struggle of man against power is the struggle of memory against forgetting鈥�
The Book of Laughter and Forgetting is one of the most interesting novels I've ever read, mostly due to its structure. The book is written in seven parts, each part comprising of a story written from multiple perspectives. Some of the central themes of each story are derived from semi-autobiographical accounts of Kundera's days as a political exile. Each story is vaguely connected to each other like small threads that pull at each other. Kundera explores in detail the themes of memory politics, social amnesia and damnatio memoriae.
The picture of Vladim铆r Clementis standing next to Klement Gottwald, before and after he was edited out of the picture. The picture is one of the first mentions of memory politics made in the book.
The book shares various fictional and non-fictional accounts of people's lives during the Communist regime in Czechoslovakia. it is only ironic that the nation that Kundera writes about no longer exists as he knew it. And it makes this novel even more relevant.
The Book of Laughter and Forgetting is one of the most interesting novels I've ever read, mostly due to its structure. The book is written in seven parts, each part comprising of a story written from multiple perspectives. Some of the central themes of each story are derived from semi-autobiographical accounts of Kundera's days as a political exile. Each story is vaguely connected to each other like small threads that pull at each other. Kundera explores in detail the themes of memory politics, social amnesia and damnatio memoriae.
The picture of Vladim铆r Clementis standing next to Klement Gottwald, before and after he was edited out of the picture. The picture is one of the first mentions of memory politics made in the book.
The book shares various fictional and non-fictional accounts of people's lives during the Communist regime in Czechoslovakia. it is only ironic that the nation that Kundera writes about no longer exists as he knew it. And it makes this novel even more relevant.
August 11, 2007
Ask any Kundera fan which book of his is their favorite, and the answer will inevitably be the first book of his that they read. His unique writing style comes as a revelation at first, but unfortunately can grow irritating the more books of his one reads. "The Book of Laughter and Forgetting" is the first one I read, and it holds a special place in my reading history as the one book that I instantly began re-reading as soon as I finished it. If you haven't read Kundera, I would recommend this or the much more famous "The Unbearable Lightness of Being."
June 2, 2024
A few years ago I was simply blown away by my first encounter with Milan Kundera's work. That was the brilliantly inventive 'Immortality', but I never got to follow it up with anything else, until now. This novel, if one can call it that, is a collection of seven vignettes about characters in Communist Europe during the era of Russian occupation. Kundera embrace politics, sex, philosophy and history, with a seen-it-all cynicism that nevertheless manages to be fascinating and even uplifting. And one thing that struck me again was that even though this can be pigeonholed as intellectual literature, it was addictive and fun, sexy and cool, easy to read, and made me feel brighter, switched on, and more alive by the time the closing pages came about.
The unity to the work is provided by the recurring themes of memory, the pains of laughter, and the mutual deceptions of human relationships, with sex, and a woman's rump as he calls it, never being too far from Kundera's mind throughout. The vignettes are also interspersed with long philosophical passages making Kundera feel more like an older, wiser writer than most of his contemporaries. The characters that crop up are laconic but vivid, and generally caught in a psychological trap. Even when they in his world seem on the verge of turning into a symbolic personae, Kundera invariably intervenes before they become too abstract, and immerses them into a crude and brutal reality. Kundera says in the novel of The Book of Laughter and Forgetting that 鈥榠t is a novel about Tamina, and whenever Tamina is absent, it is a novel for Tamina.鈥� He says this in which he himself appears and invents Tamina. Modern satirical fantasy, of which this is an exceptionally lively and thoughtful example, gives everyone the same fictional status: himself, his characters, historical figures, and even angels. Part of the game is to try to tell them apart and sort out illusion from reality. He conveys a liking for put-upon but dogged and resilient human beings. Kundera himself has an attractive presence in the book: reminding us of the nature of fantasy by taking responsibility for it, in his role as novelist: but also bringing himself before us in real life, as an individual living under Communism in Czechoslovakia and in exile in France. Fantasy and human reality are never far apart in the book, but they have strange conjunctions.
And then there are the sex scenes, which I generally find lacklustre in literature, were highly erotic here, and very natural, but with moments complicated by double-meanings, so that when Tamina thinks of sex as a joy of angelic simplicity one is to understand, from a sense carried by the word 鈥榓ngel鈥� in the book, that this isn鈥檛 good, but bad. Kundera, who also has a serious use for words in their straight sense, chooses to use 鈥榓ngel鈥� in an unusual sense; and especially enjoys using 鈥榣aughter鈥� in two entirely different senses. There are indeed for example differences between the right and the wrong moments to laugh, or between good and bad, or between a meaning and its opposite, Kundera is really in no doubt at all. He only makes the point that mankind gets confused about these things, and never more so than in his country, in his time. With the energetic fantasy and the apparently odd conjunctions of his book he both represents this confusion and looks for an easy way out of it. He also finds a lot of it exceedingly funny, and he does conveys this. Humour is his most engaging trait, but is also used as one of his weapons. It is what he deploys to ridicule the Communist state and its advocates.
Very Early on, someone says 鈥榯he struggle of man against power is the struggle of memory against forgetting.鈥� This is one of the irreversible truths of the novel. Tamina struggles to remember her dead husband; Kundera鈥檚 dying father to recall the use of language. The deepest meaning Kundera gives to his political theme is not through satire but by evoking the power of memory. So, what of Tamina?, this central character. We meet her in only two stories, but they are quite clear, crisp, and direct ones. Tamina is that lovely thing, a centre of silence in an otherwise busy novel. How we see her first is as a silent barmaid in a caf茅 somewhere abroad, among people who try to chat up barmaids, or are busy writing novels or discussing their heightened orgasms of all things. This part of the novel is a simple one about letters and diaries left behind in Czechoslovakia, which she wants, and fails to get out of the country. We meet her again on an island where children indulge her with polymorphous sex play that feels like a long awaited reward, but it鈥檚 not what she wants, because she鈥檚 still thinking of her husband and of real love. The children go on to torture her, quite playfully, because she does not belong to their world, and when she tries to escape by swimming off the island they watch over her, drowning. This is obviously a nod to totalitarian and conform, but as a fable, what鈥檚 more interesting, in fact, is Kundera speaking in his own voice about his father, music and language, as he does in the intervals of this story.
Overall, I didn't think this hit the heights of Immortality, but it was still a thoroughly enticing and brilliantly written book. And what's great when it comes to Kundera's work, is that I have only just scratched the surface, so hopefully many more good times in the company of Kundera await me.
September 21, 2023
Desde que le铆 hace un porr贸n de a帽os su celeb茅rrima novela 鈥淟a insoportable levedad del ser鈥�, no hab铆a vuelto a acercarme al autor. Recuerdo que termin茅 aquella lectura algo cabreado: tanto me estaba gustando que cuando llegu茅 a鈥� no s茅 a qu茅 llegu茅, no me acuerdo, solo conservo la sensaci贸n de una gran bajona de pronto (tengo que volver a esa novela para descubrir qu茅 fue aquello). El caso es que ahora se repite la sensaci贸n, aunque m谩s lo que me ha gustado que el derrumbe, ahora un mero y ligero deslizamiento de tierra. Yo creo que en ambas novelas el problema deriva de la actitud conservadora que tom贸 el autor en su exilio tras abominar de su pasado comunista.
Pero vayamos al libro que esto va a ser largo. La novela se divide en siete partes y toma como punto de partida formal las variaciones de Beethoven: 鈥淭odo este libro es una novela en forma de variaciones. Las distintas secciones van una tras otra como distintos trozos de un camino que va hacia adentro del tema鈥�. El resultado es una sucesi贸n de textos diversos con una prosa leve y un contenido denso que nos hablan desde la ficci贸n, desde la autobiograf铆a, desde la cr贸nica, desde la reflexi贸n acerca de la m煤sica y su fatal evoluci贸n hacia el ruido, de la proliferaci贸n incesante de escritores nacidos de una nueva y casi universal necesidad de escribir, del sexo convertido en una sucesi贸n de movimientos rid铆culos, de la idea de progreso que parece haber tomado un camino hacia el fin鈥� pero sobre todo nos habla de la risa y el olvido.
鈥淟a lucha del hombre contra el poder es la lucha de la memoria contra el olvido鈥�El deseo de todo poder es mantenerse inc贸lume, y para ello es necesario enterrar en el olvido todo aquello que pueda suponer una brecha que socave la columna magn铆fica e imponente erigida con aspiraciones de eternidad. Son muy conocidas y llamativas esas fotograf铆as en las que hacen desaparecer a una de las figuras de la imagen por haberse hecho inc贸moda al poder, pero son miles los ejemplos, no solo en las dictaduras, en las que pol铆ticos de muy distinto pelaje tratan por todos los medios de enterrar un pasado que ahora no les conviene. No es algo que hagan solo los pol铆ticos. En la novela es muy curioso c贸mo un comunista arrepentido quiere recuperar unas cartas de amor que en otros tiempos enviara a una todav铆a ortodoxa comunista. Todos querr铆amos olvidar cosas de nuestro pasado, algunos tienen la suerte de conseguirlo, a otros se les impone en la memoria una y otra vez, precisamente esas, las que no querr铆an recordar jam谩s.
鈥溾€� el pasado est谩 lleno de vida y su rostro nos excita, nos irrita, nos ofende y por eso queremos destruirlo o retocarlo. Los hombres quieren ser due帽os del futuro s贸lo para poder cambiar el pasado.鈥�Bien es cierto que en el caso del pasado de los otros el trabajo por el olvido tiene mucho terreno abonado. Pasa a diario, temas que llenan portadas de peri贸dico un lunes apenas aparecen ya un martes.
鈥淓l asesinato de Allende en Chile eclips贸 r谩pidamente el recuerdo de la invasi贸n de Bohemia por los rusos, la sangrienta masacre de Bangladesh hizo olvidar a Allende el estruendo de la guerra del desierto del Sina铆 ocult贸 el llanto de Bangladesh, la masacre de Camboya hizo olvidar al Sina铆, etc茅tera, etc茅tera, etc茅tera, hasta el m谩s completo olvido de todo por todos鈥︹€�En frente est谩 la lucha de algunos contra esos olvidos, la lucha por el recuerdo de hechos y personas que les dote a ellos de dignidad y a nosotros nos sirvan de una alarma que nos avise del peligro, que no se olvide a todo aquel que cay贸, a todo aquel al que se le apart贸 de su vida, marginado, separado de su trabajo, enfrentado a familiares y amigos (qu茅 les voy a contar sobre lo que algunos han impedido y quieren seguir impidiendo en mi propio pa铆s).
鈥淓n la plaza de Wenceslao, en Praga, hay un hombre vomitando. Otro hombre pasa a su lado, lo mira y hace un triste gesto afirmativo con la cabeza: 芦Le acompa帽o en el sentimiento...禄鈥�Y a su lado est谩 la lucha individual e 铆ntima de, por una parte, el que teme desaparecer 鈥渄eso铆do y desapercibido en un universo indiferente鈥� y cree poder perpetuarse en palabras, y, por otro lado, la de aquellos que sienten como se les va borrando el pasado, c贸mo se van diluyendo en la memoria aquellos que en otro momento eran el centro de su vida y que ahora, sin ellos, ya apenas es suya y ya apenas es vida.
鈥淓l volumen de su ser es s贸lo aquello que ve all谩 atr谩s, a lo lejos. Y a medida que su pasado se hace m谩s peque帽o, se pierde y se diluye, tambi茅n Tamina disminuye y pierde sus rasgos鈥� Porque si la l谩bil construcci贸n de recuerdos se derrumba como una tienda de campa帽a mal levantada, quedar谩 de Tamina s贸lo el presente, ese punto invisible, esa nada que se desliza lentamente hacia la muerte鈥�Tamina es la protagonista de la historia m谩s conmovedora y dura de las que aqu铆 se cuentan. Tamina huy贸 de su pa铆s junto a su marido, 茅l muri贸 en el exilio, y la novela, nos dice Kundera, es 鈥渟obre Tamina y en el momento en el que Tamina desaparece de la escena, es una novela para Tamina鈥�.
驴Y la risa? Kundera nos habla de los dos extremos de la risa, la del 谩ngel y la del demonio, la del fan谩tico seguro poseedor de la verdad y la del esc茅ptico que proclama que nada tiene sentido, y las dos se llaman 鈥渞isa鈥� y pueden ser indistinguibles. La primera ser铆a la de los pr贸ceres comunistas, entre muchos otros. La segunda, nos reprende Kundera, es la que se extiende por occidente a caballo (y aqu铆 aparece el corrimiento de tierra al que me refer铆a al principio) de la progres铆a que tiende a la levedad, a la banalidad de lo sagrado que tiene un claro ejemplo en el tratamiento del cuerpo y el sexo. Personalmente, tengo que decir que, entre otros, me molest贸 este p谩rrafo:
鈥淓xisten muchas clases de ideas progresistas y los Clevis ten铆an siempre la mejor posible. La mejor de las ideas progresistas posibles es la que contiene una dosis suficiente de provocaci贸n como para que su partidario pueda estar orgulloso de su car谩cter exclusivo pero, al mismo tiempo, atrae un n煤mero suficiente de partidarios como para que el riesgo de quedarse aislado se vea inmediatamente eliminado por el estrepitoso asentimiento de la mayor铆a triunfante.鈥�Supongo que escapar del tremendismo comunista para llegar a un occidente que parece conducirse sin darse cuenta cabal de su existencia y situaci贸n tiene que ser un choque dif铆cil de asimilar. Quiz谩s este sentimiento de rechazo a la 鈥渟uperficialidad鈥� occidental derivara de ese otro del que Kundera tambi茅n nos habla y que lleva por nombre la intraducible palabra checa litost, 鈥渦n estado de padecimiento producido por la visi贸n de la propia miseria puesta repentinamente en evidencia鈥� cuya 煤nica e impotente soluci贸n es buscar la aflicci贸n inmediata y en la forma que sea de aquel que nos lo hizo sentir.
