“The Festival of Insignificance” is the latest novel by Milan Kundera after thirteen years he does not appear in the literary world. But It’s just 100 pages of his novel, the work is full of layers of words that are heavy on thought, thinking, dreaming and searching – these are always present in his compositions.
The work revolves around the meaningless jokes, laughter, despair, seduction, and reflection of five friends: Ramon, Charles, Alain, D’Ardelo, and a man nicknamed Caliban. Kun placed them in the overlapping, then with his sharp and sharp pen, he let them speak nonsense, talk about their own meaningless life.
Copper among the daily happenings of five friends is the story of Staline and his comrades. The funny story about twenty-four chickens that Staline told his comrades, but no one laughed. People just suspect he lied. Kun tells Staline to recount his every meeting. Comrades of Staline, the readers of Kun bewitched. By the end of the end, Staline said that he was just telling a joke, not knowingly attaching it to a philosophical sense.
At first glance, Stalin’s story makes the reader laugh, flip through, read it again, and laugh. But then, the reader no longer laughed at the story Staline had told him, but laughed at the solemn atmosphere that Stalin’s comrades made when listening to Stalin’s true joke. Kun really meant something when he wrote that short chapter. Or is Kun just telling a joke ?!
Another short paragraph that really excites readers, is the rebellion in the toilet. Kun’s way of joking, by provocation, we’ll have to laugh.
Kun is still so smart and sharp. Although he was 86 years old, he lived quietly, and always had to cope with illness, but knives like Kun’s knives were always sharp. It sends the reader to meaningless laughs, and then submerses the reader in grief. Lying under the meaningless stories, these are the personal thoughts of Kundera.
His laughing characters seek to live joyfully, but they all have the pain hidden inside. Alain is obsessed with the image of the mother he met only once in his life. In this obsession, he committed suicide, an unsuccessful killer who turned himself into a lifelong pardoner. Roman is clearly a person with deep knowledge but lives a lonely, sad and unemployed life. Only old age is very close. Charles was emotionally moving and never stopped worrying about his mother.
The characters in his most famous novels, such as Lightweight Mindfulness, Immortality, Vales of Passing Away, or Ignorance, are constantly suffering from grief. Kun is a harsh, radical writer who sees things around with no eyes of joy. Perhaps that is partly due to his “no hometown” life. He left Czechoslovakia to Paris, was naturalized Paris, was welcomed by Parisian writers, but in his mind, only a picture of Czechoslovakia distant.
Not too surprised to read Kun’s “The Festival of Insignificance” by what he brings to the reader never out of their expectation. And more than trust, when he finished reading his complete novel, the reader felt relieved. At the age of 86, Kun was not too harsh at writing. He writes indoors, indifferently but also to leave plenty of warm space (like Alain’s way of looking at Staline affection).
A short imaginary conversation between Alain and his mother is enough to make the book come to countless affectionate forgiveness. It gave rise to the idea that perhaps Kun would also play the apologist who was seeking peace with his homeland. Although it was a personal guess, it was in line with the lifelong obsession of Kundera’s exile man.
At “The Festival of Insignificance,” Kun returns to his traditional seven-chapter writing. It is often used to write Kun novels as composing a symphony, with waves of intense waves. This influenced Kun’s childhood love and attachment to music: he learned piano at a young age.
In addition, in “The Festival of Insignificance,” the reader also easily recognizes sharp images, detailed details (such as feathers, or bottles of wine, etc.) , Present, realistic, dream is the mark of cinematography in Kun’s novel. It causes the reader to be overwhelmed, suffocated, but “The Festival of Insignificance” has more pleasant breathing. It is the perfection of “an inalienable castle of the unforgettable”. So it is, of course, his perfect work.