Not simply bad or laughable art, kitsch is, in Mr. The second principle is derived from the first, and it is the rejection of kitsch. In his essay on Kafka, ''Somewhere Behind.'' Kundera bases it on his belief in ''the radical autonomy of the novel'' as a form, as he puts it Paris, it is nonetheless the first of three working principles in ''The Art of the Novel.'' Mr. Disingenuous as such a claim may sound coming from an Eastern European writer living in exile in The emphasis on the formal aspects of fiction in ''The Art of the Novel'' is accompanied by an overt disavowal of any political agenda.
Linda Asher's translation from the French deftly conveys the lucidity of Mr. Philosophy, politics or psychology and why novels are and should be written at all. With singular instructiveness, as he ranges from Cervantes and Richardson to Kafka, Joyce and Hermann Broch -how novels are made and why how the novel and its history constitute a specific form of knowledge not to be confused with
Instead, he dispassionately explains - and Kundera as critic is little inclined to dwell upon them. Whatever moral arrangements the Czechoslovak subjects of his narratives might suggest to us, Mr. MILAN KUNDERA has charmed the world with his sonorous fictions - five novels, a play and a volume of stories - although it is formalist rigor as much as charm that distinguishes his first book of nonfiction, ''TheĪrt of the Novel.'' A collection of five essays and two dialogues published over the last decade, ''The Art of the Novel'' recommends self-effacement as a precept of writing and dooms purveyors of dogma His most recent book is ''The Myth of the Modern.''īy Milan Kundera. Section 7, Column 1 Book Review Deskīy Perry Meisel Perry Meisel is a professor of English at New York University. The New York Times: Book Review Search ArticleĪpril 10, 1988, Sunday, Late City Final Edition
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