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A young woman is in love with a successful surgeon, a man torn between his love for her and his incorrigible womanizing. His mistress, a free-spirited artist, lives her life as a series of betrayals - while her other lover, earnest, faithful, and good, stands to lose everything because of his noble qualities.

Irena and Josef meet by chance while returning to their homeland, which they had abandoned 20 years earlier. Will they manage to pick up the thread of their strange love story, interrupted almost as soon as it began and then lost in the tides of history? The truth is that after such a long absence "their memories no longer match."

A young woman is in love with a successful surgeon, a man torn between his love for her and his incorrigible womanizing. His mistress, a free-spirited artist, lives her life as a series of betrayals—while her other lover, earnest, faithful, and good, stands to lose everything because of his noble qualities. In a world where lives are shaped by irrevocable choices and fortuitous events, and everything occurs but once, existence seems to lose its substance, its weight. Hence we feel “the unbearable lightness of being."

Milan Kundera's sixth novel springs from a casual gesture of a woman to her swimming instructor, a gesture that creates a character in the mind of a writer named Kundera. Like Flaubert's Emma or Tolstoy's Anna, Kundera's Agnes becomes an object of fascination, of indefinable longing. From that character springs a novel, a gesture of the imagination that both embodies and articulates Milan Kundera's supreme mastery of the novel and its purpose: to explore thoroughly the great themes of existence.

Rich in its stories, characters, and imaginative range, The Book of Laughter and Forgetting is the novel that brought Milan Kundera his first big international success in the late 1970s. Like all his work, it is valuable for far more than its historical implications. In seven wonderfully integrated parts, different aspects of human existence are magnified and reduced, reordered and emphasized, newly examined, analysed and experienced.

Casting light on the most serious of problems and at the same time saying not one serious sentence; being fascinated by the reality of the contemporary world and at the same time completely avoiding realism - that's The Festival of Insignificance. Listeners who know Kundera's earlier books know that the wish to incorporate an element of the "unserious" in a novel is not at all unexpected of him.

Milan Kundera's sixth novel springs from a casual gesture of a woman to her swimming instructor, a gesture that creates a character in the mind of a writer named Kundera. Like Flaubert's Emma or Tolstoy's Anna, Kundera's Agnes becomes an object of fascination, of indefinable longing. From that character springs a novel, a gesture of the imagination that both embodies and articulates Milan Kundera's supreme mastery of the novel and its purpose: to explore thoroughly the great themes of existence.

There are situations in which we fail for a moment to recognize the person we are with, in which the identity of the other is erased while we simultaneously doubt our own. This also happens with couples - indeed, above all with couples, because lovers fear more than anything else "losing sight" of the loved one. With stunning artfulness in expanding and playing variations on the meaningful moment, Milan Kundera has made this situation - and the vague sense of panic it inspires - the very fabric of this novel.

There are situations in which we fail for a moment to recognise the person we are with, in which the identity of the other is erased while we simultaneously doubt our own. This also happens with couples - indeed, above all with couples, because lovers fear more than anything else 'losing sight' of the loved one. With stunning artfulness in expanding and playing variations on the meaningful moment, Milan Kundera has made this situation - and the vague sense of panic it inspires - the very fabric of this novel.

Milan Kundera is a master of graceful illusion and illuminating surprise. In one of these stories a young man and his girlfriend pretend that she is a stranger he picked up on the road - only to become strangers to each other in reality as their game proceeds. In another a teacher fakes piety in order to seduce a devout girl, then jilts her and yearns for God. In yet another girls wait in bars, on beaches and on station platforms for the same lover, a middle-aged Don Juan who has gone home to his wife.

All too often, this brilliant novel of thwarted love and revenge miscarried has been read for its political implications. Now, a quarter century after The Joke was first published and several years after the collapse of the Soviet-imposed Czechoslovak regime, it becomes easier to put such implications into perspective in favor of valuing the book (and all Kundera 's work) as what it truly is: great, stirring literature that sheds new light on the eternal themes of human existence.

Disconcerted and enchanted, the listener follows the narrator of Slowness through a midsummer's night in which two tales of seduction, separated by more than 200 years, interweave and oscillate between the sublime and the comic. Underlying this libertine fantasy is a profound meditation on contemporary life: about the secret bond between slowness and memory, about the connection between our era's desire to forget and the way we have given ourselves over to the demon of speed. And about "dancers" possessed by the passion to be seen, for whom life is merely a perpetual show .

Irena and Josef meet by chance while returning to their homeland, which they had abandoned 20 years earlier. Will they manage to pick up the thread of their strange love story, interrupted almost as soon as it began and then lost in the tides of history? The truth is that after such a long absence 'their memories no longer match'.

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.

When Charles Dickens wrote A Christmas Carol in 1843, he likely had no idea that the story and its main character, Ebenezer Scrooge, would remain so popular nearly two centuries later. Today, audiences still find themselves entertained by the story of a grumpy, selfish man who becomes a holiday hero after he learns generosity through the help of three spirits in Victorian-era England.

It all started when Jeff Guinn was assigned to write a piece full of little-known facts about Christmas for his paper, The Fort Worth Star-Telegram. A few months later, he received a call from a gentleman who told him that he showed the story to an important friend who didn’t think much of it. And who might that be? asked Jeff. The next thing he knew, he was whisked off to the North Pole to meet with this “very important friend,” and the rest is, well, as they say, history.

In this dark farce of a novel, set in an old-fashioned Central European spa town, eight characters are swept up in an accelerating dance: a pretty nurse and her repairman boyfriend; an oddball gynecologist; a rich American (at once saint and Don Juan); a popular trumpeter and his beautiful, obsessively jealous wife; an disillusioned former political prisoner about to leave his country and his young woman ward. Farewell Waltz poses the most serious questions with a blasphemous lightness that makes us see that the modern world has deprived us even of the right to tragedy.

Milan Kundera is a master of graceful illusion and illuminating surprise. In one of these stories a young man and his girlfriend pretend that she is a stranger he picked up on the road - only to become strangers to each other in reality as their game proceeds. In another a teacher fakes piety in order to seduce a devout girl, then jilts her and yearns for God. In yet another girls wait in bars, on beaches, and on station platforms for the same lover, a middle-aged Don Juan who has gone home to his wife.

The New York Yankees. The Boston Red Sox. For a hundred years, no two teams have locked horns as fiercely or as frequently, and no two seasons frame the colossal battle more perfectly than 2003 and 2004. Now, with incredible energy and access, leading sports columnist Mike Vaccaro chronicles the history of the greatest rivalry in sports, and the two stunning American League Championship Series that define a century of baseball.

Rich in its stories, characters, and imaginative range, The Book of Laughter and Forgetting is the novel that brought Milan Kundera his first big international success in the late 1970s. Like all his work, it is valuable for far more than its historical implications. In seven wonderfully integrated parts, different aspects of human existence are magnified and reduced, reordered and emphasized, newly examined, analyzed, and experienced.