The Festival of Insignificance is by far Milan Kundera’s shortest book at just 115 pages. Four men live in Paris, four men of varying ages, pottering round, bumping into each other, in the street, at parties, having thoughts and conversations.
Alain is walking down the street fascinated by the way all the girls these days wear low-slung jeans and crop tops, showing off their navels. Ramon strolls through the Luxembourg Gardens. D’Ardelo visits his doctor with a heavy heart, convinced his symptoms are cancer. The doctor assures him they’re not.
Moments later D’Ardelo bumps into Ramon in the Luxembourg (they use to work in the same institute) and D’Ardelo a) asks Ramon whether he knows someone who can organise a little cocktail party to celebrate his (D’Ardelo’s) birthday and b) deceitfully tells Ramon he has just been diagnosed with cancer. His friend commiserates. As he walks away even D’Ardelo doesn’t understand why he lied.
An hour later Ramon is at Charles’s apartment and asks if he and his partner, an unemployed actor named Caliban, can cater for this cocktail party. Sure. Ramon explains the client with a story designed to show the difference between Brilliance and Insignificance. D’Ardelo is at a party preening like a peacock and spinning jokes, whereas Quaquelique is a discreet, quiet presence. Not silent, just uttering the occasional platitude. Ramon explains how D’Ardelo’s brilliance intimidates the women he talks to, they struggle to rise to his repartee.Whereas it is Quaquelique who leaves with the beautiful woman at the end of the party.
Insignificance trumps brilliance.
Part two – the marionette theatre
Introducing the anecdote Stalin told the Politburo about how, when he was a boy, he came across 24 partridges sitting on the bough of a tree. He had his shotgun with him, but only 12 cartridges. So he shot the first twelve birds, then walked home with the bodies, collected 12 more cartridges, walked back to the tree to find the other 12 partridges sitting there peacefully and shot them too. The Politburo listened in stunned silence. Only after the meeting had ended and they all went to the loo, while Stalin went off to his private room, did the Politburo burst out in guffaws of outraged laughter at Stalin’s outrageous lies.
We know the story because it is told in Khruschev’s memoirs which Charles owns a copy of. On another occasion Charles explains why the Russians renamed Koenigsberg Kaliningrad. It’s because of a Politburo member Kalinin, in fact president of the Supreme Soviet, who had a particularly weak bladder, and Stalin liked to keep waiting or late at meetings until he wet his pants. Naming a city after this man was the whim of a dictator who felt something like genuine affection for this poor weak man.
Part three – Alain and Charles often think about their mothers
Alain, still thinking about girls’ navels, has a memory of being ten, of his mother paying a rare visit to the family home, of him climbing out of the family swimming pool and going over to where she’s sitting, and of her reaching out and touching his navel.
There is an unexplained cut to an unnamed woman who drives to a bridge over a river and jumps in, attempting to drown. She hears a man’s voice, a man dives in and swims out to rescue her. Vengefully she drags the man down under the surface, lying athwart his body till he is still, then swimming up to the surface, walking wetfoot to her car, driving off…
On his way to his apartment, Alain is jostled by a brisk young woman who calls him an idiot. He phones Charles who tells him about his sick mother. Alain for some reason imagines her as an angel, and this leads to a brief consideration of angels, and a mild comparison of Alain, who’s mother left him when he was a baby, and Charles’s mother, who he’s known all his life and is now old and frail and a burden.
Part four – They are all in search of a good mood
Caliban the unemployed actor decided that, if he was going to work as a waiter for Charles, it would be fun to act a role, and so pretends to be from Pakistan. They get dressed up in waiter costume and drive to Madame D’Ardelo’s, unpack food and drink, get it ready to be presented etc. There’s a Portuguese waitress there (who hates speaking French) and, somehow, she gets into speaking to him in Portuguese while he replies to her in (largely made-up) Pakistani. Despite talking at complete cross-purposes (as so many Kundera characters do) they sort of fall in love.
Meanwhile, Alain is in his apartment which is decorated with just one photo, of the mother who didn’t want to have him. She told his father to be careful when making love but he came inside her nonetheless (making the modern reader realise this act of love happened before the coil or the pill i.e. in another universe).