En lo que s铆 le doy la raz贸n es en su idea de que occidente parece encaminarse hacia una sociedad infantil poblada de ni帽os sin pasado 鈥斺€渘o debemos permitir que el futuro se hunda bajo el peso de la memoria鈥濃€�, f谩ciles de manejar, viviendo ego铆stamente en un presente continuo en el que impera la inmediatez, la rapidez, un mundo en el que, como se dice en el tango 鈥淐ambalache鈥�, 鈥淭odo es igual, nada es mejor/Lo mismo un burro que un gran profesor鈥�, un mundo irreflexivo, instintivo, en el que se persigue el placer instant谩neo e incesante de recibir un like sin importar gracias a qu茅, en el que se persigue el placer instant谩neo e incesante de dar, junto a otros muchos, un like sin importar mucho por qu茅.
鈥溾€os dioses griegos participaban en un principio apasionadamente de las historias de los hombres. Despu茅s permanec铆an ya en el Olimpo, miraban hacia abajo y se re铆an. Y hoy hace ya tiempo que est谩n dormidos.鈥�En fin, intentemos no perder nunca, a pesar de todo, la otra risa, la gozosa, la que no es ni angelical ni demoniaca, la que surge de un sentimiento de plenitud que no excluye ni menosprecia a nadie鈥�
鈥溾€� re铆r de veras, m谩s all谩 de la broma, de la burla, del rid铆culo鈥� risas estalladas, proseguidas, atropelladas, desencadenadas, risas magn铆ficas, suntuosas y locas鈥� Oh risa, risa del goce, goce de la risa; re铆r es vivir tan profundamente鈥� la expresi贸n del ser que se alegra de ser.鈥�
August 29, 2022
A lot of random ramblings with way too many irrelevant things mixed into a barely comprehensble smth. Way too much political stuff on the author's mind to write a something, anything, engaging, I guess.
DNF. Don't think I'll be back. Drat, I shouldn't have wasted my time reading it after all. Drat. I could do without the nasty imagery this left in my mind. Drat. I think this could be one of the worst reads of the year. Of several years, in fact.
I'm pretty sure some people might love it, actually. It's very, how to put it, visionary. The problem is, one has to be in a very particular mood to engage with this vision and all the paedophilia and orgies just weren't what I had on my mind right now. And, I don't think I want all the stuff that's mixed in there on my mind, ever. It read really unhealthy, like things someone who's sick and seeing things might be seeing. So, it's probably my emotional disengagement with the book that's the driving factor for my take on it.
I just couldn't bring myself to care about orgies and islands and drownings and threesomes and pissing and shitting and other stuff enough. Way too much is centered around porn-y, unhealthy fantasies.
And, is this for reals? Or for lulz?
Q: Suckling is a delight, giving birth a delight, menstruating a delight, that "mild, almost sweet flow of blood, that tepid saliva of the stomach,' that mysterious milk, that pain with the burning taste of happiness." ...
Only an imbecile could make fun of this manifesto of delight. (c) Do color me an imbecile, all right? Giving birth could be a delight in some ways but, uh, I tend to think dear old Milan needed an outing to some hospital and maybe witnessing some births for real to have his perspective adjusted a bit.
Ughhh... Was that a generous sprinkling of paedofilia in there? Or what exactly are we supposed to think of kids who are probably driven by commies to, uh, uhm, this:
Q:
When the toilets flushed, the squirrels would stand up and take off their long nightgowns, and the tigers would leave the sinks for the bedroom, passing the cats on their way to the newly vacated toilets, where they in turn would watch Tamina with her black pubis and large breasts as she and the rest of the squirrels stood at the sinks.
She felt no shame. She felt that her mature sexuality made her a queen among all those whose pubic regions were smooth. (c)
Q:
All prizes and penalties were given out in the bathroom, and Tamina's prize was that she be waited on hand and foot there. In fact, she would not be allowed to touch herself. Everything would be done for her by her devoted servants, the squirrels.
Here is how they served her. First, while she was on the toilet they wiped her carefully; next, they stood her up, flushed the toilet, took off her nightgown, and led her over to the sink; then, they all tried to wash her breasts and pubis and see what she looked like between her legs and feel what it was like to touch. Now and then she tried to push them away, but it wasn't easy. She couldn't be mean to a bunch of children who were really just following the rules of their own game and thought they were rewarding her with their services.
Finally they took her back to her bed, where again they found all kinds of nice little excuses to press up against her and stroke her all over. There were so many of them swarming around her that she could not tell whose hand or mouth belonged to whom. She felt their pressing and probing everywhere, but especially in those areas where she differed from them. She closed her eyes and felt her body rocking, slowly rocking, as in a cradle. She was experiencing a strange, gentle sort of climax.
She felt the pleasure of it tugging at the corners of her lips. She opened her eyes again and saw a child's face staring at her mouth and telling another child's face, "Look! Look!" Now there were two faces leaning over her, avidly following the progress of her twitching lips. They might as well have been examining the workings of an open watch or a fly whose wings had been torn off. (c)I could hurl right now.
A lot of not really making a lot of deep sense pseudo-intellectual ramblings:
Q:
After denigrating sexual desire in the male, which, dependent on the transitory nature of the erection, is fatally betrothed to violence, annihilation, and doom, the author extols its positive antipode鈥攆emale joy, pleasure, delight鈥攁s expressed by the French word jouis-sance, which is soothing, ubiquitous, and uninterrupted. (c) Yeah, do beware of 'the transitory nature of the erection'.
Anyway, someone else might find all this stuff really great and enticing and all.
I'm pretty sure some people might love it, actually. It's very, how to put it, visionary. The problem is, one has to be in a very particular mood to engage with this vision and all the paedophilia and orgies just weren't what I had on my mind right now. And, I don't think I want all the stuff that's mixed in there on my mind, ever. It read really unhealthy, like things someone who's sick and seeing things might be seeing. So, it's probably my emotional disengagement with the book that's the driving factor for my take on it.
I just couldn't bring myself to care about orgies and islands and drownings and threesomes and pissing and shitting and other stuff enough. Way too much is centered around porn-y, unhealthy fantasies.
And, is this for reals? Or for lulz?
Q: Suckling is a delight, giving birth a delight, menstruating a delight, that "mild, almost sweet flow of blood, that tepid saliva of the stomach,' that mysterious milk, that pain with the burning taste of happiness." ...
Only an imbecile could make fun of this manifesto of delight. (c) Do color me an imbecile, all right? Giving birth could be a delight in some ways but, uh, I tend to think dear old Milan needed an outing to some hospital and maybe witnessing some births for real to have his perspective adjusted a bit.
Ughhh... Was that a generous sprinkling of paedofilia in there? Or what exactly are we supposed to think of kids who are probably driven by commies to, uh, uhm, this:
Q:
When the toilets flushed, the squirrels would stand up and take off their long nightgowns, and the tigers would leave the sinks for the bedroom, passing the cats on their way to the newly vacated toilets, where they in turn would watch Tamina with her black pubis and large breasts as she and the rest of the squirrels stood at the sinks.
She felt no shame. She felt that her mature sexuality made her a queen among all those whose pubic regions were smooth. (c)
Q:
All prizes and penalties were given out in the bathroom, and Tamina's prize was that she be waited on hand and foot there. In fact, she would not be allowed to touch herself. Everything would be done for her by her devoted servants, the squirrels.
Here is how they served her. First, while she was on the toilet they wiped her carefully; next, they stood her up, flushed the toilet, took off her nightgown, and led her over to the sink; then, they all tried to wash her breasts and pubis and see what she looked like between her legs and feel what it was like to touch. Now and then she tried to push them away, but it wasn't easy. She couldn't be mean to a bunch of children who were really just following the rules of their own game and thought they were rewarding her with their services.
Finally they took her back to her bed, where again they found all kinds of nice little excuses to press up against her and stroke her all over. There were so many of them swarming around her that she could not tell whose hand or mouth belonged to whom. She felt their pressing and probing everywhere, but especially in those areas where she differed from them. She closed her eyes and felt her body rocking, slowly rocking, as in a cradle. She was experiencing a strange, gentle sort of climax.
She felt the pleasure of it tugging at the corners of her lips. She opened her eyes again and saw a child's face staring at her mouth and telling another child's face, "Look! Look!" Now there were two faces leaning over her, avidly following the progress of her twitching lips. They might as well have been examining the workings of an open watch or a fly whose wings had been torn off. (c)
A lot of not really making a lot of deep sense pseudo-intellectual ramblings:
Q:
After denigrating sexual desire in the male, which, dependent on the transitory nature of the erection, is fatally betrothed to violence, annihilation, and doom, the author extols its positive antipode鈥攆emale joy, pleasure, delight鈥攁s expressed by the French word jouis-sance, which is soothing, ubiquitous, and uninterrupted. (c) Yeah, do beware of 'the transitory nature of the erection'.
Anyway, someone else might find all this stuff really great and enticing and all.
March 8, 2020
Das Buch vom Lachen und Vergessen" by Milan Kundera is a novel consisting of Seven Short Stories. gradually does one come to the conclusion that all stories together make a big whole. A look that is worthwhile, of course. In grandiose, exceedingly intelligent stories Kundera describes with a lot of wit about the different meanings of laughter and oblivion, love and eroticism, politics and homeland.
The fifth short story is titled Litost:
Litost is a Czech term that describes another important topic in the book. However, there is no clear translation for this word. In: regret, grief, pity, self-reproach). The language Kundera鈥檚 I feel as wonderful.
I really enjoyed this book.
The fifth short story is titled Litost:
Litost is a Czech term that describes another important topic in the book. However, there is no clear translation for this word. In: regret, grief, pity, self-reproach). The language Kundera鈥檚 I feel as wonderful.
I really enjoyed this book.
July 2, 2015
It was funny, but I can't remember why.
[This is actually true, sad to tell]
[This is actually true, sad to tell]
June 29, 2024
Reading Kundera is like making love. What is best is unpredictable. You roll as he rolls. You inhale his scent. Then, he strokes your skin as if he wanted out of his own body and into yours. Dressed now, I still feel his nails.
The part of Europe that Kundera comes from is ruled with rubber stamps. People at desks wield them like weapons that document each step and breath of your life. Pounding is the drum song of officialdom here. But now it's the sound of Kundera's words. He is taking that ink pad and stamp for himself. He's in charge of these pages. No more the recipient of others' decrees, he speaks for himself.
With Aaron Ascher's new translation, the finesse of Kundera's voice is restored, both hard and light. Like the lover who knows to alternate and surprise with his touch, Kundera weighs in on politics (the perils of rewriting history, renaming, and forgetting) and reminds us that laughter can restore us, just as sex sometimes does.
The part of Europe that Kundera comes from is ruled with rubber stamps. People at desks wield them like weapons that document each step and breath of your life. Pounding is the drum song of officialdom here. But now it's the sound of Kundera's words. He is taking that ink pad and stamp for himself. He's in charge of these pages. No more the recipient of others' decrees, he speaks for himself.
With Aaron Ascher's new translation, the finesse of Kundera's voice is restored, both hard and light. Like the lover who knows to alternate and surprise with his touch, Kundera weighs in on politics (the perils of rewriting history, renaming, and forgetting) and reminds us that laughter can restore us, just as sex sometimes does.
September 5, 2017
鈥�...because love is continual interrogation. I don't know of a better definition of love.鈥�
This won鈥檛 be the Kundera book I would recommend to a reader new to him. Not that it is bad 鈥� it still has all the interesting psychology (he dislikes the word), philosophy (he dislikes that too) and sex (鈥� Well, he is a man.); the trouble with this book is it is too much into Kunderism. The good thing about him is he never beats around the bush. It is as if he knows what he has show and only tells parts of the story that say it 鈥� thus there is only vague suggestions regarding what happened during the time between events focused on in consecutive chapters. I don鈥檛 mind it if anything I actually prefer it over novels filled with useless details just there to establish connections in events and characters. (And while we are talking about his art, there is, of course, his nosy presence as writer of novel 鈥� telling you stories from his real life as well as that modern omniscient* narrator thing who only sees his character doing things but has no idea about their motivations 鈥� and is thus always making guesses (thus also the asterisk on omniscient).
But this time there is not only any unity of action but no unity of plot, This book is nearer to a collection of short stories rather than a single novel, stories that often aren鈥檛 connected in any way other than the common themes of laughter and/or forgetting. And Kundera is aware of this and says it is intentional. This is where the interview, in the end, comes handy. He defines novel as
鈥淎 novel is a long piece of synthetic prose based on play with invented characters. These are the only limits. By the term synthetic I have in mind the novelist's desire to grasp his subject from all sides and in the fullest possible completeness. Ironic essay, novelistic narrative, autobiographical fragment, historic fact, flight of fantasy: The synthetic power of the novel is capable of combining everything into a unified whole like the voices of polyphonic music. The unity of a book need not stem from the plot, but can be provided by the theme. 鈥�
The two themes here are laughter and forgetting. Forgetting makes obvious sense as he had to deal with communism:
鈥淭he struggle of man against power is the struggle of memory against forgetting鈥�
The quote would make obvious sense to anyone who has read 1984 or know about historical revisionism. There are of course the aspects of the theme as felt by people too. How it light to be without the burden of past memories; how one wishes to retain happy memories of past and how difficult it is.
