Quotes from Milan Kundera

All of man's life among his kind is nothing other than a battle to seize the ear of others.

Her drama was a drama not of heaviness but of lightness. What fell to her lot was not the burden, but the unbearable lightness of being

The pressure to make public retractions of past statements - there's something medieval about it. What does it mean, anyway, to 'retract' what you've said? How can anyone state categorically that a thought he once had is no longer valid? In modern times an idea can be refuted, yes, but not retracted.

he took a look at the blond girl's eyes and knew that he must not take part in the rigged game in which the ephemeral passes for the eternal and the small for the big, that he must not take part in the rigged game called love.

There are things that can be accomplished only by violence. Physical love is unthinkable without violence.

En el mismo comienzo del Génesis está escrito que Dios creó al hombre para confiarle el dominio sobre los pájaros, los peces y los animales. Claro que el Génesis fue escrito por un hombre y no por un caballo. No hay seguridad alguna de que Dios haya confiado efectivamente al hombre el dominio de otros seres. Más bien parece que el hombre inventó a Dios para convertir en sagrado el dominio sobre la vaca y el caballo, que había usurpado.

When a woman doesn't live sufficiently through her body, she comes to see the body as an enemy.

No matter how brutal life becomes, peace always reign in the cemetery.

Missions are stupid, Tereza. I have no mission. No one has. And it's a terrific relief to realize you're free, free of all missions.

Putting it negatively, the myth of eternal return states that a life which disappears once and for all, which does not return, is like a shadow, without weight, dead in advance, and whether it was horrible, beautiful, or sublime, its horror, sublimity, and beauty mean nothing.

This symmetrical composition--the same motif at the beginning and at the end--may seem quite novelistic to you, and I am willing to agree, but only on condition that you refrain from reading such notions as fictive, fabricated, and untrue to life into the word novelistic. Because human lives are composed in precisely such a fashion.

In Wenceslaus Square, in Prague, a guy is throwing up. Another guy comes up to him, pulls a long face, shakes his head, and says: I know just what you mean.

His overriding life necessity was not love, it was his profession…He had come to medicine not by coincidence or calculation but by a deep inner desire. Insofar as it is possible to divide people into categories, the surest criterion is the deep-seated desires that orient them to one or another lifelong activity. Every Frenchman is different. But all the actors the world over are similar.

She began to teeter as she walked, fell almost daily, bumped into things or, at the very least, dropped objects. She was in the grip of an insuperable longing to fall. She lived in a constant state of vertigo. 'Pick me up,' is the message of a person who keeps falling.

A novel examines not reality but existence. And existence is not what has occurred, existence is the realm of human possibilities, everything that man can become, everything he's capable of. Novelists draw up the map of existence by discovering this or that human possibilit. But again, to exist mean: 'being-in-the-world.' Thus both the character and his world must be understood as possibilities.

All the basic situations in life occur only once, never to return. For a man to be a man, he must be fully aware of this never-to-return. Drink it to the dregs. No cheating allowed. No making believe it's not there. Modern man cheats. He tries to get around all the milestones on the road from birth to death.

During the twenty years of Odesseus' absence, the people of Ithaca retained many recollections of him but never felt nostalgia for him. Whereas Odysseus did suffer nostalgia, and remembered almost nothing. ..... For four long books of the Odyssey he had retraced in detail his adventures before the dazzled Phaeacians. But in Ithaca he was not a stranger, he was one of their own, so it never occurred to anyone to say, 'Tell us!

By giving the love act a name, if only an innocent little word like, it, he paved the way for other words, words that would reflect physical love as in a set of mirrors.

Is not an event in fact more significant and noteworthy the greater the number of fortuities necessary to bring it about?

Then there is the third category, the category of people who need to be constantly before the eyes of the person they love. Their situation is a dangerous as the situation in the first category. One day the eyes of their beloved will close, and the room will go dark.

Any schoolboy can do experiments in the physics laboratory to test various scientific hypothesis. But man, because he has only one life to live, cannot conduct experiments to test whether to follow his passion or not.

Agnes subtracts from her self everything that is exterior and borrowed, in order to come closer to her sheer essence (even with the risk that zero lurks at the bottom of the subtraction). Laura's method is precisely the opposite: in order to make her self ever more visible, perceivable, seizable, sizeable, she keeps adding to it more and more attributes and she attempts to identify herself with them (with the risk that the essence of the self may be buried by the additional attributes).

As I have pointed out before, characters are not born like people, of woman; they are born of a situation, a sentence, a metaphor containing in a nutshell a basic human possibility that the author thinks no one else has discovered or said something essential about. But isn't it true that an author can write only about himself?

El hombre nunca sabe qué debe querer, porque vive sólo una vida y no tiene modo de compararla con sus vidas precedentes ni de enmendarla con sus vidas posteriores.