Elfriede Jelinek - Greed

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Greed: краткое содержание, описание и аннотация

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Philip Roth says the novel is dead, but it would be more accurate to say the audience is dead – we're all just too polite to mention it. What is killing the novel is people's growing dependence on feel-good fiction, fantasy and non-fiction. With this comes an inability or unwillingness to tolerate any irregularities of form, a prissy quibbling over capital letters, punctiliousness about punctuation. They act like we're still at school! Real writing is not about rules. It's about electrifying prose, it's about play.
For anyone who wants to write or read daredevil, risk-taking prose, therefore, it was tremendously encouraging that Elfriede Jelinek won the Nobel prize for literature in 2004. But most British readers hadn't heard of her, despite four novels being available from Serpent's Tail (Lust, Wonderful, Wonderful Times, Women as Lovers, and The Piano Teacher), all of them full of her uniquely sneering tone and tireless fury with the human race. Jelinek seized the novel by its bootstraps and shook it upside down. Was she looking for coins or keys, or just trying to prevent fiction swallowing any more insincerity? Her dynamic writing gives a sense of civilisation surviving against the odds.
Jelinek's work is brave, adventurous, witty, antagonistic and devastatingly right about the sorriness of human existence, and her contempt is expressed with surprising chirpiness: it's a wild ride. She has also developed a form of cubism, whereby she can approach any subject from any angle, sometimes within the same sentence, homing in with sudden tenacity on some detail such as dirndls or murderers' female pen-pals. Recreating the way the brain lurches along, spreads out, reels itself in or goes on strike, her metaphors and puns run amok, beauteousness sacrificed to a kaleidoscopic inventiveness. Wrongly accused here of writing porn, in America she has been criticised, absurdly, for living with her mother, having a website, and not going along with the war in Iraq. They treat her like some kind of moral philosopher. You can't blame a novelist for being provocative and voicing dissent – that's her job! Without novelists, who's to guide us? Scientists? Priests? Politicians?
The innovation in Greed is that Jelinek intrudes more than ever before, rushing in and out of her own book like someone with tummy trouble. She likes to present herself as the bumbling author: "It's a frequent reproach, that I stand around looking stupid and drop my characters, before I even have them, because to be honest I pretty quickly find them dull." She admits to many mistakes: "Oh dear, that doesn't work, and it's also a repetition. Forgive me, I often can't keep up with myself." She hates naming her characters – "It sounds so silly." She identifies a needy piano teacher as a portrait of herself, then proceeds to ridicule and finally destroy her.
What it amounts to is a dismantling of the novel before our eyes. Greed lacks the focus of Jelinek's previous books, and is nearly incoherent at times. It is a cry of despair – despair about herself as a writer as much as about the characters she invents: "What is so wretched about me, that I can only be used for writing?" These are the exasperated outpourings of a great writer suffering from a lack of recognition (the book was written before Jelinek won the Nobel). There's a bewildered, lonely quality to it, as well as a few too many references to current affairs, and some lazy passages that suggest she no longer believes she has any readers at all – and despite that, some wonderful, defiant mischief-making. She can't go on, she will go on.
The plot, involving the semi-accidental murder of a teenage girl and the dumping of her body in an ominous lake, is minimal and haphazard, its main function to flesh out the divisions between men and women. They are on completely different wavelengths, the women in love with a "country policeman", and he latently in love with men, and blatantly with property. There are other greeds, too, that of banks, naturally, and phone companies, "hot for our voices", and the church. Describing a fancy crucifix, Jelinek writes: "the prominent victim is so full of pride at his stiff price that he's almost bursting out of the screws with which he's fastened to his instrument".
But the country policeman's greed surpasses all. He has prostituted himself to every woman in the vicinity and beyond, in the hope that they will hand over their houses to him, or at least leave him something in their wills. He thinks of female genitalia in the same way, all these doors permanently flung open for him. Jelinek circles round him, disgustedly observing that he "completely lacks a whole dimension, that is… that there are other people apart from himself". "We should all hate corporeal life, but only this country policeman… really does hate it. One just doesn't notice at first, because he sometimes jokes and laughs and sings songs to the accordion."
She is equally scathing about women and their repellent eagerness to be loved. Sex is furtive, violent, base – "you give each other a good licking" – and love merely a common foible which, for women at least, always involves a dangerous loss of selfhood. Jelinek gives us a startling glimpse here of what women are, as well as answering Freud's question, "What do women want?" It's neither gentle nor sweet nor safe nor reasonable – just true.
Carole Angier
***
Greed was published in German in 2000, and thus made part of the oeuvre for which Elfriede Jelinek was awarded the Nobel Prize in 2004. Its plot is soon told. Kurt Janisch, an Austrian country policeman, preys on women. He murders a very young one and drives an elderly one to suicide. This is a long novel, but few of its many pages actually advance the plot. Only now and then, as a sort of concession, will a sentence or two tell us what happens next. Greed might be variously described, but not, I think (pace the blurb), as a thriller.
Mostly, Greed consists of digression, commentary and repetition. A reader interested in story will feel consistently thwarted; perhaps also that such an interest is inappropriate. Serious fiction, you might begin to feel, shouldn't pander to readers wanting to know what happens next.
In German (but not in this translation) the novel has a sub-title: Ein Unterhaltungsroman; that is, light reading, or a novel you might read for fun. This term is at least Jelinek's own, a part of her project and the first note of her characteristic tone of voice, which is sardonic. There are many voices in Greed – the women, Janisch, others in their community – but all sound much the same, infected by the sardonic facetiousness of the author herself; so that, despite its variety of perspective, the tone of the whole is remarkably homogeneous. That tone is a slant expression of outrage, sign of Jelinek's moral seriousness. Her plot and its characters are a canker within the canker of Austria, which may itself be an exemplar of things in general.
Janisch is indeed a nasty piece of work. He has brutal sex with women, hates, fears and despises them; but his greed is really for property. Most readers would, I guess, have been able to develop out of Janisch's character and deeds a critique of the most rapacious and murderous tendencies in modern capitalism; Jelinek does it for them. She is a ranter, and there is much to rant about: polluted lakes, mined-out mountains, tourism, sport, old people's homes, the Nazi past, the fascistic present, the traffic… In the ranting, she resembles her compatriot Thomas Bernhard; but he is, blackly speaking, funnier.
Bernhard's sentences give pleasure. Jelinek seems to want to match the ugliness of her subject with a language that, if not always downright ugly, is never attractive. The sentences are made unshapely by the expanding bulk of ridiculed material. Her book steadfastly prohibits what literary language engenders naturally: pleasure. Her translator aids and abets her in this.
All the author's inventiveness goes into the book's lateral expansion. Her procedures are baroque: a heaping up of instances; frequent allegorising; bizarre conceits. You might even call her whimsical. She devises far-fetched ways of saying a thing, to shock us into awareness with a grisly whimsy.
Greed has considerable energy and force. Its moral urgency is beyond doubt. But, reading it, you enter a swirling fog of rage, outrage and sardonic contempt that envelops everything, victims and villain alike, the women in their way being as bad as he is: so foolish, so greedy for affection, gobbling him up, no wonder he is fearful. Throughout it all, insistently, comes the author's own voice, sardonic towards herself, doubting her right and ability do what she is doing. This is the stuff of secondary literature: fiction's failure in the face of life. But a persuasive fiction, one in which the author and readers believe, is more powerful, and can do more good, than Jelinek allows herself to suppose.
David Constantine