鈥淐hildren, Never look Back!" and this meant that we must never allow the future to be weighed down by memory . for children have no past, and that is the whole secret of the magical innocence of their smiles.鈥�
鈥淲e will never remember anything by sitting in one place waiting for the memories to come back to us of their own accord! Memories are scattered all over the world. We must travel if we want to find them and flush them from their hiding places!鈥�
鈥淭he future is only an indifferent void no one cares about, but the past is filled with life, and its countenance is irritating, repellent, wounding, to the point that we want to destroy or repaint it. We want to be masters of the future only for the power to change the past.鈥�
As to laughter, it is of two kinds 鈥� the one of the devil and one of angels:
鈥淭hose who consider the Devil to be a partisan of Evil and angels to be warriors for Good accept the demagogy of the angels. Things are clearly more complicated. Angels are partisans not of Good, but of divine creation. The Devil, on the other hand, denies all rational meaning to God's world. ' World domination, as everyone knows, is divided between demons and angels. But the good of the world does not require the latter to gain precedence over the former (as I thought when I was young); all it needs is a certain equilibrium of power. If there is too much uncontested meaning on earth (the reign of the angels), man collapses under the burden; if the world loses all its meaning (the reign of the
demons), life is every bit as impossible.鈥�
Now Russian revolution and communism are angels on their way to make the world; a paradise (a place of too much uncontested meaning) and so not a very nice thing 鈥� however this paradise is tempting to people, who much like angels, want to live in a fully meaningful world. That is why communists don鈥檛 like art 鈥� art is all about raising questions:
鈥淭he stupidity of people comes from having an answer for everything. The wisdom of the novel comes from having a question for everything....The novelist teaches the reader to comprehend the world as a question. There is wisdom and tolerance in that attitude. In a world built on sacrosanct certainties, the novel is dead. The totalitarian world, whether founded on Marx, Islam, or anything else, is a world of answers rather than questions. There, the novel has no place.鈥�
鈥淭he history of music is mortal, but the idiocy of the guitar is eternal.鈥�
So all artist are devil鈥檚 advocates. But there can be too much of that too.
Once the writer in every individual comes to life (and that time is not far off), we are in for anage of universal deafness and lack of understanding.
鈥淚t takes so little, so infinitely little, for a person to cross the border beyond which everything loses meaning: love, convictions, faith, history. Human life -- and herein lies its secret -- takes place in the immediate proximity of that border, even in direct contact with it; it is not miles away, but a fraction of an inch.鈥�
The island of children is lot like communist paradise 鈥� full of children with no memories. The children there are realistic - true little angels (as per Kundera鈥檚 definition above) and not innocent version from a TVC.
Read
September 14, 2018賴賱 毓乇賮 丕賱鬲丕乇賷禺 賰丕鬲亘丕 兀賰孬乇 噩賳賵賳丕 賲賳賰 賷丕 賰賵賳丿賷乇丕 責!
廿賳 爻兀賱鬲賲賵賳賷 毓賳 乇兀賷賷 亘兀賷 賰鬲丕亘 賱賰賵賳丿賷乇丕 爻兀賯賵賱 兀賳賴 賷毓噩亘賳賷 ..
- 賲丕 丕賱匕賷 賷毓噩亘賰賽 賮賷賴 責
- 賱丕 兀丿乇賷
- 賱禺賾氐賷 賱賳丕 賲賵囟賵毓賴
- 賱丕 兀爻鬲胤賷毓
氐丿賯丕 賱丕 兀毓乇賮 賰賷賮 兀氐賮 賰鬲亘賴 賵乇賵丕賷丕鬲賴 賵賱丕 賲丕 兀丨亘賴 賮賷賴丕 鬲丨丿賷丿丕 貙
賲丕 兀毓乇賮賴 賮賯胤 兀賳賴丕 鬲毓噩亘賳賷 賵鬲賱賲爻賳賷 賵鬲丿賮毓賳賷 賱賱鬲賮賰賾乇 .. 賵鬲乇爻賲 毓賱賶 賵噩賴賷 丕亘鬲爻丕賲丞 賰亘賷乇丞 :)
賲賳 亘賷賳 丕賱賲噩賲賵毓丞 賯氐丞 ( 丕賱賱賷鬲賵爻鬲 ) 賰丕賳鬲 丕賱兀乇賵毓
廿賳 爻兀賱鬲賲賵賳賷 毓賳 乇兀賷賷 亘兀賷 賰鬲丕亘 賱賰賵賳丿賷乇丕 爻兀賯賵賱 兀賳賴 賷毓噩亘賳賷 ..
- 賲丕 丕賱匕賷 賷毓噩亘賰賽 賮賷賴 責
- 賱丕 兀丿乇賷
- 賱禺賾氐賷 賱賳丕 賲賵囟賵毓賴
- 賱丕 兀爻鬲胤賷毓
氐丿賯丕 賱丕 兀毓乇賮 賰賷賮 兀氐賮 賰鬲亘賴 賵乇賵丕賷丕鬲賴 賵賱丕 賲丕 兀丨亘賴 賮賷賴丕 鬲丨丿賷丿丕 貙
賲丕 兀毓乇賮賴 賮賯胤 兀賳賴丕 鬲毓噩亘賳賷 賵鬲賱賲爻賳賷 賵鬲丿賮毓賳賷 賱賱鬲賮賰賾乇 .. 賵鬲乇爻賲 毓賱賶 賵噩賴賷 丕亘鬲爻丕賲丞 賰亘賷乇丞 :)
賲賳 亘賷賳 丕賱賲噩賲賵毓丞 賯氐丞 ( 丕賱賱賷鬲賵爻鬲 ) 賰丕賳鬲 丕賱兀乇賵毓
April 5, 2012
What is a novel? Or perhaps that question should be, what is a novel for you? Is it a story? Does it have to have a dramatic arc? That鈥檚 pretty much what most of us think of when we think of novels. The story could be wholly plot-driven like The Da Vinci Code. It could be character-driven (e.g., Sense and Sensibility). Or it could simply an account of someone鈥檚 day (Mrs Dalloway). It could be written as straight-forward narrative (e.g., Madam Bovary) or play with form and structure (e.g., Ulysses); be realistic (e.g., Middlemarch) or be fantastical (e.g., The Famished Road). At its base, however, there is a story.
On the other hand, we could, however, say that what these works do is to try to explore the human condition or aspects of the human condition through the medium of made-up characters. So, how do you explore the life of a person who believes quite literally in magic and monsters? You write The Famished Road where what the Cartesian-trained mind thinks of as reality is shunted aside. How do you explore the interior life of a person and not just what she does and what happens to her? You write Mrs Dalloway.
How do you explore what it鈥檚 like to live through the erasure of your country鈥檚 culture, to live in a void where what gives meaning and ballast to your soul is being forgotten, where the young eagerly embrace the weighty and weightless oblivion of meaningless slogans and drivel? You write The Unbearable Lightness of Being. You write The Book of Laughter and Forgetting.
There are ostensibly seven short stories here: a man looks for his first lover to get her to return the love letters he wrote to her; a m茅nage-脿-trois with mother in the house; a widow trying to recall her late husband and her life with him; the same widow living with a group of children; a man trying to sleep with another man鈥檚 wife; two school girls reading Ionesco鈥檚 Rhinoceroses; a man during the last few weeks before he leaves his homeland. And this omits the digressions into history, music, language, philosophy, and other such forays that intersperse and interrupt these stories.
But to describe the novel thus is to belittle and betray it. These are not seven separate stories but a single description of a singular situation. Kundera speaks of his works as novelistic counterpoint. You could, theoretically, listen to each part of Pachabel鈥檚 Canon alone, treat them as separate musical works. It would not, however, be Pachabel鈥檚 Canon. Likewise with the separate and distinct stories of The Book of Laughter and Forgetting: individually they are not this novel. Collectively, they are something other than themselves.
On the other hand, we could, however, say that what these works do is to try to explore the human condition or aspects of the human condition through the medium of made-up characters. So, how do you explore the life of a person who believes quite literally in magic and monsters? You write The Famished Road where what the Cartesian-trained mind thinks of as reality is shunted aside. How do you explore the interior life of a person and not just what she does and what happens to her? You write Mrs Dalloway.
How do you explore what it鈥檚 like to live through the erasure of your country鈥檚 culture, to live in a void where what gives meaning and ballast to your soul is being forgotten, where the young eagerly embrace the weighty and weightless oblivion of meaningless slogans and drivel? You write The Unbearable Lightness of Being. You write The Book of Laughter and Forgetting.
There are ostensibly seven short stories here: a man looks for his first lover to get her to return the love letters he wrote to her; a m茅nage-脿-trois with mother in the house; a widow trying to recall her late husband and her life with him; the same widow living with a group of children; a man trying to sleep with another man鈥檚 wife; two school girls reading Ionesco鈥檚 Rhinoceroses; a man during the last few weeks before he leaves his homeland. And this omits the digressions into history, music, language, philosophy, and other such forays that intersperse and interrupt these stories.
But to describe the novel thus is to belittle and betray it. These are not seven separate stories but a single description of a singular situation. Kundera speaks of his works as novelistic counterpoint. You could, theoretically, listen to each part of Pachabel鈥檚 Canon alone, treat them as separate musical works. It would not, however, be Pachabel鈥檚 Canon. Likewise with the separate and distinct stories of The Book of Laughter and Forgetting: individually they are not this novel. Collectively, they are something other than themselves.
Want to read
March 19, 2024two of my favorite things
April 8, 2017
PREFACE:
No Memories of Merriment: Milan Kundera in Heideggerian Mode
"A novel examines not reality but existence. And existence is not what has occurred, existence is the realm of human possibilities, everything that man can become, everything he's capable of. Novelists draw up the map of existence by discovering this or that human possibility. But again, to exist means: 'being-in-the-world'. Thus both the character and his world must be understood as possibilities."
"Love's absolute is actually a desire for absolute identity: the woman we love ought to swim as slowly as we do, she ought to have no past of her own to look back on happily. But when the illusion of absolute identity vanishes (the girl looks back happily on her past or swims faster), love becomes a permanent source of the great torment we call litost...Litost is a state of torment created by the sudden sight of one's own misery."
"We must never allow the future to collapse under the burden of memory."
"The struggle of man against power is the struggle of memory against forgetting."
"The rise of the sciences propelled man into the tunnels of the specialized disciplines. The more he advanced in knowledge, the less clearly could he see either the world as a whole or his own self, and he plunged further into what Husserl鈥檚 pupil Heidegger called in a beautiful and almost magical phrase, 'the forgetting of being.'
"Once elevated to 'master and proprietor of nature',' man has now become a mere thing to the forces (of technology, of politics, of history) that bypass him, surpass him, possess him. To those forces, man鈥檚 concrete being, his 'world of life' (die Lebenswelt), has neither value nor interest: it is eclipsed, forgotten from the start.
"For me the father of the Modern Era is not only Descartes but also Cervantes. ... If it is true that philosophy and science have forgotten about man鈥檚 being, it emerges all the more plainly that with Cervantes a great European art took shape that is nothing other than the investigation of this forgotten being.
"Indeed, all the great existential themes Heidegger analyzes in 'Being and Time' 鈥� considering them to have been neglected by earlier European philosophy 鈥� had been unveiled, displayed, illuminated by four centuries of the European novel.
"It its own way, through its own logic, the novel discovered the various dimensions of existence one by one: with Cervantes and his contemporaries, it inquires into the nature of adventure; with Richardson, it begins to examine 'what happens inside', to unmask the secret life of the feelings; with Balzac, it discovers man鈥檚 rootedness in history; with Flaubert, it explores the terra previously incognita of the everyday; with Tolstoy, it focuses on the intrusion of the irrational into human behavior and decisions.
"It probes time: the elusive past with Proust, the elusive present with Joyce. With Thomas Mann, it examines the role of the myths from the remote past that control our present actions"
The Book of Power
This book comes across as a collection of short stories. However, there is enough thematic continuity to justify calling it a novel.
Either way, it's a tower from which the 茅migr茅 Kundera was able to look east from Paris and assess his past life in Communist Prague.
Equally, lest it be assumed that it is totally pro-West, it also allowed its Czech characters to look west and see the world of capitalism in Paris.
At the time, there was little comfort to be derived from living in one political sphere versus the other.
Both spheres come in for attack from the author鈥檚 quasi-anarchist point of view:
鈥淚 have come to realise that the problem of power is the same everywhere, in your country and in ours, East and West. We must be careful not to replace one type of power with another; we must reject the very principle of power and reject it everywhere.鈥�
The Book of Laughter
To some extent, the book distinguishes between public and private life.
In 1970鈥檚 Czechoslovakia, the Government, the Party, has strict control of public life.
People live in fear of being arrested, imprisoned and executed for ideological unsoundness.
All public behaviour is circumscribed. There is no longer any sincerity or authenticity. Nobody is frank. Nothing is genuine.
Nobody can be trusted. Nobody can be trusted with the truth. Nobody can be trusted with your truth.
You can understand the social and economic environment in which workers might say, 鈥淲e pretend to work, and they pretend to pay us.鈥�
The ego retreats into solitude, into the life of the mind. If you鈥檙e game or stupid, you might write something down, in letters or notebooks. You might even write a poem or a novel. But sooner or later, it will be read by a stranger, and eventually you鈥檒l be taken away in the middle of the night.
One outlet for the ego seems to be sex and eroticism. There is much promiscuity and infidelity in this book. It seems to be the one thing that keeps the lid from blowing off the saucepan.
Even then, lovers (at least those who are not overtly raping their partners) look into each other鈥檚 eyes, seeking guidance or reassurance about their performance. Nobody is game enough to ask or tell. They simply close down, withhold affection, they turn away, they avert their eyes, they keep their lips sealed.
The party doesn鈥檛 have a position on topless or nude bathing. Its members divide equally into those who are progressive or conservative. There鈥檚 no point in having a dispute over a relatively minor issue, so it鈥檚 permitted.
It鈥檚 hard to keep a lid on all social behaviour though. In the absence of the right to protest or form a legitimate opposition, people resort to laughter, not happy, delighted, joyous, ecstatic laughter (good laughter), but joking, irony, sarcasm, jeering, sneering, humiliation, ridicule (evil or bad laughter). Not something spontaneous, open, shared, infinitely pleasurable (good), but something covert, nervous, fearful, constrained (bad).
