Review by Booklist Review
Kundera explores the predicament we've gotten ourselves into in our haste to live, to get things done, to move from one place to the next, to devour without experiencing. He explores the relationship between slowness and speed to reflecting and forgetting. The narrator (the writer himself, "Milanku" ) and his wife decide to vacation at a chateau, and en route he immediately begins meditating on slowness versus speed when they find themselves impeding the progress of the driver behind them. Before the end (and the book is short), Kundera has converted his philosophical ruminations into a delightful fictional piece in which the action takes place at the chateau. The writer sets up parallel stories of seduction; one set in the eighteenth century, the other contemporary. Such a fictional device itself harkens back to different times. Now it seems out of date, too deliberate, too artificial, but the story is utterly fascinating, the characters are memorable, and the "moral" is indelibly communicated. No tears jerked, no cheap thrills. Hardly. The reader comes away reflecting on how to live, on the Chevalier in his carriage riding away deliberately from his night of slow love and Vincent speeding away on his motorcycle from his night of no love. A magnificent minor effort. (Reviewed May 1, 1996)0060173696Bonnie Smothers
From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review
Kundera's latest (after Immortality) is a scintillating jeu d'esprit, as coolly elegant and casually brutal as the 18th-century French arts to which the text pays tribute. Indeed, this is the expatriate Czech author's first novel written in French, his adopted homeland's native tongue. The paintings of Fragonard and Watteau, Sade's La Philosophie dans le boudoir, Laclos's Les Liaisons dangereuses and an obscure novella entitled Point de lendemain, by Vivant Denon, are all invoked by the narrator, who may be Kundera himself (his wife calls him "Milanku"). He recalls the plot of Point de lendemain while visiting a château-turned-hotel, admiring the leisurely hedonism implicit in both these relics of a bygone age. "Why has the pleasure of slowness disappeared?" the narrator asks as he considers the frantic, joyless pursuit of stimulation that modern men and women call pleasure. He remembers-or perhaps invents-a group of French intellectuals determined to demonstrate their political correctness as a means of furthering their ambitions. "Dancers," he calls them, discerning that they are more concerned with displaying their moral purity than with accomplishing anything. The political and sexual maneuverings of these contemporary characters intermingle with the narrator's musings and ongoing retelling of Point de lendemain; in a brilliant and oddly moving finale, the protagonist of the 18th-century novella comes face to face with his present-day counterpart, Vincent, who is incapable of slowing down long enough to appreciate the meaning of the experiences he has just undergone. A deliberate chilliness of tone and the one-dimensionality of Vincent and his peers keep this from being as emotionally engaging as it is intellectually stimulating. Nonetheless, it embodies provocative thoughts on personal and social triviality from a postmodern master. 100,000 first printing; $100,000 ad/promo. (May) FYI: Also in May, HarperPerennial is issuing a new translation of The Book of Laughter and Forgetting by Aaron Asher, Kundera's longtime editor and publisher, and husband of Linda Ashe. The translation incorporates revisions made by Kundera in the mid-1980s. (c) Copyright PWxyz, LLC. All rights reserved
(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review
A modernist rumination featuring layered stories set in the 18th century and the present day, from the acclaimed Czech author. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review
Elegantly fashioned and almost forbiddingly urbane new novel, written in French, by the renowned Czech author of such ironical and sophisticated fictions as The Book of Laughter and Forgetting (1980) and The Unbearable Lightness of Being (1984). Kundera is nothing if not a theoretical writer, and he is here concerned with the contrast between older and newer ways of thinking and feeling--specifically with the now devalued ideal of hedonism in a culture whose embrace of ``speed'' as the measure of all things denies us the possibility of having experiences at leisure and recollecting them in tranquility (or, as his unnamed narrator complains, ``Why has the pleasure of slowness disappeared?''). The idea is explored in two contrasting stories, each of which is embellished by discursive commentary. One, set in 18th-century France, and bearing acknowledged resemblances to Pierre Cholderos de Laclos's classic Les Liaisons dangereuses, recounts the amorous education given a delighted young nobleman by his relaxed, worldly-wise mistress. The other, set in the same locale (then a ``country chateau,'' now a hotel), describes the comical interactions of a group of intellectuals gathered for an entomological conference and variously involved with one another. Memorable participants include a would-be libertine whose bad habit of thinking prevents him from having sex, a woman filmmaker whose romantic unhappiness locks her into two mutually abusive relationships, and a Czech scientist whose pride in his dissident political status takes the curious ancillary form of a very nearly neurotic worship of the body. They're all riddled with a self- defeating tendency to second-guess their own spontaneous impulses- -unhappy avatars of this bleakly monitory novel's declaration that ``When things happen too fast nobody can be certain about anything . . . not even about himself.'' Dependably inventive and amusing, especially in its delicious sensitivity to the convolutions of contemporary self-consciousness, the novel is nevertheless overly argumentative and ever so slightly preening, brief as it is. Not vintage Kundera. (First printing of 100,000; $100,000 ad/promo)
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