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There's a boat floating on the water at the moment, as love floats around in humans and makes no progress nor gets beyond itself. It's even possible to get out of any village, after all. The boat has sought out its humans and now glides forth without splishing or splashing, it is no longer surprised at anything, for it is used to this water, which just seems to have this special density, a different specific gravity from normal water. It is almost as if it were solid, which would be the opposite of water, a copy from an original water block, but they'll never manage to get the original quite like that again, what did I really mean by that? It doesn't matter, I'd rather not say, because I would need pages for that, which I will certainly miss in my life, that is, the nicer back pages. So it's simply water, but it doesn't look like it and doesn't feel like it. If you want to swim, you're better off driving to Kapellen, which has got a pond for swimming, I'm telling you, it's friendliness personified, with its caravans, its squealing children taking off into the blue sky with their water wings, everywhere the multicolored joys of discovery. OK, it's still too early in the year for swimming, the water is far too cold. I would say the lake can hardly be discovered because it's so hard to get there in order to discover it. It doesn't impose itself, this almost black filling, which was supposed to set a water cycle in motion, yet even precipitation does not visibly appear to strike it. As if there were a brake on its fall, as onto a sponge. It's simply a dark surface next to the highway, just before the bypass, where at last, since a couple of years ago, there's no need to brake anymore. I also brake for animals, says this car, which cannot do anything on its own. They first took the material for the road away from the ground and then gave back cheap water in return. Even you wouldn't put up with that. Imagine you've got a corridor where you could put up cupboards, and instead all of a sudden the full bathtub comes towards you and buries you under its watery hollowness. The bus drives a little way into the village, but the old B road then continues unhurriedly on foot, the bus turns round again, it has to pay attention to the federal highway. Now one can send five-year-olds to the grocer's, they could at most be run over by a baby stroller. And here's the little bus shelter, crudely rustic, as if knocked together from gingerbread, not unlike a feeding rack for game, so that it's not so conspicuous in the landscape, a piece of furniture, yet in the open air, but then again not a piece of garden furniture; I wouldn't go so far as to sit myself down comfortably there, under the inquisitive glances of the neighboring residents, and hold my face to the sun. Doesn't matter, it wouldn't make the face any better. The little house with its little bench is more a piece of working furniture, which takes in people for a limited period, principally student drivers, apprentices, and old people, who have no car and have to go to the surrounding towns, on one side as far as Mariazell, on the other to Murzzuschlag, I haven't been able to free myself of this area for ages which, like myself, is inconspicuousness personified, but yet also a fetter nevertheless. It sticks to me like I would myself to a beloved person, if I had one and a suitable opportunity.

