I read The Joke, Milan Kundera’s first novel, when I was a schoolboy. Bit above my level, but, even as a teenager, I liked the premise. Ludvik is a young man in post-war, newly Communist Czechoslovakia. He’s a smart, witty guy, a loyal Party member with a great future ahead of him. His girlfriend, though, is a bit serious. So when she writes to him from her two-week Party training course enthusing about the early-morning calisthenics and the “healthy atmosphere,” he scribbles off a droll postcard:
A few weeks later, he’s called before a committee of the District Party Secretariat. He tries to explain he was making a joke. Immediately they remove him from his position at the Students Union; then they expel him from the Party, and the university; and shortly thereafter he’s sent to work in the mines. As a waggish adolescent, I liked the absurdity of the situation in which Ludvik finds himself. Later, I came to appreciate that Kundera had skewered the touchiness of totalitarianism, and the consequential loss of any sense of proportion. It was the book I read on the flight to Vancouver, when Maclean’s magazine and I were hauled before the British Columbia “Human Rights” Tribunal for the crime of “flagrant Islamophobia.” In the course of a week-long trial, the best part of a day was devoted to examining, with the aid of “expert witnesses,” the “tone” of my jokes.
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