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Du souvenir, du mensonge et de l'oubli
Skip to main content. About this product. Stock photo. Pre-owned: lowest price The lowest-priced item that has been used or worn previously. A copy that has been read, but remains in clean condition.
Du souvenir, du mensonge et de l'oubli | Actes Sud
All pages are intact, and the cover is intact. The spine may show signs of wear. Pages can include limited notes and highlighting, and the copy can include previous owner inscriptions. Le Livre du rire et de l'oubli French Edition by Kundera, Milan A copy that has been read, but remains in clean condition. See details. Whenever she sat across from a man, she would use his head as a kind of sculptor's armature.
She would concentrate all her attention on him and remodel his face inside her head, darkening the complexion, adding freckles and warts, scaling down the ears, and coloring the eyes blue. But all her efforts only went to show that her husband's image had disappeared for good.
As another holdout, Mirek, puts it, "the struggle of man against power is the struggle of memory against oblivions. She has remained loyal to their youthful orthodoxy, even to supporting the Russian invasion of But he quite misses the point of her fidelity to the party--that it is fidelity to him and their old love: "What seemed to be political fanaticism was only an excuse, a parable, a manifesto of fidelity, a coded plaint of unrequited love.
Every life is lobotomized by the severances of tyranny. Of course, there is comedy here.
Oh no, there's been an error
We were cheering him on. But the theme of laughter, as developed by Kundera in these later stories, is elaborated to the point where it can no longer be felt as laughter. He is deft and paradoxical but too heavy-hearted to be a funny writer' nor can he bring to his heavy-heartedness that touch of traditional religious resignation which converts depression to the cosmic humor of Kafka, or Bruno Schulz, or the early Malamud, or Gogol.
Kundera in comparison is a child of the Enlightenment, and what mysteries exist for him occur on the plane of the psychological and the sexual. There is more analysis of laughter--specified as "a wobbly, breathy sound in the upper reaches of [the] vocal register"--than laughter itself. A certain mechanical liveliness, as of French farce, attends the scenes of group sex: In "Mother," the hero's visiting elderly mother unwittingly blunders back into the living room where her son is about to commence entertaining his wife and another scantily clad woman at once; in "The Border," a zealous orgy hostess vigilantly enforces multiple contacts upon couples threatening to find happiness in a corner by themselves.
Sex is sad for Kundera, at bottom, and laughter is cruel. His book's final image is of a group of doctrinaire, self-congratulatory nudists on the presumably French beach, "their naked genitals staring duly, sadly, listlessly at the yellow sand. The hero of this final episode, named Jan, has earlier reflected that the Jews had gone to the gas chambers in naked groups, and that "nudity is a shroud. She is composed in manner but keeps going to the bathroom.
She was as open to me as the carcass of a heifer slit down the middle and hanging on a hook. There we were, sitting side by side on a couch in a borrowed apartment, the gurgling of the water filling the empty toilet tank in the background, and suddenly I felt a violent desire to make love to her. Or to be more exact, a violent desire to rape her. To throw myself on her and take possession of her with all her intolerably exciting contradictions, her impeccable outfits, her rebellious insides, her reason and her fear, her pride and her misery.
Against the memory of such surges of violation and exposure, which the pressures of the Communist world make possible, the public nudity of the West of course must seem tame. As to the women of Kundera's world, sex is best when it is soulless.
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Undergoing the charade of triadic sex, the sensitive, jealous Marketa imagines that her husband is headless: "The minute she severed the head from his body, she felt the new and intoxicated touch of freedom. The anonymity of their bodies was sudden paradise, paradise regained. The angels in Milan Kundera's complex universe of disjunction are malevolent. These children end by tormenting Tamina and goading her to the death by drowning she had, earlier, sought in vain.
Biographie d'Yann Apperry
In the first story called "The Angels," they dance in the streets of Prague to celebrate some political murders; they dance in circles until they rise into the sky. The angels are the unfallen from the Communist faith; Kundera once danced in their circle, and remembers their bliss. Angels are the heralds of "uncontested.
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Kundera's prose presents a surface like that of a shattered mirror, where brightly mirroring fragments lie mixed with pieces of lusterless silvering. The Communists idyll he youthfully believed in seems somehow to exist for him still, though mockingly and excludingly. He never asks himselfthe most interesting political question of the century--why a plausible and necessarily redistribution of wealth should, in its Communist form, demand such an exorbitant sacrifice of individual freedom?