You can sense Boccaccio, Rabelais, Sterne, Swift coursing through the veins of this work, but Kundera nevertheless seems to have kept it relatively restrained. He was never totally free to run wild. You have to wonder what the book would have been like if it was less restrained.
Still, the novel is fluent, stylish, imaginative, even allegorical (although he disclaimed this word). It's deceptively easy to read, for all the seriousness of its subject matter.
Left: Vladimir Clementis and Klement Gottwald (with photographer Karel H谩jek) on 21 February 1948; Right: Klement Gottwald alone (the others having been eradicated from history as from 1952)
The Book of Forgetting
The subject of forgetting is equally divided into public and private.
In the personal context, Tamina is unable to erase memories of her dead husband: she would 鈥渘ever forgive herself for forgetting.鈥�
As a result, she isn鈥檛 able to have a relationship with somebody else. She works as a waitress in a Paris caf茅, but she spends her life dreaming of ways to recover her love letters and notebooks (records of 鈥渢he infinity of her love鈥�) from Prague, so that she can counter her fading memory of her husband. As it is, if she has a one night stand, she can only see her husband when she opens her eyes.
In her case, the inability to forget prevents her embracing the present, let alone the future. She clings to a past that will one day dissipate before her very eyes.
The political perspective is quite the opposite. It鈥檚 about how to eradicate the past. The point of view is the Soviet Union trying to control Czechoslovakia, although there鈥檚 no reason why it would be different in the Soviet Union itself:
鈥淭hey are trying to make an occupied country forget the bitterness of history and devote all its energy to the joys of everyday life...
鈥淭he first step in liquidating a people is to erase its memory. Destroy its books, its culture, its history. Then have somebody write new books, manufacture a new culture, invent a new history. Before long the nation will begin to forget what it is and what it was. The world around it will forget even faster.鈥�
People, friends, lovers and family are a link with the past. So are memories. So is history.
If you want to control the future, you must control the present. If you want to control the present, you must control the past. You control the past through controlling history (鈥�145 historians have been forbidden to remember鈥�). You must also destroy music, song, poetry (things that document and perpetuate memories, things that embody love and understanding). You must obliterate memories. You must mandate forgetting.
It鈥檚 not just Orwellian, it鈥檚 Kafkaesque. Kundera himself makes this explicit:
鈥淧rague in [Kafka's] novels is a city without memory. It has even forgotten its name. Nobody there remembers anything, nobody recalls anything...no song is capable of uniting the city's present with its past by recalling the moment of its birth.
鈥淭ime in Kafka's novel is the time of a humanity that no longer knows anything nor remembers anything, that lives in nameless streets or streets with names different from the ones they had yesterday, because a name means continuity with the past and people without a past are people without a name.鈥�
Changing a street name is likened to a lobotomy.
Paradoxically, you must turn adults into children. They have nothing to remember yet. However, they represent the future:
鈥淭he reason children are the future is not that they will one day be grownups. No, the reason is that mankind is moving more and more in the direction of infancy, and childhood is the image of the future.鈥�
The totalitarian state imposes infantilism on the people.
Nevertheless, at a time when perhaps Lolita might have been the only role model, Kundera seems to anticipate the sexualisation of children that proliferates today:
鈥淸The children] are behaving with the provocative flirtatiousness of the adult world, rolling their hips as if imitating intercourse. The lewdness of the motions superimposed on their children's bodies destroys the dichotomy between obscenity and innocence, purity and corruption. Sensuality loses all its meaning, innocence loses all its meaning, words fall apart...鈥�
The Book of Music
Music has a special role in the novel, partly because the narrator's (and the author's) father was a musician.
He rails against "the idiocy of music", particularly modern guitar music.
In contrast, he studies and admires Beethoven's variations, which provide the structure for his son's narrative:
"...those sixteen measures [of music contain] the inner universe of their infinite possibilities...
"This entire book is a novel in the form of variations. The individual parts follow each other like individual stretches of a journey leading towards a theme, a thought, a single situation, the sense of which fades into the distance...it is a story about laughter and forgetting, about forgetting and Prague, about Prague and the angels."
As a result, the novel becomes a "tower where the wisdom of music reigns supreme."
The Book of Writing
Although it鈥檚 not reflected in the title, there鈥檚 much in the novel about the act of writing.
Tamina鈥檚 notebooks dictate and drive her life:
鈥淪he realised that what gave her written memories value, meaning, was that they were meant for her alone.鈥�
Their very privacy sustained her life, they defined her self.
In contrast, Kundera is prescient (yet again) in describing the motivation for writing of the other characters. Writing for them perpetuates the self. It鈥檚 part of a grab for eternity, a defence against ephemerality:
鈥淓veryone has trouble accepting the fact he will disappear unheard of and unnoticed in an indifferent universe, and everyone wants to make himself into a universe of words before it's too late...
鈥淏y writing books, a man turns into a universe.鈥�
Milan and Vera Kundera
The Book of Understanding
Yet, just as writing is concerned with the preservation and perpetuation of the self, it is fundamentally selfish:
鈥淥nce the writer in every individual comes to life (and that time is not far off), we are in for an age of universal deafness and lack of understanding.鈥�
Writing has the potential to be social, but even this potential is exaggerated in this environment. We don't share or exchange. We just make statements. We don't seek understanding or wisdom, we just crave attention:
鈥淎ll man's life among men is nothing more than a battle for the ears of others.
鈥� ...novels are the fruit of the human illusion that we can understand our fellow man. But what do we know about each other? Nothing...The only thing we can do is to give an account of our own selves. Anything else is an abuse of power. Anything else is a lie.鈥�
The Book of Being
Kundera describes how the nature and scope of our vision of life, our Weltanschauung has diminished, almost to the point of solipsism:
鈥淓ver since Joyce, we have been aware of the fact that the greatest adventure in our lives is the absence of adventure... Homer's Odyssey now takes place within man. Man has internalised it. The islands, the sea, the sirens seducing us, and Ithaca calling us home - they have all been reduced to voices within us.鈥�
His three conditions for graphomania (a mania for writing books) capture today's blog culture perfectly:
鈥�(1) an elevated level of general wellbeing which allows people to devote themselves to useless activities;
(2) a high degree of social atomization and, as a consequence, a general isolation of individuals; and
(3) the absence of dramatic social changes in the nation's internal life.鈥�
As we become more atomised, as we turn away from live interaction with real people, we stay in our homes and type away at our computers.
All we need is wifi.
We cease to be public. We cease to be political. We cease to protest. We cease to propose. We cease to progress. We remain within the boundaries of our society. We never cross the border. Hence:
鈥淚f everybody holds off for a while, we'll be slaves before we know it.鈥�
It's tempting to define this approach in terms of Heidegger's philosophy (and his analysis of the "forgetfulness of Being"). We no longer define Being and Time in terms of possibilities. We have closed down, we are holding off. We have turned the horizon of Being into a digital prison. And Kundera saw it coming as long ago as 1979.
SOUNDTRACK:
Beethoven - Sonata N.32 Op.111 (Sviatoslav Richter)
"Now I know."
David Sylvian 鈥� "Laughter And Forgetting"
Lou Reed - "Small Town" [Live in D眉sseldorf on 24 April, 2000]
No Memories of Merriment: Milan Kundera in Heideggerian Mode
"A novel examines not reality but existence. And existence is not what has occurred, existence is the realm of human possibilities, everything that man can become, everything he's capable of. Novelists draw up the map of existence by discovering this or that human possibility. But again, to exist means: 'being-in-the-world'. Thus both the character and his world must be understood as possibilities."
"Love's absolute is actually a desire for absolute identity: the woman we love ought to swim as slowly as we do, she ought to have no past of her own to look back on happily. But when the illusion of absolute identity vanishes (the girl looks back happily on her past or swims faster), love becomes a permanent source of the great torment we call litost...Litost is a state of torment created by the sudden sight of one's own misery."
"We must never allow the future to collapse under the burden of memory."
"The struggle of man against power is the struggle of memory against forgetting."
"The rise of the sciences propelled man into the tunnels of the specialized disciplines. The more he advanced in knowledge, the less clearly could he see either the world as a whole or his own self, and he plunged further into what Husserl鈥檚 pupil Heidegger called in a beautiful and almost magical phrase, 'the forgetting of being.'
"Once elevated to 'master and proprietor of nature',' man has now become a mere thing to the forces (of technology, of politics, of history) that bypass him, surpass him, possess him. To those forces, man鈥檚 concrete being, his 'world of life' (die Lebenswelt), has neither value nor interest: it is eclipsed, forgotten from the start.
"For me the father of the Modern Era is not only Descartes but also Cervantes. ... If it is true that philosophy and science have forgotten about man鈥檚 being, it emerges all the more plainly that with Cervantes a great European art took shape that is nothing other than the investigation of this forgotten being.
"Indeed, all the great existential themes Heidegger analyzes in 'Being and Time' 鈥� considering them to have been neglected by earlier European philosophy 鈥� had been unveiled, displayed, illuminated by four centuries of the European novel.
"It its own way, through its own logic, the novel discovered the various dimensions of existence one by one: with Cervantes and his contemporaries, it inquires into the nature of adventure; with Richardson, it begins to examine 'what happens inside', to unmask the secret life of the feelings; with Balzac, it discovers man鈥檚 rootedness in history; with Flaubert, it explores the terra previously incognita of the everyday; with Tolstoy, it focuses on the intrusion of the irrational into human behavior and decisions.
"It probes time: the elusive past with Proust, the elusive present with Joyce. With Thomas Mann, it examines the role of the myths from the remote past that control our present actions"
The Book of Power
This book comes across as a collection of short stories. However, there is enough thematic continuity to justify calling it a novel.
Either way, it's a tower from which the 茅migr茅 Kundera was able to look east from Paris and assess his past life in Communist Prague.
Equally, lest it be assumed that it is totally pro-West, it also allowed its Czech characters to look west and see the world of capitalism in Paris.
At the time, there was little comfort to be derived from living in one political sphere versus the other.
Both spheres come in for attack from the author鈥檚 quasi-anarchist point of view:
鈥淚 have come to realise that the problem of power is the same everywhere, in your country and in ours, East and West. We must be careful not to replace one type of power with another; we must reject the very principle of power and reject it everywhere.鈥�
The Book of Laughter
To some extent, the book distinguishes between public and private life.
In 1970鈥檚 Czechoslovakia, the Government, the Party, has strict control of public life.
People live in fear of being arrested, imprisoned and executed for ideological unsoundness.
All public behaviour is circumscribed. There is no longer any sincerity or authenticity. Nobody is frank. Nothing is genuine.
Nobody can be trusted. Nobody can be trusted with the truth. Nobody can be trusted with your truth.
You can understand the social and economic environment in which workers might say, 鈥淲e pretend to work, and they pretend to pay us.鈥�
The ego retreats into solitude, into the life of the mind. If you鈥檙e game or stupid, you might write something down, in letters or notebooks. You might even write a poem or a novel. But sooner or later, it will be read by a stranger, and eventually you鈥檒l be taken away in the middle of the night.
One outlet for the ego seems to be sex and eroticism. There is much promiscuity and infidelity in this book. It seems to be the one thing that keeps the lid from blowing off the saucepan.
Even then, lovers (at least those who are not overtly raping their partners) look into each other鈥檚 eyes, seeking guidance or reassurance about their performance. Nobody is game enough to ask or tell. They simply close down, withhold affection, they turn away, they avert their eyes, they keep their lips sealed.
The party doesn鈥檛 have a position on topless or nude bathing. Its members divide equally into those who are progressive or conservative. There鈥檚 no point in having a dispute over a relatively minor issue, so it鈥檚 permitted.
It鈥檚 hard to keep a lid on all social behaviour though. In the absence of the right to protest or form a legitimate opposition, people resort to laughter, not happy, delighted, joyous, ecstatic laughter (good laughter), but joking, irony, sarcasm, jeering, sneering, humiliation, ridicule (evil or bad laughter). Not something spontaneous, open, shared, infinitely pleasurable (good), but something covert, nervous, fearful, constrained (bad).
You can sense Boccaccio, Rabelais, Sterne, Swift coursing through the veins of this work, but Kundera nevertheless seems to have kept it relatively restrained. He was never totally free to run wild. You have to wonder what the book would have been like if it was less restrained.
Still, the novel is fluent, stylish, imaginative, even allegorical (although he disclaimed this word). It's deceptively easy to read, for all the seriousness of its subject matter.
Left: Vladimir Clementis and Klement Gottwald (with photographer Karel H谩jek) on 21 February 1948; Right: Klement Gottwald alone (the others having been eradicated from history as from 1952)
The Book of Forgetting
The subject of forgetting is equally divided into public and private.
In the personal context, Tamina is unable to erase memories of her dead husband: she would 鈥渘ever forgive herself for forgetting.鈥�
As a result, she isn鈥檛 able to have a relationship with somebody else. She works as a waitress in a Paris caf茅, but she spends her life dreaming of ways to recover her love letters and notebooks (records of 鈥渢he infinity of her love鈥�) from Prague, so that she can counter her fading memory of her husband. As it is, if she has a one night stand, she can only see her husband when she opens her eyes.
In her case, the inability to forget prevents her embracing the present, let alone the future. She clings to a past that will one day dissipate before her very eyes.
The political perspective is quite the opposite. It鈥檚 about how to eradicate the past. The point of view is the Soviet Union trying to control Czechoslovakia, although there鈥檚 no reason why it would be different in the Soviet Union itself:
鈥淭hey are trying to make an occupied country forget the bitterness of history and devote all its energy to the joys of everyday life...
鈥淭he first step in liquidating a people is to erase its memory. Destroy its books, its culture, its history. Then have somebody write new books, manufacture a new culture, invent a new history. Before long the nation will begin to forget what it is and what it was. The world around it will forget even faster.鈥�
People, friends, lovers and family are a link with the past. So are memories. So is history.
