Milan Kundera Quotes

How could she feel nostalgia when he was right in front of her? How can you suffer from the absence of a person who is present?

غایت‌ها مرز را نمودار می‌کنند و در آن‌سوی مرز، زندگی به انتها می‌رسد. میل فراوان به هنر نیز مانند سیاست، نوعی اشتیاق پنهانی به مرگ است.

What is flirtation? One might say that it is behavior leading another to believe that sexual intimacy is possible, while preventing that possibility from becoming a certainty. In other words, flirting is a promise of sexual intercourse without a guarantee.

"It was vertigo. A heady, insuperable longing to fall. We might also call vertigo the intoxication of the weak. Aware of his weakness, a man decides to give in rather than stand up to it. He is drunk with weakness, wishes to grow even weaker, wishes to fall down in the middle of the main square in front of everybody, wishes to be down, lower than down." -Milan Kundera, The Unbearable Lightness of Being, p. 76

When Don Quixote went out into the world, that world turned into a mystery before his eyes. That is the legacy of the first European novel to the entire subsequent history of the novel. The novel teaches us to comprehend the world as a question. There is wisdom and tolerance in that attitude.

No peace is possible between the novelist and the agélaste [those who do not laugh]. Never having heard God's laughter, the agélastes are convinced that the truth is obvious, that all men necessarily think the same thing, and that they themselves are exactly what they think they are. But it is precisely in losing the certainty of truth and the unanimous agreement of others that man becomes an individual. The novel is the imaginary paradise of individuals. It is the territory where no one possesses the truth, neither Anna nor Karenin, but where everyone has the right to be understood, both Anna and Karenin.

"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."

I was not a hypocrite, with one real face and several false ones. I had several faces because I was young and didn't know who I was or wanted to be.

vivre dans la vérité, ne mentir ni à soi-même ni aux autres, ce n'est possible qu'à la condition de vivre sans public. Dès lors qu'il y a un témoin à nos actes, nous nous adaptons bon gré mal gré aux yeux qui nous observent, et plus rien de ce que nous faisons n'est vrai. Avoir un public, penser à un public, c'est vivre dans le mensonge (partie III, ch. 7)

I understood that there was no escaping the memories, that I was surround by them. (p.30)

In any case, it seems to me that all over the world people nowadays prefer to judge rather than to understand, to answer rather than to ask, so that the voice of the novel can hardly be heard over the noisy foolishness of human certainties.

If it were possible to raise the penis by means of a simple command, then sexual excitement would have no place in the world.

What does it mean to demonstrate in the streets, what is the significance of that collective activity so symptomatic of the twentieth century? In stupefaction Ulrich watches the demonstrators from the window; as they reach the foot of the palace, their faces turn up, turn furious, the men brandish their walking sticks, but “a few steps farther, at a bend where the demonstration seemed to scatter into the wings, most of them were already dropping their greasepaint: it would be absurd to keep up the menacing looks where there were no more spectators.” In the light of that metaphor, the demonstrators are not men in a rage; they are actors performing rage! As soon as the performance is over they are quick to drop their greasepaint! Later, in the 1960s, philosophers would talk about the modern world in which everything had turned into spectacle: demonstrations, wars, and even love; through this “quick and sagacious penetration” (Fielding), Musil had already long ago discerned the “society of spectacle.

There is a certain part of all of us that lives outside of time. Perhaps we become aware of our age only at exceptional moments and most of the time we are ageless.

Fortunately, I read (the books) without knowing what I was in for, and the best thing that can ever happen to a reader happened to me: I loved something that, by conviction (or by my nature) I should not have loved