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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But then again there's no doing without bodies, precisely the most decayed and frail cling surprisingly fiercely to life; this man lets nothing rest, he always wants more without letting go of a thing again, now everything has to turn out for the best. There he stands, steady as a mountain rock (sadly he has less and less time for the mountains, they often come last now. Besides there's no building land up there, only wasteland struck by rocks), stands outside the shops which sell only the cheapest lines, outside the inn, where the teetotaller and sportsman drinks no more than a Fanta or a soda pop, into which he then, under the table, pours his schnapps (which he never pays for either, because he has always entered as a figure of authority). We are dealing with that mysterious continuation of ourselves to which everything falls, because it belongs there, like gravity, at the bus stop, where the car driver doesn't take the bus but prefers to take someone else instead, before darkness falls, which he penetrates with a pocket lamp, but only if it is absolutely necessary. Batteries cost money, too. And here he knows the way at any time, even in the dark, every stone on it and every protected plantation of fir trees, on which he himself need protect nothing and no one, when he sits down in the middle of the spread table of a woman.

What's coming down from the heights there? It's them, it's always them, the mountaineers, the hikers with their own or other women. But of course it's always a matter of where you're standing. Who touches a meadow full of flowers with his feet, and yet the meadow remains untouched? Unbelievable, that there's such and such a number of women, particularly ever since they've been driving around in cars just as much as men and can also turn up in a different place from where they are at home. They are drawn out into town and country, into the county town and onto the country road, and that they are so different from one another is likewise unbelievable. And then they stoop to this man, they've hardly clapped eyes on him and they're on the ropes, he cuts them down or not, in his hands they soon gleam like polished pieces of furniture. Yes, indeed, and afterwards they are alone and have been taken for a ride, with the itch, but not sewn up, I can already see that from this distance. There have been a good five of them in the last two years. Not all that many, I know, but it takes time to look after them, because nowadays they demand quality in order to be satisfied. It's not enough for them to rub up against the wall of the house, which is badly plastered or turning damp, the house should also belong to them after they've been saving themselves so long for the right man. They don't let their cars do something like that either. That they wipe their dirty tires on someone or that someone takes the liberty of doing such a thing with them. Cars also belong to many women. Many cars belong to women. Thus one becomes a vessel, they probably thought, once they had chosen this car in their favorite color and even had to wait for it. One spreads out the bed for that already there. It's recently been specially acquired, together with an orthopedic mattress, for a very special person, who will lie down where no one has lain down before. And one already knows all that in advance, after talking to him just once on the dusty road, where one showed him the driver's licence and the vehicle documents, and he was such a wonderful, unique man, one never saw one like him before, and one knew: He's the One! And why? asks the shop assistant at Billa, with whom, since moving here to the country a couple of years ago, one occasionally has a bit of a heart to heart, next to toothpaste, soap and detergents. I don't know. That's the answer. The rather stocky, but muscular-looking, dark-blond police officer is considered to be a loner, a reputation which he has never really resisted. A man who hides his feelings behind a robust manner, but who can also show small weaknesses. How sweet of him! He effortlessly overcame the barriers with which I have protected myself until now, says this woman to the supermarket cashier, who doesn't understand her and who would at last like to go home. But hardly has anything so wonderful happened to one than one is immediately buried again, and that is the disadvantage with lonely people, worn by miles of worries and suspicion, as if one were the landscape itself, which is idly waiting for what will be inflicted on it in the shape of mudslides, avalanches, and rockfalls. One finds oneself in the water, instead of being water, which can travel anywhere, but unfortunately on one condition: downhill only! So it's better to stay at home, so as not to miss the telephone ringing, or you just take the telephone with you, which can play Bach's D Minor Organ Toccata, which it's been taught. After that you only have to wait for your number to be called.