If you want to control the future, you must control the present. If you want to control the present, you must control the past. You control the past through controlling history (鈥�145 historians have been forbidden to remember鈥�). You must also destroy music, song, poetry (things that document and perpetuate memories, things that embody love and understanding). You must obliterate memories. You must mandate forgetting.
It鈥檚 not just Orwellian, it鈥檚 Kafkaesque. Kundera himself makes this explicit:
鈥淧rague in [Kafka's] novels is a city without memory. It has even forgotten its name. Nobody there remembers anything, nobody recalls anything...no song is capable of uniting the city's present with its past by recalling the moment of its birth.
鈥淭ime in Kafka's novel is the time of a humanity that no longer knows anything nor remembers anything, that lives in nameless streets or streets with names different from the ones they had yesterday, because a name means continuity with the past and people without a past are people without a name.鈥�
Changing a street name is likened to a lobotomy.
Paradoxically, you must turn adults into children. They have nothing to remember yet. However, they represent the future:
鈥淭he reason children are the future is not that they will one day be grownups. No, the reason is that mankind is moving more and more in the direction of infancy, and childhood is the image of the future.鈥�
The totalitarian state imposes infantilism on the people.
Nevertheless, at a time when perhaps Lolita might have been the only role model, Kundera seems to anticipate the sexualisation of children that proliferates today:
鈥淸The children] are behaving with the provocative flirtatiousness of the adult world, rolling their hips as if imitating intercourse. The lewdness of the motions superimposed on their children's bodies destroys the dichotomy between obscenity and innocence, purity and corruption. Sensuality loses all its meaning, innocence loses all its meaning, words fall apart...鈥�
The Book of Music
Music has a special role in the novel, partly because the narrator's (and the author's) father was a musician.
He rails against "the idiocy of music", particularly modern guitar music.
In contrast, he studies and admires Beethoven's variations, which provide the structure for his son's narrative:
"...those sixteen measures [of music contain] the inner universe of their infinite possibilities...
"This entire book is a novel in the form of variations. The individual parts follow each other like individual stretches of a journey leading towards a theme, a thought, a single situation, the sense of which fades into the distance...it is a story about laughter and forgetting, about forgetting and Prague, about Prague and the angels."
As a result, the novel becomes a "tower where the wisdom of music reigns supreme."
The Book of Writing
Although it鈥檚 not reflected in the title, there鈥檚 much in the novel about the act of writing.
Tamina鈥檚 notebooks dictate and drive her life:
鈥淪he realised that what gave her written memories value, meaning, was that they were meant for her alone.鈥�
Their very privacy sustained her life, they defined her self.
In contrast, Kundera is prescient (yet again) in describing the motivation for writing of the other characters. Writing for them perpetuates the self. It鈥檚 part of a grab for eternity, a defence against ephemerality:
鈥淓veryone has trouble accepting the fact he will disappear unheard of and unnoticed in an indifferent universe, and everyone wants to make himself into a universe of words before it's too late...
鈥淏y writing books, a man turns into a universe.鈥�
Milan and Vera Kundera
The Book of Understanding
Yet, just as writing is concerned with the preservation and perpetuation of the self, it is fundamentally selfish:
鈥淥nce the writer in every individual comes to life (and that time is not far off), we are in for an age of universal deafness and lack of understanding.鈥�
Writing has the potential to be social, but even this potential is exaggerated in this environment. We don't share or exchange. We just make statements. We don't seek understanding or wisdom, we just crave attention:
鈥淎ll man's life among men is nothing more than a battle for the ears of others.
鈥� ...novels are the fruit of the human illusion that we can understand our fellow man. But what do we know about each other? Nothing...The only thing we can do is to give an account of our own selves. Anything else is an abuse of power. Anything else is a lie.鈥�
The Book of Being
Kundera describes how the nature and scope of our vision of life, our Weltanschauung has diminished, almost to the point of solipsism:
鈥淓ver since Joyce, we have been aware of the fact that the greatest adventure in our lives is the absence of adventure... Homer's Odyssey now takes place within man. Man has internalised it. The islands, the sea, the sirens seducing us, and Ithaca calling us home - they have all been reduced to voices within us.鈥�
His three conditions for graphomania (a mania for writing books) capture today's blog culture perfectly:
鈥�(1) an elevated level of general wellbeing which allows people to devote themselves to useless activities;
(2) a high degree of social atomization and, as a consequence, a general isolation of individuals; and
(3) the absence of dramatic social changes in the nation's internal life.鈥�
As we become more atomised, as we turn away from live interaction with real people, we stay in our homes and type away at our computers.
All we need is wifi.
We cease to be public. We cease to be political. We cease to protest. We cease to propose. We cease to progress. We remain within the boundaries of our society. We never cross the border. Hence:
鈥淚f everybody holds off for a while, we'll be slaves before we know it.鈥�
It's tempting to define this approach in terms of Heidegger's philosophy (and his analysis of the "forgetfulness of Being"). We no longer define Being and Time in terms of possibilities. We have closed down, we are holding off. We have turned the horizon of Being into a digital prison. And Kundera saw it coming as long ago as 1979.
SOUNDTRACK:
Beethoven - Sonata N.32 Op.111 (Sviatoslav Richter)
"Now I know."
David Sylvian 鈥� "Laughter And Forgetting"
Lou Reed - "Small Town" [Live in D眉sseldorf on 24 April, 2000]
March 8, 2020
The book of Laughter and Forgetting is a book that has absolutely enchanted me. I remember reading it on a beach and thinking how it was somehow appropriate to read it there. Many subjects in this book are timeless. The vastness of the sea seems a good metaphor for this book. I can still remember how it felt, reading this wonderful novel on a hot summer day that seemed to last forever. I still remember the lessons it had to teach, a strange mix of sadness and happiness it stirred in me. It made me think of a great number of works, from 1984 to If on One Winter Night a Traveller. How I would describe The Book of Laughter and Forgetting? It's such an unique novel. It speaks of so many things, from communism and regimes to love and art. For me personally, it is a perfect book.
...鈥淭he first step in liquidating a people,' said Hubl, 'is to erase its memory. Destroy its books, its culture, its history. Then have somebody write new books, manufacture a new culture, invent a new history. Before long the nation will begin to forget what it is and what it was. The world around it will forget even faster.鈥�
鈥� Milan Kundera, The Book of Laughter and Forgetting
I loved the female protagonist of this novel and her dreamy search for memory. She is in many ways, such a strong woman. Her life has never been easy but she keeps on fighting. I find it very easy to relate to her. When her story turned into an odd dream of sorts, I found it somehow appropriate as well, even if it was quite disturbing at times.
...鈥淭amina serves coffee and calvados to the customers (there aren't all that many, the room being always half empty) and then goes back behind the bar. Almost always there is someone sitting on a barstool, trying to talk to her. Everyone likes Tamina. Because she knows how to listen to people.
But is she really listening? Or is she merely looking at them so attentively, so silently? I don't know, and it's not very important. What matters is that she doesn't interrupt anyone. You know what happens when two people talk. One of them speaks and the other breaks in: "It's absolutely the same with me, I..." and starts talking about himself until the first one manages to slip back in with his own "It's absolutely the same with me, I..."
The phrase "It's absolutely the same with me, I..." seems to be an approving echo, a way of continuing the other's thought, but that is an illusion: in reality it is a brute revolt against a brutal violence, an effort to free our own ear from bondage and to occupy the enemy's ear by force. Because all of man's life among his kind is nothing other than a battle to seize the ear of others. The whole secret of Tamina's popularity is that she has no desire to talk about herself. She submits to the forces occupying her ear, never saying: "It's absolutely the same with me, I...鈥�
鈥� Milan Kundera, The Book of Laughter and Forgetting
This novel isn't exactly well balanced. Sometimes it jumps from subject to subject. At one instant this book is quite realistic and speaks of life under the communist regime and in another it becomes fantastical and unreal. It's an unusual book, but in a good way. I can't think of anything in it that could make it better and nothing that could change because she completely delighted me. It is not only because I can sympathize with most of the things in the book and because so many sentences seems so true. It is also because I was delighted by all the form and content, the poetic and everyday life, the honesty and insincerity, the humanity and inhumanity. I felt like this book is somewhere between heaven and earth, chaos and peace, in some special place where sincerity of creation and talent takes place. There are books that you know you will love. You know that feeling when you read the first page and you know this book will touch your soul? For me this was one of those books. How would I answer the question: "What's in this book?". Perhaps it would be easiest to answer with a question "What's missing?". Still if I had to summarize an answer to this question, I would say that in this book you can find:
- poetry,
-philosophy,
-social satire,
-politics,
- study of regimes,
- history,
-fantasy,
-subconsciousness,
- allegories,
-realistic storytelling,
- postmodern passages,
- questioning of human relations,
- love in all forms,
- humor in abundance (of all kinds),
- biographies and autobiographies,
- literary criticism,
- honesty,
- and of course laughter and forgetting!
...鈥淭he stupidity of people comes from having an answer for everything. The wisdom of the novel comes from having a question for everything....The novelist teaches the reader to comprehend the world as a question. There is wisdom and tolerance in that attitude. In a world built on sacrosanct certainties the novel is dead. The totalitarian world, whether founded on Marx, Islam, or anything else, is a world of answers rather than questions. There, the novel has no place.鈥�
鈥� Milan Kundera, The Book of Laughter and Forgetting
Knjiga smijeha i zaborava osvojila me je na prvu. Savr拧ena knjiga, tako bi ju mogla opisati. Neobi膷na je, ali na dobar na膷in. Ne mogu zamisliti ni拧ta u njoj 拧to bi je moglo u膷initi boljom i ni拧ta 拧to bi se moglo promijeniti jer me posve odu拧evila. Nije samo zato 拧to mogu suosje膰ati sa ve膰inom stvari u knjizi i 拧to mi se tako puno re膷enica 膷ini istinitim, ve膰 me odu拧evilo sve forma i sadr啪aj, poeti膷nost i svakodnevnost, iskrenost i neiskrenost, ljudskost i neljudskost dijela koje je negdje izme膽u neba i zemlje, kaosa i mira, u nekom posebnom mjestu iskrenost stvaranja i talenta. Ima knjiga kojih kad pro膷ita拧 prvu stranicu zna拧 kako 膰e ti se svidjeti i za mene ovo je bila jedna od tih knjiga. Kundera je rekla bih divan pisac iako mi je ovo prva njegova knjiga. Na pitanje "膶ega ima u ovoj knjizi?" odgovoriti sa pitanjem "膶ega nema?" mo啪da je najlak拧e.
No nekako ukratko mo啪da bi se moglo re膰i kako ova knjiga u sebi ima:
-poezije,
-filozofije,
-dru拧tvene satire,
- povijesti,
-fantastike,
- alegorije,
-realisti膷kog pripovijedanja,
- postmoderne,
- propitivanja ljudskih odnosa,
- ljubavi u svim formama,
- humora u izobilju, u svim vrstama
- biografije, autobiografije,
- knji啪evne kritike,
- iskrenosti
- i naravno smijeha i zaborava!
...鈥淭he first step in liquidating a people,' said Hubl, 'is to erase its memory. Destroy its books, its culture, its history. Then have somebody write new books, manufacture a new culture, invent a new history. Before long the nation will begin to forget what it is and what it was. The world around it will forget even faster.鈥�
鈥� Milan Kundera, The Book of Laughter and Forgetting
I loved the female protagonist of this novel and her dreamy search for memory. She is in many ways, such a strong woman. Her life has never been easy but she keeps on fighting. I find it very easy to relate to her. When her story turned into an odd dream of sorts, I found it somehow appropriate as well, even if it was quite disturbing at times.
...鈥淭amina serves coffee and calvados to the customers (there aren't all that many, the room being always half empty) and then goes back behind the bar. Almost always there is someone sitting on a barstool, trying to talk to her. Everyone likes Tamina. Because she knows how to listen to people.
But is she really listening? Or is she merely looking at them so attentively, so silently? I don't know, and it's not very important. What matters is that she doesn't interrupt anyone. You know what happens when two people talk. One of them speaks and the other breaks in: "It's absolutely the same with me, I..." and starts talking about himself until the first one manages to slip back in with his own "It's absolutely the same with me, I..."
The phrase "It's absolutely the same with me, I..." seems to be an approving echo, a way of continuing the other's thought, but that is an illusion: in reality it is a brute revolt against a brutal violence, an effort to free our own ear from bondage and to occupy the enemy's ear by force. Because all of man's life among his kind is nothing other than a battle to seize the ear of others. The whole secret of Tamina's popularity is that she has no desire to talk about herself. She submits to the forces occupying her ear, never saying: "It's absolutely the same with me, I...鈥�
鈥� Milan Kundera, The Book of Laughter and Forgetting
This novel isn't exactly well balanced. Sometimes it jumps from subject to subject. At one instant this book is quite realistic and speaks of life under the communist regime and in another it becomes fantastical and unreal. It's an unusual book, but in a good way. I can't think of anything in it that could make it better and nothing that could change because she completely delighted me. It is not only because I can sympathize with most of the things in the book and because so many sentences seems so true. It is also because I was delighted by all the form and content, the poetic and everyday life, the honesty and insincerity, the humanity and inhumanity. I felt like this book is somewhere between heaven and earth, chaos and peace, in some special place where sincerity of creation and talent takes place. There are books that you know you will love. You know that feeling when you read the first page and you know this book will touch your soul? For me this was one of those books. How would I answer the question: "What's in this book?". Perhaps it would be easiest to answer with a question "What's missing?". Still if I had to summarize an answer to this question, I would say that in this book you can find:
- poetry,
-philosophy,
-social satire,
-politics,
- study of regimes,
- history,
-fantasy,
-subconsciousness,
- allegories,
-realistic storytelling,
- postmodern passages,
- questioning of human relations,
- love in all forms,
- humor in abundance (of all kinds),
- biographies and autobiographies,
- literary criticism,
- honesty,
- and of course laughter and forgetting!