She, we now learn, is the young woman who jumped into the river, because she was pregnant and didn’t want it. The drowning of the man is just one of the many fantasies Alain projects onto the mother he never knew. He talks to the photo and, in a mild outbreak of magical realism, she talks back. He reflects that, being gentle and weak, and yet an intruder into his life, he was born to be an Apologiser.
Ramon arrives at the party. He hates these posh people. He’s retired i.e. older than D’Ardelo. He watches an amusing scene in which some grande dame, Madame Franck (whose husband recently died) stuffs a canapé in her face while rudely ignoring the pushy, social-climbing daughter of M and Mme D’Ardelo.
Alain is pleased to bump into his old friend, Quaquelique, on the scout, as ever, for a new girlfriend. Alain bumps into a woman he knows, Julie, who flirts with him, then walks away waggling her bottom.
Part five – A little feather floats beneath the ceiling
The narrative becomes slowly more fantastical. Charles the bartender is looking up at a tiny feather drifting down from the ceiling. Remember the conversation earlier about angels? He wonders if this is a tiny token of an angel. Madame Franck notices it too and holds out her finger for it to land on.
Somehow this scene morphs into the Politburo standing round while Stalin calls them to order and then laughs at his own joke of renaming Koenigsberg after pitiful comrade Kalinin.
Ramon engages in conversation with Caliban, agreeing that their tactic of speaking in ridiculous languages does, to some extent, mollify the humiliation of making their living by being lackeys at parties of the rich.
We’ve known for a long time that it was no longer possible to overturn this world, nor reshape it, nor head off its dangerous headlong rush. There’s been only one possible resistance: to not take it seriously. (p.75)
But now he wonders if we are in a post-joke era. As if to confirm it they both notice a man who appears to be eavesdropping on them, on Caliban. Suddenly he is seized with anxiety: what happens if a French security man or policeman realises he is a Frenchman masquerading as Pakistani? Arrest. Interrogation. Prison, Deportation. (This seems to me a bit weak; if Kundera wanted to raise the spectre of 9/11 and the war on terror, why not have a Muslim or Arab character?)
Which leads Ramon to remind them of the story of Stalin and the partridges. One way of interpreting it is that Stalin didn’t expect to be believed, he was telling a joke, but the Politburo didn’t get it because they were too sacred. Ramon grandly announces that this moment symbolised the start of the Post-Joke Age (p.77). This is such palpable bollocks it barely seems worth engaging with. Do you think we live in a Post-Joke Age?
Madame Franck finally catches the feather on her finger and announces it is a symbol. Ramon slips out the door and hails a taxi in the street. Alain’s mother speaks to him from her photo, describing an enormous fantasy in which all humanity is still connected via their umbilical cords back to their mothers who are connected back to their mothers and so on in a vast tree back to Eve. Alain’s mother wanted to destroy the tree and wipe out the memory of humanity.
Part six – Angels falling
The party is over. Charles and Caliban change back into their ordinary clothes. The young waitress, whose name is Mariana, adores Caliban even more. She intercedes with Charles to speak on her behalf, but then Caliban walks over and kisses her. But she remains chaste and rushes off. The two men reflect on chastity.
Caliban wants to go see their friend Alain and drink to chastity. They call up from the street, Alain lets them in, Caliban teeters on a chair to reach the bottle of vintage Armagnac brandy Alain has placed high on his armoire, but the chair breaks and Caliban topples to the floor, mashing the brandy.
Meanwhile, the narrative cuts back to an extended sequence with Stalin and Politburo. First of all he asks them if they know what Kant’s great idea was: It was the Ding an sich, the notion that there is a reality out there, but we can never know it. Against this he describes the central idea of Schopenhauer, namely that the world is made of Will and Representation. Everyone in the world has their different representations of it. Which ones triumph depends on the force of will. And he, Stalin, has done more than any man in history to impose his Will, and his Idea, on humanity.
But now he feels tired and, looking round at the imbeciles in the Politburo, he wonders what he sacrificed his life to. He thumps the table which shakes.
