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''I AM bored by narrative,'' Virginia Woolf wrote in her diary in 1929, thus suggesting how the novel has been kept alive in our century by novelists' assaults on its conventions.

They have compacted their given languages, or invented their own, or revised the idea of composition entirely by assembling their books as collages. Let us return to Tomas.'' The question may reasonably be asked if this convention too isn't ready for assault. Do we have to be told where he comes from any more than we have to be told where babies come from?

Kundera deals with this danger allegorically, with an irrepressible sense of the grotesque.

Like his compatriot Milos Forman, the Academy Award-winning director who has adapted to exile and has thrived in the West, Kundera, who has lived in France since 1975, has been prolific enough to dispel the popular notion that writers uprooted from their native soil lose their inspiration.

Kundera's best-known work is The Unbearable Lightness of Being.

Prior to the Velvet Revolution of 1989 the Communist régime in Czechoslovakia banned his books.

Appearing noticeably in the United States 15 or 20 years ago was the disclaimed fiction in which the author deliberately broke the mimetic spell of his text and insisted that the reader should not take his story to heart or believe in the existence of his characters. There is a particular hazard to the author who intrudes on his text: He had better be as interesting as the characters he competes with and the story he subverts or we may find him self-indulgent or, worse, coy, like those animated cartoons where a hand draws a little animal and colors it in and pushes it along to its adventure down the road.

John Barth is one writer who comes to mind as having explored the possibilities of this strategy, and the distinguished Czech novelist Milan Kundera in his new book, ''The Unbearable Lightness of Being,'' continues to find it useful. Virginia Woolf's experiment in avoiding narrative, ''Mrs. In Prague, in the spring of 1968, when Alexander Dubcek is trying to make the Czech Communist Government more human, Tomas writes a letter to a newspaper to add his voice to a public debate.He has brought Eastern Europe to the attention of the Western reading public, and he has done so with insights that are universal in their appeal.His call for truth and the inner freedom without which truth cannot be recognized, his realization that in seeking truth we must be prepared to come to terms with death - these are the themes that have earned him critical acclaim, including the Jerusalem Prize for Literature on the Freedom of Man in Society that he was awarded two weeks ago.Challenging Friedrich Nietzsche's concept of eternal recurrence (the idea that the universe and its events have already occurred and will recur ad infinitum), the story's thematic meditations posit the alternative: that each person has only one life to live and that which occurs in life occurs only once and never again – thus the "lightness" of being.Moreover, this lightness also signifies freedom; Tomáš and Sabina display this lightness, whereas Tereza's character is "weighed down".

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