...鈥淭he stupidity of people comes from having an answer for everything. The wisdom of the novel comes from having a question for everything....The novelist teaches the reader to comprehend the world as a question. There is wisdom and tolerance in that attitude. In a world built on sacrosanct certainties the novel is dead. The totalitarian world, whether founded on Marx, Islam, or anything else, is a world of answers rather than questions. There, the novel has no place.鈥�
鈥� Milan Kundera, The Book of Laughter and Forgetting
Knjiga smijeha i zaborava osvojila me je na prvu. Savr拧ena knjiga, tako bi ju mogla opisati. Neobi膷na je, ali na dobar na膷in. Ne mogu zamisliti ni拧ta u njoj 拧to bi je moglo u膷initi boljom i ni拧ta 拧to bi se moglo promijeniti jer me posve odu拧evila. Nije samo zato 拧to mogu suosje膰ati sa ve膰inom stvari u knjizi i 拧to mi se tako puno re膷enica 膷ini istinitim, ve膰 me odu拧evilo sve forma i sadr啪aj, poeti膷nost i svakodnevnost, iskrenost i neiskrenost, ljudskost i neljudskost dijela koje je negdje izme膽u neba i zemlje, kaosa i mira, u nekom posebnom mjestu iskrenost stvaranja i talenta. Ima knjiga kojih kad pro膷ita拧 prvu stranicu zna拧 kako 膰e ti se svidjeti i za mene ovo je bila jedna od tih knjiga. Kundera je rekla bih divan pisac iako mi je ovo prva njegova knjiga. Na pitanje "膶ega ima u ovoj knjizi?" odgovoriti sa pitanjem "膶ega nema?" mo啪da je najlak拧e.
No nekako ukratko mo啪da bi se moglo re膰i kako ova knjiga u sebi ima:
-poezije,
-filozofije,
-dru拧tvene satire,
- povijesti,
-fantastike,
- alegorije,
-realisti膷kog pripovijedanja,
- postmoderne,
- propitivanja ljudskih odnosa,
- ljubavi u svim formama,
- humora u izobilju, u svim vrstama
- biografije, autobiografije,
- knji啪evne kritike,
- iskrenosti
- i naravno smijeha i zaborava!
January 13, 2020
Brilliant in parts, but also messy and uneven. It is a twisting novel of lovers, sex, names, poets, politics, borders, history, memory, nations and being. It slides from one original idea into another like remote lovers in a well lubricated orgy of ideas. I don't know if it loses me because I loved so much more, or if Kundera just failed to grab me by the intellectual shorthairs. I'm almost positive I would probably rate it higher if I had the chance to tease out the flesh a bit more. It reads (not in specifics, just in style and tone) like someone took several Wim Wenders films and randomly spliced pieces from his oevre; sometimes backwards, sometimes upsidedown, frequently disorienting.
September 14, 2016
Such a unique writer, Kundera! What a way he has to shine the brightest light on the deepest corners of human psyche! What's really impressive, though, is the fact that he combines human every-day behavior with historical facts. The connection between those two is for the reader to make.
What some readers may find annoying, is the fact that Kundera is rather interventional when it comes to his characters. He doesn't hesitate not only to talk about himself, but also analyze his theories. Me, I don't have the slightest problem with that. I don't know to what extend I would agree with his political views, as he's baffled me some, but I find his writing highly addictive. His characters are faced with desires and fears, amidst all the big changes that took place in Czechoslovakia at the time, along with a sudden and violent turn toward sexual liberation (or suppression, for that matter).
These seven stories are all connected. Not only with the obvious way of having the same characters (a couple of them), but most importantly, by a greater sense of oneness. Thus, one can safely assume that this is not a collection of short stories, but a novel. There may be some big differences between some of them (for example, in the second story with the title "The Angels", Kundera looks Dostoevsky straight in the eye and exchanges a few words with him, without straying from the inner personal struggle of his character Tamina and the main point of the book), but in the end, and through some enlightening clarifications on the power of laughter and the danger of forgetting (a danger which has come to be a reality nowadays in so many ways, I might add), this book is exactly that: a Book of Laughter and Forgetting.
5 stars. My second favorite Kundera, closely behind The Unbearable Lightness of Being.
What some readers may find annoying, is the fact that Kundera is rather interventional when it comes to his characters. He doesn't hesitate not only to talk about himself, but also analyze his theories. Me, I don't have the slightest problem with that. I don't know to what extend I would agree with his political views, as he's baffled me some, but I find his writing highly addictive. His characters are faced with desires and fears, amidst all the big changes that took place in Czechoslovakia at the time, along with a sudden and violent turn toward sexual liberation (or suppression, for that matter).
These seven stories are all connected. Not only with the obvious way of having the same characters (a couple of them), but most importantly, by a greater sense of oneness. Thus, one can safely assume that this is not a collection of short stories, but a novel. There may be some big differences between some of them (for example, in the second story with the title "The Angels", Kundera looks Dostoevsky straight in the eye and exchanges a few words with him, without straying from the inner personal struggle of his character Tamina and the main point of the book), but in the end, and through some enlightening clarifications on the power of laughter and the danger of forgetting (a danger which has come to be a reality nowadays in so many ways, I might add), this book is exactly that: a Book of Laughter and Forgetting.
5 stars. My second favorite Kundera, closely behind The Unbearable Lightness of Being.
February 5, 2009
Weird, weird, weird. Was hoping for quality since it was an international best seller, and who knows, maybe it was just too high-brow for me, but I didn't enjoy it. It concentrates on how communism makes people lose their humanity and become just desire-less, shallow, and brain dead. There are a lot of really uncomfortable sex scenes involving children and others in which the act is just humorous and emotion-less, not even erotic just mechanical but not for the usual reasons of boredom with a partner but just boredom with the act itself. I don't know. He was shooting for a message of people becoming disattached from living because of the politics, but it was just weird. Wouldn't recommend it.
March 2, 2019
鈥溬嗀敦з� 丕賱廿賳爻丕賳 囟丿 丕賱爻賱胤丞 賴賵 賳囟丕賱 丕賱匕丕賰乇丞 囟丿 丕賱賳爻賷丕賳"
賰賵賳丿賷乇丕 賷賯毓 禺丕乇噩 丿丕卅乇丞 丕賱賲兀賱賵賮 亘丕賱賳爻亘丞 賱賱兀丿亘貙 兀丿亘賴 賷丨賲賱 丕賱賲毓賳賶 丕賱丨賯賷賯賷 賱賱兀丿亘 賱賰賳 丕賱賯丕賱亘 賲禺鬲賱賮 鬲賲丕賲丕 毓賳 丕賱賯賵丕賱亘 丕賱丕毓鬲賷丕丿賷丞貙 賵賮賷 賳馗乇賷 兀賳 鬲丨賯賷賯 丕賱賲毓賳賶 兀賴賲 賲賳 丕賱鬲爻賲賷丞 丕賱馗丕賴乇賷丞. 賰賵賳丿賷乇丕 賵丕丨丿 賲賳 兀賴賲 丕賱兀丿亘丕亍 賮賷 鬲丕乇賷禺 丕賱兀丿亘貙 鬲毓賯購賾丿 丕賱卮禺氐賷丞 賮賷 兀毓賲丕賱賴 鬲購丿乇爻.
賮賷 賴匕賴 丕賱乇賵丕賷丞 鬲丿賵乇 丕賱賯氐氐 丨賵賱 賲丨賵乇 賵丕丨丿貙 賵丕賱丨賯賷賯丞 兀賳 丕賱賯丕乇卅 賱賰賵賳丿賷乇丕 賷丿乇賰 兀賳 丕賱賲丨丕賵乇 丕賱乇卅賷爻賷丞 賮賷 兀毓賲丕賱賴 賰賱賴丕 賵丕丨丿丞.
賲賳匕 賮鬲乇丞 胤賵賷賱丞 兀賰鬲亘 毓賳 賰賵賳丿賷乇丕貙 丕賱賰鬲丕亘丞 毓賳賴 兀賲乇 賲乇賴賯 賱賰賳賴 賲賲鬲毓.
賰賵賳丿賷乇丕 賷賯毓 禺丕乇噩 丿丕卅乇丞 丕賱賲兀賱賵賮 亘丕賱賳爻亘丞 賱賱兀丿亘貙 兀丿亘賴 賷丨賲賱 丕賱賲毓賳賶 丕賱丨賯賷賯賷 賱賱兀丿亘 賱賰賳 丕賱賯丕賱亘 賲禺鬲賱賮 鬲賲丕賲丕 毓賳 丕賱賯賵丕賱亘 丕賱丕毓鬲賷丕丿賷丞貙 賵賮賷 賳馗乇賷 兀賳 鬲丨賯賷賯 丕賱賲毓賳賶 兀賴賲 賲賳 丕賱鬲爻賲賷丞 丕賱馗丕賴乇賷丞. 賰賵賳丿賷乇丕 賵丕丨丿 賲賳 兀賴賲 丕賱兀丿亘丕亍 賮賷 鬲丕乇賷禺 丕賱兀丿亘貙 鬲毓賯購賾丿 丕賱卮禺氐賷丞 賮賷 兀毓賲丕賱賴 鬲購丿乇爻.
賮賷 賴匕賴 丕賱乇賵丕賷丞 鬲丿賵乇 丕賱賯氐氐 丨賵賱 賲丨賵乇 賵丕丨丿貙 賵丕賱丨賯賷賯丞 兀賳 丕賱賯丕乇卅 賱賰賵賳丿賷乇丕 賷丿乇賰 兀賳 丕賱賲丨丕賵乇 丕賱乇卅賷爻賷丞 賮賷 兀毓賲丕賱賴 賰賱賴丕 賵丕丨丿丞.
賲賳匕 賮鬲乇丞 胤賵賷賱丞 兀賰鬲亘 毓賳 賰賵賳丿賷乇丕貙 丕賱賰鬲丕亘丞 毓賳賴 兀賲乇 賲乇賴賯 賱賰賳賴 賲賲鬲毓.
January 25, 2016
One of the characters in this book says that he intends to write a book about politics and love. And, that is exactly what this is; a book about politics and love. The style of writing is quite different from most other novels; there is not much dialog, mostly narration. And, at least once the author speaks directly to the reader about the book. He describes how Beethoven first popularized the musical form "theme and variations", and that this book is based on the same form. It is built on seven parts, and each part is a variation, although the similarities are deeply cloaked.
This is a marvelous book set in Prague and Europe in the late 1960's and early 1970's. The politics in the book concern life in Prague under Communist rule, dominated by the Soviet Union. So many activities, especially writing, can be construed as anti-regime. Even the kind of acquaintances and friends one has can be interpreted as an affront against the government. And, that is a theme of several of the parts of the book. Another theme is love, and sexual dalliances.
The author states that this book is about a woman named Tamina, though she does not show up in the story until quite a ways into it. In one of the parts, Tamina is rowed by a child to an island that is inhabited only by other children. I am not going to spoil the story here, but while the story is not supernatural in any way, it takes on a fantastical flavor, full of mysteries and strange emotions.
The entire book takes a very philosophical tone. It is obvious that Kundera has thought a lot about life, about the meaning of life, and lets the reader in on his secrets.
This is a marvelous book set in Prague and Europe in the late 1960's and early 1970's. The politics in the book concern life in Prague under Communist rule, dominated by the Soviet Union. So many activities, especially writing, can be construed as anti-regime. Even the kind of acquaintances and friends one has can be interpreted as an affront against the government. And, that is a theme of several of the parts of the book. Another theme is love, and sexual dalliances.
The author states that this book is about a woman named Tamina, though she does not show up in the story until quite a ways into it. In one of the parts, Tamina is rowed by a child to an island that is inhabited only by other children. I am not going to spoil the story here, but while the story is not supernatural in any way, it takes on a fantastical flavor, full of mysteries and strange emotions.
The entire book takes a very philosophical tone. It is obvious that Kundera has thought a lot about life, about the meaning of life, and lets the reader in on his secrets.
January 18, 2020
I didn't laugh. And it was quickly forgotten.
Kundera knew how to write. (I speak in the past tense because he is now 90 years old and I wonder how much writing he's doing nowadays.) But he chose to write about things I find it very hard to care about. In this, more than in Unbearable Lightness, he glorifies sex frequently as a rite of passage, and goes on at great length about its incredible significance. The characters are all so literary. So avant-garde, and in this day and age, cliched. There is a lot of political drama too. But hasn't everything in the book been done before, and done by Kundera specifically? Yes, the characters were witty, but that was about the extent of their depth in my opinion.
I understand if you enjoy his polished sentences and pithy remarks. There's satire and humor and possibly some heart. I won't argue with you about his skill. But I'm usually looking for a different brand of literature.
Kundera knew how to write. (I speak in the past tense because he is now 90 years old and I wonder how much writing he's doing nowadays.) But he chose to write about things I find it very hard to care about. In this, more than in Unbearable Lightness, he glorifies sex frequently as a rite of passage, and goes on at great length about its incredible significance. The characters are all so literary. So avant-garde, and in this day and age, cliched. There is a lot of political drama too. But hasn't everything in the book been done before, and done by Kundera specifically? Yes, the characters were witty, but that was about the extent of their depth in my opinion.
I understand if you enjoy his polished sentences and pithy remarks. There's satire and humor and possibly some heart. I won't argue with you about his skill. But I'm usually looking for a different brand of literature.
January 15, 2016
丕賱賯乇丕亍丞 丕賱孬丕賳賷丞 賱賰賵賳丿賷乇丕 賵丕賱鬲賷 賱賲 鬲賰鬲賲賱 兀賷囟丕賸 賲孬賱 爻丕亘賯鬲賴丕 賲賳 賰孬乇丞 賲丕 賯賮夭鬲 賮賵賯 丕賱賮賯乇丕鬲 賵丕賱氐賮丨丕鬲 !
