Milan Kundera's Identity translated from the French by Linda Asher.
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. That 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 his new novel. Here brevity goes hand in hand with intensity, and a moment of bewilderment marks the start of a labyrinthine journey during which the reader repeatedly crosses the border between the real and the unreal, between what occurs in the world outside and what the mind creates in its solitude.
Of all contemporary writers, only Kundera can transform such a hidden and disconcerting perception into the material for a novel, one of his finest, most painful, and most enlightening. Which, surprisingly, turns out to be a love story.
"synopsis" may belong to another edition of this title.
The reader sits down to dinner with Chantal, who is waiting for her lover, Jean-Marc, in a seaside hotel. While waiting to be served, she overhears two waitresses discuss the unexplained disappearance of a family man. This blatant foreshadowing posits the central question of Identity: what we think we know about our intimates is predicated on projection, primal yearnings, and the deep denial of life's impermanence. Identity reads like a musical exercise; its playing out of themes is reminiscent of a fugue. An image dropped into the narrative will be revisited from a different vantage point, tossed back and forth between the lovers; out of it will be teased every possible meaning. The 51 sparse, tiny chapters reinforce the fuguelike feel.
The plot is simple: Jean-Marc arrives at the hotel; Chantal is out walking. Near misses and mistaken identities characterize his frantic search for her, offering Kundera the opportunity to philosophize on the unknowability of the "other." They reunite; Chantal blurts out the distressing thought that's plagued her day: "Men don't turn to look at me anymore." This launches the protagonists into sketchy flashbacks, stilted dialogues, and interior monologues, all loosely bound by their embarkation on an erotic journey.
Key bits from the characters' pasts become signature refrains. Chantal, for example, has buried a son, who died at the age of 5. Strands such as this are dropped lightly in the narrative, to be pulled through later chapters like a needle with different colored threads. Later, for example, the boy's death will trigger her unpleasant realization--that it was, in the end, a "dreadful gift." Children, she thinks, keep us hopeful in the world, because "it's impossible to have a child and despise the world as it is; that's the world we've put the child into." Thus, her child's death has set her free to live out her genuine disdain of the world. Although the illogical extremes of Kundera's thought can be wildly dissonant and wondrously shocking, this reiterative device of Identity lacks energy. There's no sense of discovery about these characters. They remain flat; the style effects one like an Ingmar Bergman film when one is in the mood for Sam Peckinpah.
As if in serendipitous response to her pain in getting older, Chantal receives an anonymous "love" note. More notes follow. Will they prove Jean-Marc's attempt to sweeten her sad disclosure? Her sexual awakening begins to blur the boundaries of what's real. All well and good, but somewhere along the line, Kundera concludes that Chantal is weak because she's older. Age, we are asked to believe, becomes a wedge between the lovers, even though Chantal is only a few years older than Jean-Marc, who is himself only 42. And in the exploration of her sexuality on the wax and wane, Kundera succumbs to cliché: she is consumed too often by too many flames, and red is all used up as a symbol of violent passion. On the subject of male and female desire, Kundera is incomparably funny, and the novel sports some nervy images--masturbating fetuses; our human community joined in a sea of saliva; the ubiquity of spying eyes, harvesting information for profit; the human gaze itself, a marvel, jaggedly interrupted by the mechanical action of the blink. Kundera betrays a witty revulsion for the values and mores of the late 20th century.
But with sentences such as, "This is the real and the only reason for friendship: to provide a mirror so the other person can contemplate his image from the past, which, without the eternal blah-blah of memories between pals, would long ago have disappeared," the reading experience reduces to an annoyance. Perhaps this is the fault of the translator attempting a breezy, colloquial tone. But it's sloppy and careless. Still the novel's an entertainment, a good companion. Reading it is like passing an afternoon in a sidewalk café, catching up with an old friend, say, with whom one has shared youthful cynicism and diatribes against the ignominies of human behavior. One will look back on such an afternoon and remember too many Galloises smoked, too many cups of coffee, moments of intense engagement that fell, alas, into the indulgence of a "retro" ennui.About the Author:
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.
"About this title" may belong to another edition of this title.
Book Description Harper, New York, NY, 1998. Hard Cover. Book Condition: New. Dust Jacket Condition: New. 1st American Edition.. With 168pp and no defects. No price clip or remainder mark. Size: 8vo - over 7¾" - 9¾" tall. No Writing or Other Marks. Good Packing, Fast Shipping. Bookseller Inventory # 055210
Book Description Harper, 1998. Hardcover. Book Condition: New. Bookseller Inventory # DADAX0060175648
Book Description Hardcover. Book Condition: BRAND NEW. NEW Book in Mint Condition -- Great DEAL !! Fast Shipping -- Friendly Customer Service -- Buy with Confidence!. Bookseller Inventory # RP0060175648BN
Book Description Book Condition: Brand New. Book Condition: Brand New. Bookseller Inventory # 97800601756411.0
Book Description Harper 1998-04-21, 1998. Hardcover. Book Condition: New. 1st. 0060175648 We guarantee all of our items - customer service and satisfaction are our top priorities. Please allow 4 - 14 business days for Standard shipping, within the US. Bookseller Inventory # TM-0060175648
Book Description Harper, 1998. Hardcover. Book Condition: New. book. Bookseller Inventory # 0060175648
Book Description Harper, 1998. Hardcover. Book Condition: New. Bookseller Inventory # P110060175648
Book Description Harpercollins, Scranton, Pennsylvania, U.S.A., 1998. Soft cover. Book Condition: New. Dust Jacket Condition: New. 1st Edition. RARE Advance Reading Copy. 1st Edition. 1st printing. Trade paperback. New copy. Never read. Top left back cover has a crease. Front cover has 2 tiny scratches. Still a beautiful book and cover. Collector's Copy. Bookseller Inventory # 000624
Book Description Harper. Hardcover. Book Condition: New. 0060175648 New Condition. Bookseller Inventory # NEW6.1017454