That thump coincides with Caliban falling off the chair in Alain’s flat with a bump.
And the door closing in Julie’s flat. Without quite understanding how, she seems to have left the party with Quaquelique and to have slept with him.
But the Politburo are distracted by an amazing sight. Outside the Kremlin window, from high in the air, angels are falling. What does it mean? While they are distracted Stalin changes into his hunting gear, grabs his shotgun, and goes stalking off down the Kremlin corridors.
Part seven – The festival of insignificance
It gets weirder and weirder, and more fantastical and inconsequential.
It’s the morning after the party. Alain gets on his motorbike and feels the presence behind him of the mother he’s never known. She now reads him a bitter lecture about people, humans and the way none of us asked to be born, the way we have our existence, our gender, our physical characteristics, and the era we’re born into, thrust on us. After all that how can there be a thing called ‘freedom’?
Alain arrives at the Luxembourg Gardens to meet Ramon. They had planned to go the Chagall exhibition at the museum but, once again, the queue is too long and puts Alain off. Instead they stroll, and Alain takes the opportunity to expand on his theories about the navel. Previously, he said, women’s bodies had three distinct erogenous zones, the breast, buttocks and thighs. These were individual and distinctive. Now, Alain claims, we live in the era of the navel (two young women walk past displaying their navels as he speaks) and the navel is anonymous and identical. We live in an era of uniformity. Everyone must conform to the same values and music and fashion. We live in a culture which promotes all the values of ‘individuality’ and yet… there is no individuality left.
In the past, love was a celebration of the individual, of the inimitable, the tribute to a unique thing, a thing impossible to replicate. But not only does the navel not revolt against repetition, it is a call for repetitions. And in our millennium we are going to live under the sign of the navel. (p.107, italics added)
I think he means endless pointless reproduction, and mass uniformity.
D’Ardelo arrives and he and Ramon greet each other warily. All three are interrupted by two events. One is a flood of children streaming into the gardens who arrange themselves in a circle to take part in some kind of musical performance.
Much more striking is the arrival of Stalin in his hunting gear. Yes. Josef Stalin runs into the scene, looking manly and virile.
All around people stop and watch, startled and sympathetic. (p.110)
His appearance is that of a ladies’ man, a village rake, an adventurer. The morning crowds in the Luxembourg warm to this fellow (is this satire? on how the conformity of the modern world is preparing the way for new dictators? or whimsy?).
He takes up his shotgun and fires at one of the many statues of French queens in the park, blowing the nose off Marie de Medici. Why? Because Kalinin – remember him of the weak bladder – is having a pee behind it. Stalin explains that pissing in the park is illegal and roars a great Georgian laugh and the crowd warms to his honest, free-spirited hi jinks.
He bursts into laughter, and his laugh is so gay, so free, so innocent, so rustic, so brotherly, so contagious, that everyone around, as if relieved, starts laughing as well. (p.111)
From time to time the narrative has told us that Charles dreams of putting on a play, maybe a play performed by marionettes. Now Ramon turns to Alain and says, ‘Does the hunter remind you of anyone?’ Yes, Charles.
‘Yes. Charles is here with us. It’s the last act of his piece.’ (p.112)
‘His piece’? What piece? Is the implication that some or more of the text is part of Charles’s ‘play’? Surely not. So is it really Charles or really Stalin? Charles, apparently. Both men conclude the Stalin and the Kalinin are the high jinks you’d expect of two actors trying to keep in practice.
Then Ramon delivers a long speech about the subject of the novel:
‘Insignificance, my friend, is the essence of existence. It is all around us, and everywhere and always. It is present even when no one wants to see it: in horror, in bloody battles, in the worst disasters. It often takes courage to acknowledge it in such dramatic situations, and to call it by name. But it is not only a matter of acknowledging it, we must love insignificance, we must learn to love it. Right here, in this park, before us – look, my friend, it is present here in all its obviousness, all its innocence, in all its beauty. Yes, its beauty. As you yourself said, the perfect performance [referring to the actors dressed as Stalin and Kalinin]… and utterly useless, the children laughing… without knowing why, isn’t that beautiful? Breathe, D’Ardelo, my friend, inhale this insignificance that’s all around us, it is the key to wisdom, it is the key to a good mood…’ (p.113)
Alain’s mother whispers in his ear that she is truly happy. Ramon sees that his speech about insignificance has not pleased D’Ardelo, a man who is more attracted by the weighty and the significant. So he changes tack and flatters him by telling him he saw how much Madame Franck was eyeing him at the party last night: surely they must be secret lovers – which sends D’Ardelo off with a spring in his step.