賴匕丕 丕賱賰鬲丕亘 賰丕賳 賲丨丕賵賱鬲賷 丕賱孬丕賳賷丞 賱賱賯乇丕亍丞 賱賴 貙
賵賱丕 兀毓鬲賯丿 兀賳賳賷 爻兀賰乇乇 丕賱兀賲乇 賲乇丞 孬丕賱孬丞 !!
賴賳丕賰 卮卅 賲丕 禺胤兀 .. 卮卅 賷囟丕賷賯賰 丨賷賳 鬲噩丿 賮賰乇丞 賮賱爻賮賷丞 賲賲鬲丕夭丞 亘丨賯 鬲乇鬲丿賷 孬賵亘丕賸 兀丿亘賷丕賸 爻賷卅丕賸
卮卅 賲丕 賷噩毓賱賰 鬲丨夭賳 貙 丨賷賳 鬲噩丿 賮賰乇丞 乇丕卅毓丞 賰丕賳 賲賳 丕賱賲賲賰賳 丕賱鬲毓亘賷乇 毓賳賴丕 賮賷 氐賵乇丞 兀丿亘賷丞 乇丕卅毓丞 賵賰賱賲丕鬲 賲賲鬲丕夭丞 賵賯氐丞 卮丕卅賯丞 貙 賵亘丿賱丕賸 賲賳 匕賱賰 貙 鬲噩丿 孬賵亘丕賸 兀丿亘賷丕賸 乇丿賷卅丕賸 賷丿賵乇 丨賵賱 賴丕噩爻 賵丕丨丿 賮賯胤 賷賲鬲賱賰 丕賱賰鬲丕亘 賲賳 亘丿丕賷鬲賴 賱賳賴丕賷鬲賴 !!
賮丕賱賰鬲丕亘 賱賷爻 乇賵丕賷丞 賵丕丨丿丞 ..
亘賱 賲噩賲賵毓丞 賯氐氐賷丞 鬲丿賵乇 丨賵賱 賮賰乇鬲賷賳 賮賱爻賮賷鬲賷賳 : 丕賱囟丨賰 賵丕賱賳爻賷丕賳
賵賱賰賳 .. 胤亘賷毓丞 丕賱乇賵丕賷丕鬲 丕賱爻賷卅丞 兀囟丕毓鬲 賮賰乇丞 丕賱賰鬲丕亘 !
賱賱兀爻賮 賴賳丕賰 丕賱賰孬賷乇 賲賳 丕賱丕賯鬲亘丕爻丕鬲 丕賱噩賷丿丞 丕賱鬲賷 鬲賯乇兀賴丕 賲爻鬲賯賱丞 毓賳 丕賱賯氐氐 賳賮爻賴丕
賲丕夭丕賱 賰賵賳丿賷乇丕 亘丕賱賳爻亘丞 賱賷 兀丿賷亘 丕賱賮賰乇丞 丕賱噩賷丿丞 賵丕賱丕賯鬲亘丕爻 丕賱噩賷丿
賵賱賰賳賴 賱賷爻 兀丿賷亘 丕賱乇賵丕賷丞 丕賱噩賷丿丞
!
September 28, 2024
tamina, unutma ve hat谋rlama aras谋nda s谋k谋艧m谋艧 biri. bence tamina'n谋n ge莽mi艧e d枚nme arzusu, sadece bireysel haf谋zan谋n de臒il, ayn谋 zamanda ge莽mi艧in izlerinin nas谋l kayboldu臒unu g枚steren sembolik bir yolculuk. kundera bize bu karakter arac谋l谋臒谋yla ge莽mi艧in s眉rekli bir hat谋rlan谋艧 ya da unutulu艧 d枚ng眉s眉nde ya艧and谋臒谋n谋, bireyin belle臒iyle tarih aras谋nda ince ama g眉莽l眉 ba臒lar oldu臒unu g枚zler 枚n眉ne sermi艧. kitap boyunca mizah ve melankoli ustal谋kla harmanlanm谋艧. g眉l眉艧, kitapta hem bir direni艧 hem de bir ka莽谋艧 mekanizmas谋 olarak yer alm谋艧. unutmaksa bazen bir savunma, bazen de bilin莽li bir tercih. kitab谋n politik alt metniyse 枚zellikle d枚nemin totaliter rejimlerine kar艧谋 g眉莽l眉 bir ele艧tiri sunuyor. kundera bize adeta bu bask谋c谋 rejimlerin bireyleri sadece fiziksel olarak de臒il, haf谋zalar谋n谋 silerek de nas谋l yok etti臒ini g枚steriyor. felsefi boyutuyla da bizi d眉艧眉nmeye itiyor: unutmak ger莽ekten bir 枚zg眉rl眉k m眉, yoksa daha b眉y眉k bir kay谋p m谋? kundera bir bir bu sorular谋 yan谋tlarken bize a莽谋k bir y枚nlendirme yapmam谋艧. aksine her karakter ve her hik芒ye cevaplar谋m谋z谋 bulmam谋z i莽in birer ipucu.
haf谋zan谋n k谋r谋lganl谋臒谋 ve unutman谋n ka莽谋n谋lmazl谋臒谋 眉zerine d眉艧眉nd眉r眉yor kitap ve her okuyu艧ta farkl谋 anlamlar bulup 莽谋kar谋yorum.
haf谋zan谋n k谋r谋lganl谋臒谋 ve unutman谋n ka莽谋n谋lmazl谋臒谋 眉zerine d眉艧眉nd眉r眉yor kitap ve her okuyu艧ta farkl谋 anlamlar bulup 莽谋kar谋yorum.
October 7, 2014
"兀賳賵賶 鬲兀賱賷賮 賰鬲丕亘 賷丕 鬲丕賲賷賳丕 貙 賰鬲丕亘 丨賵賱 丕賱丨亘 貙 賳毓賲 貙 丨賵賱賶 賵丨賵賱賰 貙 丨賵賱賳丕 賲毓丕 貙 丨賵賱 賷賵賲賷丕鬲賳丕 丕賱兀賰孬乇 丨賲賷賲賷丞 貙 賷賵賲賷丕鬲 噩爻丿賷賳丕. 兀噩賱 貙 兀乇賷丿 兀賳 兀丨胤賲 賮賷賴 賰賱 丕賱鬲丕亘賵賴丕鬲 貙 賵兀亘賵丨 亘賰賱 卮卅 貙 兀賯賵賱 賰賱 卮卅 毓賳賶 貙 毓賳 賵噩賵丿賶 賵毓賳 賰賱 賲丕 兀賮賰乇 賮賷賴 貙 賵爻賷賰賵賳 賮賶 丕賱丌賳 賳賮爻賴 賰鬲丕亘賸丕 爻賷丕爻賷賸丕 貙 賰鬲丕亘賸丕 爻賷丕爻賷賸丕 毓賳 丕賱丨亘 貙 賵賰鬲丕亘 丨亘賾 毓賳 丕賱爻賷丕爻丞 .. "
"賰鬲丕亘 丨亘 丨賵賱 丕賱爻賷丕爻丞 貙 兀噩賱 貙 賱兀賳 丕賱毓丕賱賲 賷賳亘睾賶 兀賳 賷購禺賱賯 毓賱賶 賲賯丕爻 丕賱丕賳爻丕賳 貙 毓賱賶 賲賯丕爻賳丕 貙 毓賱賶 賲賯丕爻 噩爻丿賷賳丕 貙 賳毓賲 貙 賱賰賶 賳爻鬲胤賷毓 賷賵賲賸丕 兀賳 賳購賯亘賾賱 亘胤乇賷賯丞 賲禺鬲賱賮丞 貙 賵兀賳 賳丨亘 亘胤乇賷賯丞 賲禺鬲賱賮丞 .. "
賷賲賰賳賳丕 兀賳 賳氐賮 賲丕 賷賰鬲亘賴 賰賵賳丿賷乇丕 亘賰賱賲丞 賵丕丨丿丞 賮賳賯賵賱 "丕賱鬲賳賵毓" 貙 賳毓賲 貙 廿賳賴 丕賱賵氐賮 丕賱賲賳丕爻亘 貙 賮 賰賵賳丿賷乇丕 賱丕 賷賰鬲賮賶 亘賲賵囟賵毓賺 賵丕丨丿 貙 兀賵 賲噩丕賱賺 賵丕丨丿 貙 賵廿賳賲丕 賷賳鬲賯賱 亘賷賳 丕賱賲賵丕囟賷毓 丕賱賲禺鬲賱賮丞 亘禺賮丞 賵鬲賱賯丕卅賷丞 賵賷爻丨亘賰 賲毓賴 賮賶 丿賵丕賲丕鬲賴 丕賱賱胤賷賮丞 賱鬲睾賵氐 賮賶 毓丕賱賲賴 丕賱爻丕丨乇 ..
賷鬲丨丿孬 毓賳 丕賱毓賱丕賯丕鬲 丕賱丕賳爻丕賳賷丞 亘賷賳 丕賱亘卮乇 賵賷賵囟賾丨 鬲兀孬賷乇 鬲賱賰 丕賱毓賱丕賯丕鬲 毓賱賶 丨賷丕丞 丕賱賲噩鬲賲毓 賰賰賱 貙 孬賲 賷鬲賵賯賮 賱賷丨賰賶 賱賰 賲賵賯賮賸丕 賲賳 丨賷丕鬲賴 丕賱爻賷丕爻賷丞 貙 丕賱匕賶 賷卮毓乇賰 亘丕賱卮鬲丕鬲 兀丨賷丕賳賸丕 貙 賵賱賰賳賴 賮賶 丕賱賳賴丕賷丞 賷賲爻賰 丕賱禺賷賵胤 賰賱賴丕 賮賶 賷丿賴 賱賷購毓賱賽賲購賰賻 兀賳賴丕 賲鬲氐賱丞 亘亘囟毓賴丕 丕賱亘毓囟 ..
胤亘賾賯 賰賵賳丿賷乇丕 賲丕 賷賯賵賱 賮賶 丕賱丕賯鬲亘丕爻 丕賱兀賵賱 亘丨匕丕賮賷乇賴 貙 賮賰鬲亘 賰鬲丕亘賸丕 爻賷丕爻賷賸丕 毓賳 丕賱丨亘 貙 兀賵 賰鬲丕亘 丨亘賾 毓賳 丕賱爻賷丕爻丞. 賰鬲亘 賮賷賴 兀噩夭丕亍 賲賳 賷賵賲賷丕鬲賴 丕賱禺丕氐丞 貙 賵賯胤毓 賲賳 爻賷乇鬲賴 丕賱匕丕鬲賷賴 賵毓賱丕賯鬲賴 亘丕賱丨夭亘 丕賱卮賷賵毓賶 貙 賵丕噩鬲賷丕丨 丕賱乇賵爻 賱亘賵賴賷賲賷丕 貙 賵賴丕噩賲 賮賷賴 乇丐爻丕亍 丕賱鬲卮賷賰 丕賱鬲丕亘毓賷賳 賱賱丕鬲丨丕丿 丕賱爻賵賮賷鬲賶 貙 賵賴賵 賲丕 兀丿賶 賮賶 丕賱賳賴丕賷丞 廿賱賶 丕爻賯丕胤 噩賳爻賷鬲賴 丕賱鬲卮賷賰賷丞 賵胤乇丿賴 廿賱賶 賮乇賳爻丕 丨賷孬 丨氐賱 毓賱賶 丕賱噩賳爻賷丞 丕賱賮乇賳爻賷丞 賵亘丿兀 亘丕賱賰鬲丕亘丞 亘丕賱賱睾丞 丕賱賮乇賳爻賷丞 兀賷囟賸丕 ..
賷賵夭賾毓 賰賵賳丿賷乇丕 賳賮爻賴 毓賱賶 卮禺氐賷丕鬲賴 貙 賮鬲噩丿 兀賳 賰賱 卮禺氐賷丞 賯丿 丨氐賱鬲 毓賱賶 噩夭亍 賲賳賴 ; 丕賱爻賷丕爻賶 丕賱賲賳丕賮賯 賵丕賱賲丨丕賲賶 丕賱亘丕乇毓 賵賳丕丿賱丞 丕賱亘丕乇 賵丕賱賲乇兀丞 丕賱乇賷賮賷丞 賵丕賱卮丕毓乇 丕賱毓馗賷賲 賵毓丕賴乇丕鬲 丕賱賲丿賷賳丞 賵睾賷乇賴丕 .. 鬲爻鬲胤賷毓 兀賳 鬲卮賲 乇丕卅丨鬲賴 賮賶 賰賱 賴匕丕 貙 賷鬲賯賲賾氐 丕賱卮禺氐賷丞 賰賮賳丕賳 亘丕乇毓 貙 賵賷噩毓賱賰 鬲鬲毓丕胤賮 賲毓賴丕 兀賵 鬲賰乇賴賴丕 廿匕丕 兀乇丕丿 貙 賰賲丕 兀賳 賱丿賷賴 賯丿乇丞 賮丕卅賯丞 毓賱賶 鬲丨賱賷賱 丕賱卮禺氐賷丕鬲 貙 賵賲毓乇賮丞 兀亘毓丕丿 賰賱 卮禺氐賷丞 貙 賵賲夭噩 賰賱 賴匕丕 賮賶 賳爻賷噩 賲丨賰賲 貙 亘兀爻賱賵亘 卮丕卅賯 賱賱睾丕賷丞 賷噩亘乇賰 毓賱賶 丕賱賯乇丕亍丞 丨鬲賶 丕賱孬賲丕賱丞 ..