Then miracles happen, an angel enters and with his wings cuts in pieces what divides two people, and it will come, it will come!-the best-loved miracle, which is no miracle at all, for a human being is as if made for love. But that is deceptive, often a human being only looks as if he is. On the contrary, God never does well by the good, and they, although they, too, love and want to stay, fall apart even more quickly than the rest of us with our ordinary joyless life, and later on one doesn't recognize them again, the good people, when the seams of their genitals come apart and the sawdust pours out, which once lent them a bit of shape at least. Even wood would have been affected by such an experience, the glue would have fallen from it. Because no one reassembles these tender lovers who wish only to forget themselves in love, and this time it reinforces them right from the start with some plywood, so that they can at last stand up by themselves and can stay up a little longer in this position. Afterwards, nevertheless, a human being is never the same again, even after just an hour. Take a look, I'll show you: This miracle happened to the woman there, and to the one over there, too, I think, and over there are five together, but the miracle caused that one a lot of trouble, this self-absorbed, retiring, quiet, shy woman, would you recognize her as someone who moved to the country because people in the city who got close to her which she had always invited, hurt her, mostly without wanting to or knowing it? This woman is too sensitive, she's already paralyzed with fear and I've caught it, too. At this moment the man opposite her is devoting himself entirely to his career as a lover. He has already made some progress, and has got just as far as the little cafe, where they know him and so where he doesn't like to go at all. But this time he didn't want to contradict the woman's provincial loneliness, the relationship is still too new, the woman is already touchy enough, so he let her have her way: to show herself in public with the man! At last! She gets a lot out of that. And so there they sit side by side. On the other hand something like that has never ever happened to the man before, but in the daily tabloid he can read up where it leads: to love. In sequence. Until marriage. Until death. The country policeman's wife reads whole novelettes about it, from start to finish. The man holds his own in his hard job, which one can carry out with a dog and/or motor bike, but one can only bring the dog along in the car, or it has to be left behind altogether. The man holds his own in the atmosphere, the climate that goes along with it, and which until recently was purely man's business. Whether it rains or snows or whether the sun shines, it doesn't matter, the men made it, complains one or other woman to no one in particular. The man is quite different in this respect, usually doesn't even know what she's talking about, at this little cafe table, someone who gave up her career, but who had such a good income in the city and out of fear of disappointment again and again avoided close ties, as she declares, as she already declares, because again and again she was abandoned, abandoned like a stone in the road. That's how the sad Carinthian song goes, but I don't know the rest of the words. I should know them, because soon the whole world will be Carinthia, and then there will be terrible punishments for anyone who doesn't know these beautiful songs by heart. Well, why does she come here, the woman, where no one needs her. He needs her so! He's not interested in what she says. He's interested in what she has. He goes to open up the millionairess, but no, it's not millions, let's make a rough calculation back and forward: it never works out. What one needs is only her property, but she's still using it herself, and even if only to start out from it, to explore the area, its rare Alpine flora and fauna through books and then to cuddle up all the more cosily on the couch with a glass of wine and a book. No, Kurt, today I don't need you, today I want to be quite alone for once, but call me, definitely. If he doesn't call, she goes off the deep end. While we're on its beauty, this area would never get adequate attention if it were not beautiful. Otherwise no one would bother about it, apart from the scantily dressed tourists who get everywhere, and to whom the woman for her part feels superior (among the tourists there are also some who are overloaded with clothing, they just have no sense of proportion). In the man's cheerful disposition there is in principle no room for any woman, which he doesn't say. But for a house of course, always, even though in the nature of things it would be much larger: A house of one's own, somewhere to feel at home. Charm is already lying ready on the plate, today it has to stand in for butter. It'll manage that. This woman would be much smaller and manageable than the house, she could prove that if the country policeman would only take a proper look at her from top to bottom. And in the house there would at last be enough room for his expansiveness, his mountain bike and his hobbies, which are a waste of time. He should rather spend his time with her: Yes, take a look at that, I would describe him like that, too, before allowing myself to be hit. He isn't capacious, but expansive, not in the sense that there is truly anything cheerful about him, but clean and empty. The furniture has been pushed against the walls, so that his body can more easily be encouraged to carry out the much, thank you, practiced movements, which should cause the furnishings no more damage than absolutely necessary. When things have got that far, one wants to have them along with the house. At most the bed will collapse at some point. One sees a person standing in front of one, and then suddenly it's a woman. One sees her waving her arms about, shouting, weeping, saying please please, because he wants to leave so early again today. One can see her performing tricks in order to seduce him, now she's even getting up on her hind legs. She threatens him. Funny, we're already at home with her again. Earlier she calmly made coffee, although earlier we already drank some in the cafe and are now eagerly waiting for the sniffing course in matters of tenderness and trust, which had been promised us and for which we have already put down a payment: Two people who can't stand one another, but don't let go of one another either. For various reasons. In time they will learn to fly and take flight, because there's no other way they can get away from one another. One of them at least has to go so that the other can stay. But why all the work at the stove if the woman in the end-she doesn't quite know how to offer herself up completely yet, she would rather offer food and drink-throws a hot cupful in his face, why all the cooking and raging about so little? Why such a devil of a temper? And now she has to wipe up the coffee again alone and spoon up the soup alone. It really wasn't necessary to throw things around with people who haven't done anything at all. After this noisy scene, the woman, unappeased, but well brought up, is allowed to cook a less solid meal, this time something exotic with pineapple slices and spices, which were brought here specially from the Naschmarkt in Vienna, would you like that, Kurt?, no he doesn't know it and doesn't want to know it. Now this time he doesn't want to, he would rather practice his power of attraction. Please please, eat something, then there's dessert, then I personally will get carried away with you!

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