And an old-fashioned horse and carriage draws up, and ‘Stalin’ and ‘Kalinin’ climb into it, waving to the crowd, as the children’s choir strikes up a rendition of La Marseillaise.
Thoughts
By the end I think you’re meant to have realised that the entire book is a festival of insignificance. To use the comparison explained by Ramon back at the start, it avoids the off-putting brilliance of a D’Ardelo, and adopts the steady unobtrusive burbling of a Quaquelique, and wins the pretty girl in the end.
But no, that can’t be right. Because the whole short narrative is far from unobtrusive burbling: it is made up of bravura displays and performances – the sudden unexplained story of the woman who tries to drown herself but drowns her would-be rescuer – the story of Stalin terrifying the Politburo – Caliban’s jokey adoption of Pakistani – the way Alain’s photo of his mother regularly talks to him and holds conversations. And from time to time the characters mention their Master, who I didn’t immediately understand meant the author, the man who dreamed them up and is manipulating them as they speak and act.
These are not quiet and unobtrusive events, they are surreal or magical realist tokens: they strike me as being displays of whimsical narratorial brilliance.
But why? Why choose Stalin to be a central figure in his last novel? Why not some figure from Czech history? Is it a poke in the eye at all the people who expect him to write about Czech history and issues, who expect him to conform to what their idea of a political writer or an émigré writer should be (as the Czech émigré Irena is irritated by all the French people telling her how much she ought to be caring about her homeland when communism collapses in 1989)?
Is he demonstrating the complete freedom of the novelist to write about whatever takes his fancy? Is the insignificance of the entire story part of its resistance to the forces of Kitsch and earnest conformity, which he identifies in his earlier novels?
Maybe. But I can’t help feeling there’s a quality of disappointment about these later novels. I mean that, when you hand over your time and effort to a writer, you expect, to some extent, a kind of rounded experience, one with a beginning, middle and an end.
That sounds crude, but what I’m driving at is the way this book, like Slowness and Identity, starts off with high hopes and expectations, with promising and interesting characters and immediately hits you with some of his trademark meditations about ideas and notions about the meaning of life and memory and love and so on…. but then, somehow, lose their way, fails to deliver, fizzle out – as Slowness leads up to Vincent’s frustrated copulation by the pool of the hotel and the last third of Identity, even worse, turns out all to have been a dream.
Somehow the cleverness of the meditations and digressions, and of many of the incidents, is not, ultimately, matched by a cleverness of form or shape. That’s what I mean by disappointing. They don’t quite deliver the intellectual or imaginative punch they start out promising.
But maybe, again, he is reacting against giving the audience what is expects. If that’s what we want, maybe we should go watch a Hollywood movie. Fiction does something different. It intrigues and beguiles. And puzzles… Maybe this book is intended to be an entertainment, a beguilement and a puzzle… Pretty obviously it is saying: ‘If you want a serious message… my serious message is… that nothing is serious :)’
Credit
The Festival of Insignificance by Milan Kundera was first published in the English translation by Linda Asher by Harper Collins in 2015. All references are to the 2016 paperback edition.
Related links
Milan Kundera’s books
1967 The Joke
1969 Life Is Elsewhere
1969 Laughable Loves (short stories)
1972 The Farewell Party
1978 The Book of Laughter and Forgetting
1984 The Unbearable Lightness of Being
1986 The Art of the Novel (essays)
1990 Immortality
1995 Slowness
1998 Identity
2002 Ignorance
2014 The Festival of Insignificance
Books & Boots 