Encounter
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- 12,99 €
Beschreibung des Verlags
A passionate and provocative defence of art from the author of The Unbearable Lightness of Being.
Are we living in an era that no longer values art or beauty? This is Kundera's passionate defence of the creators who remain viscerally important to him, and whose work - especially the blazing newness of modernism - helps us better understand our world. From Francis Bacon's paintings to the films of Federico Fellini, novels by Philip Roth or Fyodor Dostoyevsky - as well as writers who are unjustly obscure, such as Anatole France and Curzio Malaparte - Kundera spiritedly champions these artists for a new generation. Startlingly original and provocative - and always elegant, witty and ironic - Kundera's argument that art is all we have to cleave to in the face of human evil grows more powerful by the day.
'I can't imagine reading this book without being challenged and instructed, amused, amazed and aroused, and ultimately delighted.' New York Times Book Review
'A pan-European intellectual force. The elegance of his arguments and lucidity of his criticism disguised as storytelling are marks of genius seriously focused but lightly worn.' Times
'Immensely readable, the volume combines the sterling virtue of good writing with emotional and intellectual engagement. In short, a triumph.'Sunday Telegraph
PUBLISHERS WEEKLY
These mercurial occasional pieces crackle in their soulful brevity. Kundera's (Immortality) unexpected insights into surrealism (especially the poets), the darkly grotesque, the nonconformist temperament will be familiar to readers immersed in this author's fictions. Although a number of the essays date to the early and mid-1990s, there is a refreshing cohesion to this collection. Of specific interest are chapters comparing Francis Bacon to Samuel Beckett; Kundera's devilish mixing up of Roland Barthes with the dour theologian Karl Barth in a chance conversation; several discussions on the virtues of Rabelais as well as a restoration to prominence of Anatole France, who had been given the French intellectualist bum's rush; a powerful coupling of the bright birth of film with the sad death of Fellini; a scholar's relishing of Bertolt Brecht's body odor; the music of his fellow Czech Leo Jan ek. Like the proverbial meal at the Chinese restaurant, the delicious musings of this book are filling at first. Two hours later, one craves more.
