Life Is Elsewhere

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The Franco-Czech novelist Milan Kundera was born in Brno and has lived in France, his second homeland, since 1975. He is the author of the novels The Joke, Farewell Waltz, Life Is Elsewhere, The Book of Laughter and Forgetting, The Unbearable Lightness of Being, and Immortality, and the short-story collection Laughable Loves—all originally written in Czech. His most recent novels Slowness, Identity, and Ignorance, as well as his nonfiction works The Art of the Novel, Testaments Betrayed, The Curtain, and Encounter, were originally written in French.

The Franco-Czech novelist Milan Kundera was born in Brno and has lived in France, his second homeland, for more than twenty years.

He is the author of the novels The Joke, Life Is Elsewhere, The Farewell Party, The Books of Laughter and Forgetting, The Unbearable Lightness of Being, and Immortality, and the short story collection Laughable Loves — all originally written in Czech.

Like Slowness, his two earlier nonfiction works, The Art of the Novel and Testaments Betrayed, were originally written in French.

Biography

For someone whom the world regards as a serious intellectual, Milan Kundera has a brilliantly twisted sense of humor. His novels depict a world of awkward orgies and disastrous pool parties, mad scientists and self-pitying poets who contract pneumonia out of spite. While Kundera's works tackle profound issues of human identity, they also playfully juggle ambiguities, ironies and paradoxes. "The novelist teaches the reader to comprehend the world as a question," he said in a 1980 interview with Philip Roth. "There is wisdom and tolerance in that attitude. In a world built on sacrosanct certainties the novel is dead."

Kundera was born in Brno, Czechoslovkia in 1929. Like many young Czechs who had come of age during World War II and the German occupation, Kundera was attracted to Marxist philosophy, which seemed to promise a new freedom and peace. The first literary works he produced (three volumes of poetry and a play, The Owners of the Keys) were essentially Communist propaganda, though they didn't always conform to the tenets of socialist realism approved by the state. His resistance to the official restrictions on literature helped lead to his involvement with the "Prague Spring," the brief-lived reform movement toward "socialism with a human face."

During the '60s, Kundera began writing short stories, collected as Laughable Loves, which he would later identify as the beginning of his mature work. In several of them, jokes that start out as innocent pranks evolve into catastrophes for both perpetrator and victim -- they are deeds that, like the Czech version of Communism, have escaped the control of their creators. Kundera's first novel, The Joke, concerns a young man who is brought up on political charges after sending a teasing postcard to his girlfriend ("Optimism is the opium of the people!").

The Joke was published to wide acclaim shortly before the Soviet invasion of Czechoslovakia in 1968. Following the invasion, Kundera was ousted from his film-studies teaching job, his books were pulled from libraries and bookstores, and he was forbidden to publish new work. He went on writing, however, and his novels Life Is Elsewhere and The Farewell Party were published outside his native country. Farcical and bleak, the novels developed what would become a recurring theme for Kundera, in which commitment to an abstract moral principle paves the way for corruption and evil.

In 1975, Kundera fled Czechoslovakia and settled in France, where he eventually became a citizen. His first book produced in exile, The Book of Laughter and Forgetting, remains one of his most celebrated works, weaving together autobiographical reflections with a series of connected fictions. John Updike, writing in the New York Times, called it "brilliant and original, written with a purity and wit that invite us directly in; it is also strange, with a strangeness that locks us out." His next novel, The Unbearable Lightness of Being, also drew high praise, and the 1988 film version of The Unbearable Lightness of Being starring Daniel Day-Lewis and Juliette Binoche turned Kundera into something of a celebrity.

Despite (or perhaps because of) the political pressures that shaped his early life and works, Kundera has long insisted that the novel should be a work of art, not a political or ideological statement. By the '90s, Kundera had started to write his novels in French; he is now sometimes tagged a "Franco-Czech" author. His works are often described as "novels of ideas," but he resists the term "philosophical novel." As he said in an interview with Lois Oppenheim, "There are metaphysical problems, problems of human existence, that philosophy has never known how to grasp in all their concreteness and that only the novel can seize."

出版者:Harpercollins
作者:Milan Kundera
出品人:
页数:432
译者:Aaron Asher
出版时间:2000-7-25
价格:USD 15.99
装帧:Paperback
isbn号码:9780060997021
丛书系列:
图书标签:
  • MilanKundera 
  • 小说 
  • 米兰・昆德拉 
  • 昆德拉 
  • 捷克 
  • 外国文学 
  • 生活在别处 
  • Kundera 
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The author initially intended to call this novel The Lyrical Age. The lyrical age, according to Kundera, is youth, and this novel, above all, is an epic of adolescence; an ironic epic that tenderly erodes sacrosanct values: childhood, motherhood, revolution, and even poetry. Jaromil is in fact a poet. His mother made him a poet and accompanies him (figuratively) to his love bed and (literally) to his deathbed. A ridiculous and touching character, horrifying and totally innocent ("innocence with its bloody smile"!), Jaromil is at the same time a true poet. He's no creep, he's Rimbaud. Rimbaud entrapped by the communist revolution, entrapped in a somber farce.

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读米兰·昆德拉最大的困难之一在于,很难琢磨透作者究竟想表达什么样的思想,作者对他笔下的人物,究竟是赞扬、讽刺、否定还是只是纯粹的描写生活本身的种种状态。与一般的小说相比米兰·昆德拉的故事并不复杂,没有史诗般气魄雄浑的场面,没有乱纷纷你方唱罢我登场的层出...  

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我站在山腰上,下面是许多摆放错乱的绞刑架。 我抱着一本诗,有滑稽的封面和可笑的句子,关于这点,我可以向全国人民担保,但请你们不要笑。 这个星球属于某大型矿业公司,而我是一个被流放于此的监工,抱着本诗的监工。 太阳是紫色的,土地是赤色的。很明显,我是淡绿色的...  

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有人问,你什么时候离开呀?我突然发现,其实每个人都有一颗等待离开的心。 我们来到一个地方,却随时会离开,没有谁会长驻某处,所以当同学和我说,她打算在新的单位一直一直呆下去,在我听来仿佛是在和自己做一个不确定的约定。 我们遇见一些人,对方也随时可能转身走开,不...  

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读完昆德拉德的书,我总是情不自禁的对书的题目感触非常,以致于读过之后我总是就书题目而产生出许多感慨。惭愧的是,所思所想多数已经背离了原著,成为了我心中独立的部分。但是,这或许也是我衷爱昆德拉德一点原因吧。 读《生活在别处》 亲爱的朋友,不知道你可否思考...  

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The excessive narcissism of the anti-hero permeates the narrator’s voice, which proves that he is no better than whom he mocks and detests. The plot design is also astonishingly naive and crude, with redundancy and an abominable amount of egocentrism. Basically plodded through the book with distress.

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都一个德行嘛

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太对胃口了!

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本以为会是最好读,却发现是最抵触的一部昆德拉,如果他仅仅是想嘲笑诗歌,唾弃抒情,那他成功了 :这无疑是他笔下最可笑最可恨也最可悲的主角,一个追求光荣与理想却从未真正断奶的年轻诗人,一边尝试着逃离母亲的控制,一边享受控制他人的快感,最后被体制利用、被现实击破、被自己的虚荣愚昧打败、被一个真正的男人拽下来碾进土里。我不知道雅罗米尔多大程度上有自传的色彩,但是结尾部分无为的中年男子分明是一个作者对自己的嘲笑和安慰。 “真正的生活在别处!”这句诗人死前的呐喊充满讽刺和无力感,到现在竟然被剥离语境成为众多文青的座右铭。。。

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