Casting light on the most serious of problems and at the same time saying not one serious sentence; being fascinated by the reality of the contemporary world and at the same time completely avoiding realism-that's The Festival of Insignificance . Readers who know Kundera's earlier books know that the wish to incorporate an element of the "unserious" in a novel is not at all unexpected of him. In Immortality , Goethe and Hemingway stroll through several chapters together talking and laughing. And in Slowness , Vera, the author's wife, says to her husband: "you've often told me you meant to write a book one day that would have not a single serious word in it... I warn you: watch out. Your enemies are lying in wait." Now, far from watching out, Kundera is finally and fully realizing his old aesthetic dream in this novel that we could easily view as a summation of his whole work. A strange sort of summation. Strange sort of epilogue. Strange sort of laughter, inspired by our time, which is comical because it has lost all sense of humor. What more can we say? Nothing. Just read.
Only Milan Kundera could title what is likely to be his final book The Festival of Insignificance ... [A] work so bizarre and angular that, despite its brevity, it defies straightforward summary ... In Slowness , the author's wife says: "You've often told me that you meant to write a book one day that would have not a single serious word in it." The Festival of Insignificance might just be that book, less a novel than the culmination of a fervent pursuit of an aesthetic ideal. Duncan White Telegraph
Milan Kundera, geb. 1929 in Brünn, Tschechoslowakei, studierte zunächst Musik, Filmwissenschaften und Literatur in Prag. 1953 veröffentlichte er sein erstes Buch und trat Mitte der fünfziger Jahre auch als Übersetzer, Essayist und Theaterautor an die Öffentlichkeit. 1975 ging er ins Exil nach Paris, wo er heute noch lebt.