书籍介绍
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.
用户评论
重读一遍 这次英文版 今天翻开又是会心的笑…
英文版封面真好看
太对胃口了！
读的好桑心
subtle feelings and emotions are precisely and cruelly caught by the author. as what i see, more brilliant than laughable love and unbearable lightness of beings.
Everything is in order
有Dostoevsky的The Double的影子，也有一点像Milosz的The Captive Mind。书中一直在突出“真实”与“虚假“、”幻想”与“行动”的二元对立。Jeromil是空虚的，仰仗主流思想写出的诗歌是他的面具，无力且虚假——成为诗人是为了满足母亲，他的修辞源于画家。他的外貌和双重人格与他而言是供他人和自己审视的面具。故事的时代背景也很有趣，Milosz也写过诗人们与”新信仰“的关系；Jeromil是被囚禁在自己世界里的孩子，而别人是行动的成年人；画家因不屈服历史潮流成为工人，诗人留在了诗歌“自由”的世界中，他渴望行动却被内心禁锢，于是“新信仰”给予了诗人行动的假像。结尾强调了画家与诗人 - 真实的反抗与虚假的行动 - 之间的冲突；双重人格的再现，也预示了诗人的自我灭亡。
一个不懂得自省，没有悲悯之心的“诗人”在适当的社会条件下会变成最糟糕的小粉红。补：目前听完《告别圆舞曲》、《笑忘录》、《生活在别处》的中文有声书，感谢译文。
關於自命不凡的年輕人
2021年初往返Boston的途中断续听完，Kundera的文字在残雪里像苍白的火焰。