毓賱賶 丕賱睾賱丕賮 丕賱禺丕乇噩賶 賷氐賳賾賮 丕賱賳丕卮乇 " 賰鬲丕亘 丕賱囟丨賰 賵丕賱賳爻賷丕賳 " 賰乇賵丕賷丞 貙 賵賱賰賳賶 貙 賵亘毓丿 賯乇丕亍鬲賴 貙 兀乇丕賴 兀賯乇亘 賱賲噩賲賵毓丞 賯氐氐賷丞 貙 賮賴賵 賷鬲賰賵賳 賲賳 爻鬲丞 賮氐賵賱 鬲鬲丨丿孬 賮賶 賲賵丕囟賷毓 賵丨賰丕賷丕鬲賺 賲禺鬲賱賮丞 貙 賯丿 鬲賰賵賳 賲鬲氐賱丞 貙 賳毓賲 貙 賵賱賰賳賴 丕鬲氐丕賱 賵丕賴賺 賱丕 賷丐賴賱賴丕 賱丕毓鬲亘丕乇賴丕 乇賵丕賷丞 ..
兀賰孬乇 賲丕 兀毓噩亘賳賶 賴賵 丕賱賮氐賱 丕賱禺丕賲爻 貙 賵賷賵囟丨 賮賷賴 丕賱賰丕鬲亘 賲氐胤賱丨 "丕賱賱賷鬲賵爻鬲" 貙 賵賷丨賰賶 賯氐丞 卮毓乇丕亍 丕噩鬲賲毓賵丕 賮賷 亘賷鬲 兀丨丿賴賲 賷鬲賳丕賯卮賵賳 賮賶 兀賲賵乇 丕賱丨賷丕丞 賵丕賱賳爻丕亍 賵丕賱卮毓賭乇 賵睾賷乇賴丕 ..
丕賱賰鬲丕亘 賴賵 鬲噩乇亘鬲賶 丕賱孬丕賳賷丞 賲毓 賰賵賳丿賷乇丕 亘毓丿 " 賰丕卅賳 賱丕 鬲丨鬲賲賱 禺賮鬲賴 " 貙 賵兀毓鬲賯丿 兀賳賴丕 賱賳 鬲賰賵賳 丕賱兀禺賷乇丞..
賷亘丿賵 兀賳賳賶 賱賳 兀賰鬲賮賶 賲賳 賴匕丕 丕賱乇噩賱 兀亘丿賸丕 ..
"賰鬲丕亘 丨亘 丨賵賱 丕賱爻賷丕爻丞 貙 兀噩賱 貙 賱兀賳 丕賱毓丕賱賲 賷賳亘睾賶 兀賳 賷購禺賱賯 毓賱賶 賲賯丕爻 丕賱丕賳爻丕賳 貙 毓賱賶 賲賯丕爻賳丕 貙 毓賱賶 賲賯丕爻 噩爻丿賷賳丕 貙 賳毓賲 貙 賱賰賶 賳爻鬲胤賷毓 賷賵賲賸丕 兀賳 賳購賯亘賾賱 亘胤乇賷賯丞 賲禺鬲賱賮丞 貙 賵兀賳 賳丨亘 亘胤乇賷賯丞 賲禺鬲賱賮丞 .. "
賷賲賰賳賳丕 兀賳 賳氐賮 賲丕 賷賰鬲亘賴 賰賵賳丿賷乇丕 亘賰賱賲丞 賵丕丨丿丞 賮賳賯賵賱 "丕賱鬲賳賵毓" 貙 賳毓賲 貙 廿賳賴 丕賱賵氐賮 丕賱賲賳丕爻亘 貙 賮 賰賵賳丿賷乇丕 賱丕 賷賰鬲賮賶 亘賲賵囟賵毓賺 賵丕丨丿 貙 兀賵 賲噩丕賱賺 賵丕丨丿 貙 賵廿賳賲丕 賷賳鬲賯賱 亘賷賳 丕賱賲賵丕囟賷毓 丕賱賲禺鬲賱賮丞 亘禺賮丞 賵鬲賱賯丕卅賷丞 賵賷爻丨亘賰 賲毓賴 賮賶 丿賵丕賲丕鬲賴 丕賱賱胤賷賮丞 賱鬲睾賵氐 賮賶 毓丕賱賲賴 丕賱爻丕丨乇 ..
賷鬲丨丿孬 毓賳 丕賱毓賱丕賯丕鬲 丕賱丕賳爻丕賳賷丞 亘賷賳 丕賱亘卮乇 賵賷賵囟賾丨 鬲兀孬賷乇 鬲賱賰 丕賱毓賱丕賯丕鬲 毓賱賶 丨賷丕丞 丕賱賲噩鬲賲毓 賰賰賱 貙 孬賲 賷鬲賵賯賮 賱賷丨賰賶 賱賰 賲賵賯賮賸丕 賲賳 丨賷丕鬲賴 丕賱爻賷丕爻賷丞 貙 丕賱匕賶 賷卮毓乇賰 亘丕賱卮鬲丕鬲 兀丨賷丕賳賸丕 貙 賵賱賰賳賴 賮賶 丕賱賳賴丕賷丞 賷賲爻賰 丕賱禺賷賵胤 賰賱賴丕 賮賶 賷丿賴 賱賷購毓賱賽賲購賰賻 兀賳賴丕 賲鬲氐賱丞 亘亘囟毓賴丕 丕賱亘毓囟 ..
胤亘賾賯 賰賵賳丿賷乇丕 賲丕 賷賯賵賱 賮賶 丕賱丕賯鬲亘丕爻 丕賱兀賵賱 亘丨匕丕賮賷乇賴 貙 賮賰鬲亘 賰鬲丕亘賸丕 爻賷丕爻賷賸丕 毓賳 丕賱丨亘 貙 兀賵 賰鬲丕亘 丨亘賾 毓賳 丕賱爻賷丕爻丞. 賰鬲亘 賮賷賴 兀噩夭丕亍 賲賳 賷賵賲賷丕鬲賴 丕賱禺丕氐丞 貙 賵賯胤毓 賲賳 爻賷乇鬲賴 丕賱匕丕鬲賷賴 賵毓賱丕賯鬲賴 亘丕賱丨夭亘 丕賱卮賷賵毓賶 貙 賵丕噩鬲賷丕丨 丕賱乇賵爻 賱亘賵賴賷賲賷丕 貙 賵賴丕噩賲 賮賷賴 乇丐爻丕亍 丕賱鬲卮賷賰 丕賱鬲丕亘毓賷賳 賱賱丕鬲丨丕丿 丕賱爻賵賮賷鬲賶 貙 賵賴賵 賲丕 兀丿賶 賮賶 丕賱賳賴丕賷丞 廿賱賶 丕爻賯丕胤 噩賳爻賷鬲賴 丕賱鬲卮賷賰賷丞 賵胤乇丿賴 廿賱賶 賮乇賳爻丕 丨賷孬 丨氐賱 毓賱賶 丕賱噩賳爻賷丞 丕賱賮乇賳爻賷丞 賵亘丿兀 亘丕賱賰鬲丕亘丞 亘丕賱賱睾丞 丕賱賮乇賳爻賷丞 兀賷囟賸丕 ..
賷賵夭賾毓 賰賵賳丿賷乇丕 賳賮爻賴 毓賱賶 卮禺氐賷丕鬲賴 貙 賮鬲噩丿 兀賳 賰賱 卮禺氐賷丞 賯丿 丨氐賱鬲 毓賱賶 噩夭亍 賲賳賴 ; 丕賱爻賷丕爻賶 丕賱賲賳丕賮賯 賵丕賱賲丨丕賲賶 丕賱亘丕乇毓 賵賳丕丿賱丞 丕賱亘丕乇 賵丕賱賲乇兀丞 丕賱乇賷賮賷丞 賵丕賱卮丕毓乇 丕賱毓馗賷賲 賵毓丕賴乇丕鬲 丕賱賲丿賷賳丞 賵睾賷乇賴丕 .. 鬲爻鬲胤賷毓 兀賳 鬲卮賲 乇丕卅丨鬲賴 賮賶 賰賱 賴匕丕 貙 賷鬲賯賲賾氐 丕賱卮禺氐賷丞 賰賮賳丕賳 亘丕乇毓 貙 賵賷噩毓賱賰 鬲鬲毓丕胤賮 賲毓賴丕 兀賵 鬲賰乇賴賴丕 廿匕丕 兀乇丕丿 貙 賰賲丕 兀賳 賱丿賷賴 賯丿乇丞 賮丕卅賯丞 毓賱賶 鬲丨賱賷賱 丕賱卮禺氐賷丕鬲 貙 賵賲毓乇賮丞 兀亘毓丕丿 賰賱 卮禺氐賷丞 貙 賵賲夭噩 賰賱 賴匕丕 賮賶 賳爻賷噩 賲丨賰賲 貙 亘兀爻賱賵亘 卮丕卅賯 賱賱睾丕賷丞 賷噩亘乇賰 毓賱賶 丕賱賯乇丕亍丞 丨鬲賶 丕賱孬賲丕賱丞 ..
毓賱賶 丕賱睾賱丕賮 丕賱禺丕乇噩賶 賷氐賳賾賮 丕賱賳丕卮乇 " 賰鬲丕亘 丕賱囟丨賰 賵丕賱賳爻賷丕賳 " 賰乇賵丕賷丞 貙 賵賱賰賳賶 貙 賵亘毓丿 賯乇丕亍鬲賴 貙 兀乇丕賴 兀賯乇亘 賱賲噩賲賵毓丞 賯氐氐賷丞 貙 賮賴賵 賷鬲賰賵賳 賲賳 爻鬲丞 賮氐賵賱 鬲鬲丨丿孬 賮賶 賲賵丕囟賷毓 賵丨賰丕賷丕鬲賺 賲禺鬲賱賮丞 貙 賯丿 鬲賰賵賳 賲鬲氐賱丞 貙 賳毓賲 貙 賵賱賰賳賴 丕鬲氐丕賱 賵丕賴賺 賱丕 賷丐賴賱賴丕 賱丕毓鬲亘丕乇賴丕 乇賵丕賷丞 ..
兀賰孬乇 賲丕 兀毓噩亘賳賶 賴賵 丕賱賮氐賱 丕賱禺丕賲爻 貙 賵賷賵囟丨 賮賷賴 丕賱賰丕鬲亘 賲氐胤賱丨 "丕賱賱賷鬲賵爻鬲" 貙 賵賷丨賰賶 賯氐丞 卮毓乇丕亍 丕噩鬲賲毓賵丕 賮賷 亘賷鬲 兀丨丿賴賲 賷鬲賳丕賯卮賵賳 賮賶 兀賲賵乇 丕賱丨賷丕丞 賵丕賱賳爻丕亍 賵丕賱卮毓賭乇 賵睾賷乇賴丕 ..
丕賱賰鬲丕亘 賴賵 鬲噩乇亘鬲賶 丕賱孬丕賳賷丞 賲毓 賰賵賳丿賷乇丕 亘毓丿 " 賰丕卅賳 賱丕 鬲丨鬲賲賱 禺賮鬲賴 " 貙 賵兀毓鬲賯丿 兀賳賴丕 賱賳 鬲賰賵賳 丕賱兀禺賷乇丞..
賷亘丿賵 兀賳賳賶 賱賳 兀賰鬲賮賶 賲賳 賴匕丕 丕賱乇噩賱 兀亘丿賸丕 ..
November 13, 2019
賱賲 兀噩丿 賰丕鬲亘丕賸 賲賳 賯亘賱 賷毓丕賲賱 卮禺氐賷丕鬲賴 賰賲丕 賷毓丕賲賱賴賲 賰賵賳丿賷乇丕貙 賮賴賵 賷毓丕賲賱賴賲 賵賰兀賳賴賲 兀亘賳丕亍賴 兀賵 廿禺賵鬲賴貙 賱賯丿 卮毓乇鬲 亘丨丕賱丞 丌賱賮丞 賵丨亘 賰亘賷乇賷賳 賱賲 兀卮毓乇 亘賴賲丕 賲賳 賯亘賱 亘賷賳 賰賵賳丿賷乇丕 賵卮禺氐賷丕鬲賴貙 賵賯丿 兀丿賴卮賳賷 賰賷賮 賷爻鬲胤賷毓 兀賳 賷鬲賵丨丿 賲毓賴賲 亘賴匕丕 丕賱卮賰賱貙 賵賱賰賳賴 賱賷爻 亘睾乇賷亘貙 賮廿賳 賰賱 鬲賱賰 丕賱卮禺氐賷丕鬲 賮賷賴丕 廿賳毓賰丕爻 賲賳 丨賷丕鬲賴 賴賵 丕賱卮禺氐賷丞貙 賮賱丕 毓噩亘 兀賳 賷賱鬲賯胤 賲賳 賲卮丕賰賱賴賲 賵匕賰乇賷丕鬲賴賲 禺賷賵胤 賱賷亘丿兀 亘丕賱丨丿賷孬 毓賳 賳賮爻賴貙 賵賱丕 毓噩亘 兀賳 鬲賱鬲丨賲 丨賷丕鬲賴 賵賲氐賷乇賴 亘丨賷賵丕鬲賴賲 賵賲氐丕卅乇賴賲 賴賰匕丕.. 賵賱丕 毓噩亘 兀賳賴 賷丨賰賷 毓賳賴賲 亘毓賷賳 丕賱賲乇丕賯亘 賵丕賱乇丕賵賷貙 賵賱賷爻 亘鬲賯乇賷乇 丕賱氐丨賮賷.. 賰賵賳丿賷乇丕 毓丕賱賲 賲丿賴卮 兀賳丕 爻毓賷丿 賱兀賳賳賷 胤乇賯鬲 亘丕亘賴 兀禺賷乇丕賸.
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丨賰丕亍 賲丕賴乇貙 賵賷賲鬲賱賰 禺賷賵胤 乇賴賷亘丞 賷亘丿兀 亘賷賴丕 賯氐鬲賴貙 賵禺胤賵胤 賵賴賲賷丞 賷賳鬲賮賱 亘賴丕 賲賳 丨丿孬 賱賱丌禺乇貙 兀賳丕 爻毓賷丿貙 丨賯賷賯丞 兀賳丕 爻毓賷丿.
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