In The artwork of reminiscence in Exile, Hana Píchová explores the topics of reminiscence and exile in chosen novels of Vladimir Nabokov and Milan Kundera. either writers, Píchová argues, pressure how own and cultural reminiscence serves as an inventive technique of overcoming the artist’s and exile’s lack of place of origin. of their virtuoso monitors of literary expertise, Nabokov and Kundera show off the innovations that permit their protagonists to prevail as émigrés: an inventive fusing of previous and current during the prism of the imagination.

Píchová heavily analyzes novels via every one writer: the 1st written in exile (Nabokov's Mary and Kundera's The booklet of Laughter and Forgetting) and a later, pivotal novel in every one writer's profession (Nabokov's The Gift and Kundera's The insufferable Lightness of Being). In all 4 texts, those authors discover how the kaleidoscope of private and cultural reminiscence confronts a fragmented and untenable current, contrasting the lives of fictional émigrés who fail to bridge the distance among prior and current with these émigrés whose wealthy inventive imaginative and prescient permits them to go beyond the pains of homelessness.

By juxtaposing those novels and their authors, Píchová offers a distinct point of view on each one writer's monstrous attraction and luck. She reveals that during the paintings of Nabokov and Kundera, the main winning exiles convey a imaginative and prescient that transcends either nationwide and temporal boundaries.

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Right here the hat’s duality is expressed by means of its lightness since it is “the type of hat Chaplin wore” (ULB ), reminding Tomas and Sabina in their love video games, and by means of its weight since it is “a monument to time previous” (), witnessing centuries of historic upheaval. The hat is a “sign of gaiety and gravity, either a ‘joke’ (p. ) and a keepsake. ”23 As a keepsake, it inherently embodies the strain among remembering and forgetting. but those probably transparent divisions—between lightness and weight, among shaggy dog story and memento—frequently turn into blurred or even reversed. 24 The hat therefore turns into a contradictory snapshot, defying easy interpretation, yet in its kingdom of “weight,” it turns into particularly a suitable photograph for the both complicated philosophical and existential problems with reminiscence. 25 The spectrum of tensions, contradictions, or even reversals of which means manifests itself within the first textual presentation of the hat. The surroundings is exile, in a Zurich lodge, the place the enthusiasts Sabina and Tomas reunite following the Soviet career in their fatherland: “When she opened the door, she stood prior to him on her attractive lengthy legs donning not anything yet panties and bra. And a black bowler hat. She stood there staring, mute and immobile, Tomas did an analogous. unexpectedly he learned how touched he was once. He got rid of the bowler from her head and put it at the bedside desk. Then they made love with no announcing a observe” (ULB ). Sabina, the imaginitive seductress, places at the hat to intensify her provocative clothes. meant to awaken a playfully erotic temper, the hat before everything seems in its “light” shape. besides the fact that, the sensual abandonment so conventional in all different love scenes (one in basic terms has to keep in mind Sabina’s visible fantasies or Tereza’s piercing screams) by no means materializes in this rendezvous. as a substitute, the hat factors silence among the fanatics, indicating an emotional kingdom of being rather than an enraptured one. in addition, the particular description of the affection act is absent (an odd phenomenon in Kundera’s oeuvre), hinting on the narrator’s personal “silencing” of the erotic size. even supposing via now the reader suspects that the hat has been reworked into anything extra critical than a sexual prop, its value continues to be doubtful. just some sixty pages later does the narrator go back to this episode with a proof: “The this is why Tomas and Sabina have been touched through the sight of the bowler hat in a Zurich resort and made love nearly in tears used to be that its black presence was once now not in basic terms a   own reminiscence reminder in their love video games but in addition a souvenir of Sabina’s father and of her grandfather, who lived in a century with no airplanes and vehicles” (). In exile, the hat has received in value. It has come to symbolize a previous that's woven from all its vendors’ lives and from the historical past of the country, a previous that's “weighty” with reminiscence. This earlier, courting to the 19th century (the similar century the bowler was once designed), starts off with the determine of Sabina’s grandfather, the 1st proprietor of the hat and the mayor of a small city in Bohemia: “Sabina had by no means recognized him; all he’d left at the back of was once this bowler hat and an image displaying a raised platform with numerous small-town dignitaries on it; one in every of them was once Grandfather; it wasn’t in any respect transparent what they have been doing up there at the platform; might be they have been officiating at a few rite, unveiling a monument to a fellow dignitary who had additionally as soon as worn a bowler hat at public ceremonies” ().

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