Milan Kundera

A young woman forced to keep drunks supplied with beer and siblings with cleanunderwear__nstead of being allowed to pursue something higher __tores up greatreserves of vitality, a vitality never dreamed of by university students yawning over theirbooks. (...) The difference between the universitygraduate and the autodidact lies not so much in the extent of knowledge as in theextent of vitality and self-confidence. The elan with which Tereza flung herself into hernew Prague existence was both frenzied and precarious. She seemed to be expectingsomeone to come up to her any day and say, What are you doing here? Go back whereyou belong!

Great novels are always a little more intelligent than their authors.

In Tereza__ eyes, books were the emblems of a secret brotherhood. For she had but a single weapon against the world of crudity surrounding her: the novels. She had read any number of them, from Fielding to Thomas Mann. They not only offered the possibility of an imaginary escape from a life she found unsatisfying; they also had a meaning for her as physical objects: she loved to walk down the street with a book under her arm. It had the same significance for her as an elegant cane from the dandy a century ago. It differentiated her from others.

The stupidity of people comes from having an answer for everything. The wisdom of the novel comes from having a question for everything....The novelist teaches the reader to comprehend the world as a question. There is wisdom and tolerance in that attitude. In a world built on sacrosanct certainties the novel is dead. The totalitarian world, whether founded on Marx, Islam, or anything else, is a world of answers rather than questions. There, the novel has no place.

The degree of slowness is directionally proportional to the intensity of memory. The degree of speed is directionally proportional to the intensity of forgetting.

Children, Never look Back!" and this meant that we must never allow the future to be weighed down by memory . for children have no past, and that is the whole secret of the magical innocence of their smiles.

Einmal ist keinmal, says Tomas to himself. What happens but once, says the German adage, might as well not have happened at all. If we have only one life to live, we might as well not have lived at all.

The engineer__ ready capitulation, however, did not hide from the poet__ mother the sad realization that the adventure into which she had plunged so impulsively--and which had seemed so intoxicatingly beautiful--had no turned out to be the great, mutually fulfilling love she was convinced she had a full right to expect. Her father was the owner of two prosperous Prague pharmacies, and her morality was based on strict give-and-take. For her part, she had invested everything in love (she had even been willing to sacrifice her parents and their peaceful existence); in turn, she had expected her partner to invest an equal amount of capital of feelings in the common account. To redress the imbalance, she gradually withdrew her emotional deposit and after the wedding presented a proud, severe face to her husband.

...because love is continual interrogation. I don't know of a better definition of love.

She was aware that in love even the most passionate idealism will not rid the body's surface of its terrible, basic importance.

So she stood naked in front of the young man and at this moment stopped playing the game.

The girl was grateful to the young man for every bit of flattery; she wanted to linger for a moment in its warmth and so she said, 'You're very good at lying.''Do I look like a liar?''You look like you enjoy lying to women,' said the girl, and into her words there crept unawares a touch of the old anxiety, because she really did believe that her young man enjoyed lying to women.

Anyone whose goal is 'something higher' must expect someday to suffer vertigo. What is vertigo? Fear of falling? No, Vertigo is something other than fear of falling. It is the voice of the emptiness below us which tempts and lures us, it is the desire to fall, against which, terrified, we defend ourselves.

Of course, even before Flaubert, people knew stupidity existed, but they understood it somewhat differently: it was considered a simple absence of knowledge, a defect correctable by education. In Flaubert's novels, stupidity is an inseparable dimension of human existence. It accompanies poor Emma throughout her days, to her bed of love and to her deathbed, over which two deadly agélastes, Homais and Bournisien, go on endlessly trading their inanities like a kind of funeral oration. But the most shocking, the most scandalous thing about Flaubert's vision of stupidity is this: Stupidity does not give way to science, technology, modernity, progress; on the contrary, it progresses right along with progress!

The novel was born with the Modern Era, which made man, to quote Heidegger, the "only real subject," the ground for everything. It is largely through the novel that man as an individual was established on the European scene. Away from the novel, in our real lives, we know very little about our parents as they were before our birth; we have only fragmentary knowledge of the people close to us: we see them come and go and scarcely have they vanished than their place is taken over by others: they form a long line of replaceable beings. Only the novel separates out an individual, trains a light on his biography, his ideas, his feelings, makes him irreplaceable: makes him the center of everything.

He took over anger to intimidate subordinates, and in time anger took over him.

To sit with a dog on a hillside on a glorious afternoon is to be back in Eden, where doing nothing was not boring - it was peace.

There is nothing heavier than compassion. Not even one's own pain weighs so heavy as the pain one feels for someone, for someone, pain intensified by the imagination and prolonged by a hundred echos.