In times when history still moved slowly, events were few and far between and easily committed to memory. They formed a commonly accepted <i>backdrop… - Milan Kundera

Love begins with a metaphor. Which is to say, love begins at the point when a woman enters her first word into our poetic memory.

For Sabina, living in truth, lying neither to ourselves not others, was possible only away from the public: the moment someone keeps an eye on what we do, we involuntarily make allowances for that eye, and nothing we do is truthful. Having a public, keeping a public in mind, means living in lies. Sabina despised literature in which people give away all kinds of intimate secrets about themselves and their friends. A man who loses his privacy loses everything, Sabina thought. And a man who gives it up on his own free will is a monster. That is why Sabina did not suffer in the least from having to keep her love a secret. On the contrary, only by doing so could she live the truth.

Sabina’s initial inner revolt against Communism was aesthetic rather than ethical in character. What repelled her was not nearly so much the ugliness of the Communist world (ruined castles transformed into cow sheds) as the mask of beauty it tried to wear — in other words, Communist kitsch.