The question is, how is it possible to describe such a water landscape, like that of the lake, without really knowing its language? I am wary of the innocuousness with which this stretch of water appears before the public, but it doesn't do me any good, it acts as if it could not disturb its own surface, and it really doesn't disturb me. This numbly paralyzed water, yielding nothingness, into which the skillful oars dip, yet on touching the surface their skillfulness at once deserts them, they become clumsy, shy away from dipping in again, which nevertheless could take them further, well I don't understand it. As if they would get goose pimples from it, they can hardly move in this aspic, in this gelatin, cannot turn, want to come to a standstill and submit to the always ice cold water cake in which they're stuck like the gateau knife, guided by the clumsy hand of an invisible, noisy peasant bride and groom-the women, chrysalises, sticking out of tons of petticoats beneath which simultaneously clayey, clumping feet emerge and will deal out kicks. Yet even these will be smothered in the thick reed beds of the shore, and the foot in the shoe breaks while green trees try to caress its pain. But the water won't allow that. It won't have anything nicer to tell you than I, that's for sure! Why did they put water of all things in this gravel hollow? Even this water here drowns in itself without a single cry. This stretch of water is not a dynamic member of the environmental movement, it is a piece of water standing there absolutely silent and stupid.

On the other side of the road, as if shielded from every terror by a beautiful pair of hands: the inn, adorned with a geranium dirndl blouse and the garden that goes along with it, so friendly! From here the path to the lake seems further than it is, it is a path from the light into the dark, cold, damp, where it's such an effort to draw breath, as if one had to buy it specially; and children's pleas for a boat trip are almost always refused. I would say, and I'll repeat it again and again, because perhaps then one can imagine something altogether definite: The water is dark green to black, at most green, at least black. The hair of the vegetation moves beneath the surface, dead undergrowth is dragged along, the green drowned weeds yield to an invisible current, the expanse lies open there and yet displays no kind of openness at all. On the side opposite the inn a rocky slope rises up, the young birches, larches, firs, the maple on this steep shore (no setting posts, although it would have been sensible to put them up so that the whole thing doesn't one day slip down into the water without knowing what to expect, stupid and usually unconscious but first of all fundamentally evil, just the way nature is) cannot be reflected. But really, why not? Because that side is simply always in the shade. This lake is not in the sunlight zone, that is its and the tourists' misfortune, yet the trees on the slope really should be able to reflect themselves. Why don't they? Why are they so lazy? Gut into the rock a little path on which hikers are often to be seen. They can't escape us, the song goes like this: forwards or backwards or be forgotten. These people are not walking around in the opaque world of the rich. Often they're families with small children who cannot be accommodated in a hotel, because they would immediately tear it down. But usually they're retirees, the evening of whose life grants them the full TV program, because they don't have to get up early in the morning. The few boarding houses here are really good value, the food is good, too, and is locally grown, yes indeed, this landscape has been vigorously cultivated, more abundant organic joy has been wrung from it, so that the naturally fertilized fruit and veg., the specially produced animal shit is coming out of its ears, does not have to be bought as an extra. The animals themselves are available, too, bred on the farm, and they are killed here, a maximum of six at a time, in the little district abattoir. It's not like in the big slaughterhouses, where ten Poles pitilessly hack at a living thing, break it down, for, measured by their own life, the animals here have a super time, and anyway most of it is all the same to man or beast. The main thing is to eat one's fill once more beforehand, before the knife slips into the hand and out of it again, stick it in, under the skin and into the flesh heave ho! Do you have the talent to be happy? Then on no account waste it here!

