Life Is Elsewhere

( 3 )

Overview

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 ...

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Overview

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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Product Details

  • ISBN-13: 9780060997021
  • Publisher: HarperCollins Publishers
  • Publication date: 6/1/2000
  • Series: Harper Perennial
  • Edition description: Reprint
  • Pages: 432
  • Sales rank: 644,174
  • Product dimensions: 5.31 (w) x 8.00 (h) x 0.97 (d)

Meet the Author

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."

Good To Know

Kundera joined the Communist party while still in his teens, but was expelled in 1950 (an experience that helped inspire his 1967 novel The Joke). He was readmitted to the party in 1956, then expelled again in 1970.

Kundera's father played the piano, and Kundera himself studied music composition. He has often described his novels in musical terms as "polyphony," in which different voices are juxtaposed to build up a unified whole. As he told Philip Roth, the "various stories mutually explain, illumine, complement each other."

According to Kundera, there are four great European novelists: Franz Kafka, Hermann Broch, Robert Musil and Witold Gombrowicz. He has called the Czech writer Bohumil Hrabal "our very best writer today."

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    1. Hometown:
      Paris, France
    1. Date of Birth:
      April 1, 1929
    2. Place of Birth:
      Brno, Czechoslovakia
    1. Education:
      Undergraduate degree in philosophy, Charles University, Prague, 1952

Read an Excerpt

When the poet's mother wondered where the poet had been conceived, there were only three possibilities to consider: a park bench one night, the apartment of a friend of the poet's father one afternoon, a romantic spot outside Prague late one morning.

When the poet's father asked himself the same question, he concluded that the poet had been conceived in his friend's apartment, for on that day everything had gone wrong. The poet's mother had refused to go to the friend's place, they had quarreled about it twice and reconciled twice, and while they were making love the door lock of the adjoining apartment rasped, the poet's mother took fright, they broke off, and then they resumed lovemaking and finished in a state of mutual tension to which his father attributed the poet's conception.

The poet's mother, on the other hand, never admitted that the poet had been conceived in a borrowed apartment (she was repelled by the bachelor's untidiness, by rumpled sheets and pajamas on a stranger's bed), and she also rejected the possibility that he had been conceived on a park bench, where she had let herself be persuaded to make love, reluctantly and without pleasure, thinking with disgust of the prostitutes who made love this way on such benches. So she became absolutely convinced that the poet had been conceived on a sunny summer morning in the shelter of a huge boulder that stood with sublime pathos among the other boulders in a small valley where the people of Prague liked to stroll on Sundays.

For several reasons this setting is an appropriate place for the poet's conception: in the late morning sun it is a setting of light rather than darkness, day rather thannight; it is in the middle of open nature, thus a place from which to take wing; and finally, though not very far from the apartment buildings on the city's outskirts, it is a romantic landscape strewn with boulders looming out of wildly rough terrain. For the poet's mother all this seemed to express what she was experiencing at the time. Wasn't her great love for the poet's father a romantic rebellion against the dullness and regularity of her parents' life? Wasn't there a hidden likeness between the untamed landscape and the boldness she, the daughter of a rich merchant, showed in choosing a penniless engineer who had just finished his studies?

And so the poet's mother was living a great love, despite the disappointment that followed a few weeks after the beautiful morning at the foot of the boulder. When she disclosed to her lover, with joyous excitement, that the intimate indisposition that monthly disturbed her life was several days overdue, the engineer asserted with appalling indifference (but, it seems to me, a feigned and ill-at-ease indifference) that it was an insignificant disruption of her cycle, which would soon resume its benign rhythm. The poet's mother, perceiving that her lover refused to share her joyous hopes, was hurt, and she stopped talking to him until the day the doctor confirmed her pregnancy. The poet's father said that he knew a gynecologist who would discreetly relieve her of her worries, and she burst into tears.

The poignant end of rebellions! First she rebelled against her parents for the sake of the young engineer, and then she ran to her parents for help against him. Her parents didn't let her down: they spoke plainly to the engineer, who clearly understood that there was no way out, agreed to an ostentatious wedding, and readily accepted a sizable dowry that would enable him to establish his own construction business; then he packed his belongings into a couple of suitcases and moved into the villa his new wife had lived in with her parents from the day she was born.

The engineer's prompt capitulation, however, couldn't hide from the poet's mother that the adventure she had precipitated herself into with a heedlessness she found sublime was not the great shared love she believed she had a full right to. Her father was the owner of two flourishing shops in Prague, and the daughter's morality was that of balanced accounts; since she had invested everything in love (she had been ready to betray her own parents and their peaceful home), she wanted her partner to invest an equal amount of feeling in their joint account. Striving to redress the injustice, she wanted to withdraw from the joint account the affection she had deposited there, and after the wedding she presented a haughty and severe face to her husband.

The poet's mother's sister had recently left the family villa (she had married and rented an apartment in the center of Prague) and so the old retail merchant and his wife lived on the ground floor and the engineer and their daughter above them in the three rooms — two large and one smaller — furnished exactly the way they were twenty years before when the villa was built. Acquiring an entirely furnished home was a rather good deal for the engineer, because he really owned nothing but the contents of the aforementioned two suitcases; nonetheless, he suggested some small changes in the appearance of the rooms. But the poet's mother didn't allow the man who had wanted to put her under the knife of a gynecologist to dare disrupt the time — honored arrangement of rooms that harbored the spirit of her parents, twenty years of sweet routine, and mutual intimacy and safety.

This time, too, the young engineer capitulated without a struggle, permitting himself only a moderate protest, which I note: in the couple's bedroom there was a small tabletop of heavy gray marble on which stood a statuette of a naked man; in his left hand the man was holding a lyre against his plump hip; his right arm was bent in a pathetic gesture as if the fingers had just struck the strings; the right leg was extended forward, the head slightly inclined, and the eyes turned toward the sky. Let me add that the man had an extremely beautiful face, that he had curly hair, and that the whiteness of the alabaster from which the statuette had been sculpted gave the figure something tenderly feminine or divinely virginal; it's not, moreover, by chance that I use the word “divinely”: according to the inscription carved on the pedestal, the man with the lyre was the Greek god Apollo...

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Customer Reviews

Average Rating 3.5
( 3 )
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Sort by: Showing all of 3 Customer Reviews
  • Anonymous

    Posted May 8, 2002

    A step back

    I feel a bit bad giving this novel two stars because I love Kundera's work overall. 'Life Is Elsewhere,' however, is nowhere near his best work. The storyline and characters fall flat. Kundera tries to illustrate the life of a poet through the protagonist Jaromil, but I didn't find it convincing. I found myself finishing the novel only in the hope that it would improve, but it did not. The one aspect of the novel that I did like was the portrayal Maman's love for her son (Jaromil). Kundera's depiction of her personality and emotions was quite moving.

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  • Anonymous

    Posted June 6, 2001

    Another great book from a great author

    Milan Kundera is amazing. This is the fifth book I've read by him and I've never been disappointed. It's refreshing to read literature like this...I thought the art of writing with intelligence, wit and humor was lost in the early 1900s. Milan proves me wrong. He's changed my life.

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  • Anonymous

    Posted December 18, 2010

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