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Title: Testaments Betrayed
Subtitle: An Essay in Nine Parts
Author: Milan Kundera, Linda Asher (translator)
Narrator: Graeme Malcolm
Format: Unabridged
Length: 7 hrs and 40 mins
Language: English
Release date: 10-23-12
Publisher: HarperAudio
Ratings: 4 of 5 out of 7 votes
Genres: Nonfiction, Philosophy
Publisher's Summary:
Milan Kundera has established himself as one of the great novelists of our time with such books as The Unbearable Lightness of Being, Immortality, and The Book of Laughter and Forgetting. In Testaments Betrayed, he proves himself a brilliant defender of the moral rights of the artist and the respect due to a work of art and its creator's wishes. The betrayal of both - often by their most passionate proponents - is the principal theme of this extraordinary work. Listeners will be particularly intrigued by Kundera's impassioned attack on society's shifting moral judgments and persecutions of art and artists, from Mayakovsky to Rushdie.
Members Reviews:
testament betrayed
The book itself is good, but the copy sent to us left a lot to be desired, since it had been used in a library.
Ecstasy, Climax, Negation (Oblivion)
Hello, I started reading a borrowed copy of Testaments Betrayed (HarperCollins Publishers, 1995) and when I got to the sentence on p'85 "Through ecstasy, emotion reaches its climax, and thereby at the same time its negation (it's oblivion)." I had to have my own copy. I ordered a copy on Amazon, the Harper Perennial edition published in 2001 and before I continued reading, I looked again for this sentence, wanting to savor it - and it was not there. It seems to have been omitted. Now this sentence, to me, is the center-piece of the book, a key lens through which to see Kundera and his work, and a key lens through which he wishes us to see existence. I offer it here as a way to add to the interpretive endeavor for those folk who may not see this sentence in the edition they own. I shall have to find a copy of the edition I had started reading, as I can't be without either this book, a magisterial tour de force written by a master, or that sentence, which, in its absence, I want from time to time to re-read, and when re-reading it, be transported again into an ecstatic reverie in just the way Kundera describes it.
Freedom
The fact that friends or opera bosses didn't respect the scores or the testaments of artists or had the power to impose their own vision on other's work, is for Milan Kundera an occasion to reflect on the history and rules of art and the novel, the freedom of the artist and ultimately, on freedom of speech.
His main examples are Franz Kafka (Max Brod didn't respect his testament which ordered to destroy all non published work) and Leos Janácek (whose opera score was `adapted' by an opera director).
Art has an autonomous status, its own laws. Art is not an imitation of reality. It is a unique expression of an individual. It is therefore logical that this individual possesses all rights over a work that emanates exclusively from him.
Moreover, one doesn't need biographical furor (Sainte-Beuve), to know the writer, painter or composer in order to understand his work.