Look, there go two people again, no, three, in hiking clothes and climbing boots, equipped with sticks, walking on this narrow little path, on which if need be one could even walk in high heels, because the terrain presents no difficulties at all. But, professionally equipped for the unrefined mountains, it's just more fun and doesn't even cost much more. These are people who would dress appropriately and comfortably even in their coffin (so that they can frequently turn around in it), yet nevertheless economically for heaven, so as to be let in at all. They look down on the lake, which swallows up the sun as if a life-long eclipse prevailed there, and think the dark expanse is like a country road at night on which one encounters someone. Others would prefer not to encounter anyone. I can understand that, I would probably be one of the latter. So, now the people are gone again, because I can't see them anymore. The water is so cold, if one pulled it out of its dripping bed, one would immediately throw it back again, hardly taking a second look at what one had caught hold of. This water would never fall to the surface of the earth as precipitation, it would rather precipitate downright dejection in someone who for at least a week had been hoping for better weather. Coldness pure and simple, in peculiarly amorphous form. If the water had any agility it would clamber out of here of its own accord. The whole thing isn't very deep, but the creepers, the hussies, would simply pull one down to the bottom, a place which I would rather not imagine. It must be indescribably muddy, dark, icy, dreary there, the point, as it were, at which the body of water is unconscious, but nevertheless unceasingly, with a part of its memory, which has not been regulated by the Alpine Convention, which encourages the harmful substances not to be unloaded here, with a part, which is lying in wait, presumably lying in wait for its own terrible awakening. Not even on its surface have I ever seen ducks, it would rip the fat from their rumps, and they would be drawn below the surface quacking wretchedly, that's how I imagine it, because I love animals and wouldn't want them to have unpleasant experiences. Well, obviously they wouldn't like that either. It seems to me that they never alight on this stretch of water, which appears to be stiff with fright, because it has been poured out here and not over there, where it would get the whole sun, on the other side of the road, where the inn is, too, and even there, no matter how sunny it is, it grows cool early because of the mountains all around, and cardigans and jackets are taken out. There the ducks are then on the plates. A little jetty, but what for? If no one walks along it. Well, who could have known that beforehand, when assiduous voices were ordered and oars handed out and perseverance practiced, when losses were made during the early months. Sometimes one sees and hears children here who suddenly fall silent, however, and stare at the water, which is so different from what they had been promised, a face which on closer inspection turns out to be a hideous grimace, a web, in which one will become entangled. Not the place for cheerfully colored bathing suits, beach balls, inflatable animals, rubber dinghies; none of that is granted this lake, there's no change in it and so it doesn't make for a change. It cannot put on any surging robes of foam, because this metal water can neither bestir itself nor be stirred. It seems to me too simple to blame the absence of any of the sun's rays. The tanning studios, at any rate, have any amount of them, but human beings don't get any better as a result. Only such people go there, to lie down in the wonderfully gleaming coffins, who themselves want at least to change the color of their skin. They secretly suspect, after all, that they must always remain the way they are created. Whoever ends up in the water here-no thanks, as Franz Fuchs, the bomb maker and quadruple Gypsy murderer from Gralla, that's forty miles from here, would say loud and clear, so that he can thereby spare himself the well-deserved trial and enjoy the time in peace and quiet in his cell. He can't shout louder than his bombs. I can't hear him anyway, and now he's dead as well. He hanged himself. This water is soaked in itself, that sounds paradoxical, but it's true, so far as anything can be true. It is, so to speak, water twice over and for that reason solid again, no small success for an element that is eager to learn and would like to continue its education, although granted only limited opportunities to do so. With a bit of effort one can always make more of oneself, but at the same time always keep one's feet on the ground, which is nearly always horizontal. The level, which does not want to stand and only measures what's lying down, knows that, too, oh dear, that's not right, one can also measure the perpendicular with it. I think this water has an acid temper (but can also be alkaline), because no one is exactly scrambling to be a suitable partner for it, in play and sport and fun. It's rejected, so it retires offended to its room. Even the mother of this water, a rather low, newly built retaining wall, from where I'm standing it's on my right, on which the usual small plants are not yet growing, wild birch shoots, small willows, grass together with dandelions, any amount of wild fennel and coltsfoot and cow-parsnip (or is that the same thing?), is only allowed after repeated knocking to enter this water, in which terrible things are evidently produced and which in the shape of tough untearable creepers and drifting plants and algae destroy all other life. Only lifeless life is permitted here. Who with his wings parts the heavens for me? And here we have the first candidates for the room, crows, they're just everywhere, but not on the shore of this stretch of water. Hence nothing else is allowed to live here either. An enormous insignificance-and who can bear that? What on earth is to be discovered in something like that? Perhaps there are, after all, three thousand different varieties of aquatic plants in there, but I don't know them, verticillate, indestructible life, therefore, I wouldn't want to have to count them, the species, then I would have to bend over this water or spontaneously, thoughtlessly completely give myself up to it, and I've never done something like that before.

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