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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The man naturally never talks out loud about such things, he talks, as has been said, very little, but I believe that's what he thinks, quietly, that's the best way of thinking, only TV hasn't understood that yet and gives us sound as well, so that forever sweet toothed we can pile a glob of whipped cream and another and another on top of reality, before at last we get really stuck in. We're going to regret it at some point, when we're feeling sick. Well well, so he wants to get lost inside himself, Kurt Janisch, not in someone else, because something like that would make him afraid? But I don't see much of that yet. Perhaps in the end he even wants to digest himself? Perhaps that's how he likes to imagine it. Then he would have to part with the least of all, is perhaps what he thinks. Why then is he always falling on others for no fault of theirs? That's how cannibals always start. First they want to eat themselves, and then it's always others after all, whom they get a taste for. And when taste has got going, e.g., on an excursion into the TV or a video, then if need be they get to work on the bodies themselves and that as large as life. And already, often of necessity, shit and natural bubbly are flowing out of these bodies, sometimes out of fear that one day one might have to pay for it instead of being currency. I've got the exact figures here. The man says very long-windedly and nothing is said in reply: Think of me as the unhappiest and at the same time as the happiest person if you have to detain me here. And how else should I (yes, me!) express it, than with these few diffident sentences, out of which I might almost have built a conversation between us, but only almost. I would have made a little crib, if I hadn't run out of nails. The bank isn't giving me any credit at all anymore, quite the reverse, the bank wants me to pay back the old loans, and all of them at once as well. Later, like his thoughts, which can never sit still long enough for them to be properly thought through to the end, perhaps by chance, perhaps through planning, this man will avoid prison, because he won't be recognized for what he is. He's meanwhile, but sometimes by the quickest route, heading straight for personal bankruptcy. Or not. I alone know everything, because I have executed it specially in water-colors, is that not unbearably watered down?, so help me. Or is that exactly how it happened? So I'll help you, too, even though I don't know you at all, with my word, which like a go-cart I slide under your uncertainty, into which, after all, I've steered you, and already this man, through the music of his words, can make contact with me, with us, and you can complain all you like about boredom while you're reading this, but please not to me. With this problem I'm definitely not standing right behind you. Not behind myself either. I'm not standing anywhere. I, too, would prefer to be doing something else apart from always reading.

Other people are even blown up by a laugh. But here real dynamite is contained in the owner of an extensive muscle mass that is still to be climbed. Who can do it. Who wants to do it. No one knows much about him. I'm the only one at the moment who's saying he's explosive. And, for all his dangerousness, it's a plain rod that this extreme walker plants in the ground of womankind, yet this rod is a tough one. Basically the man wouldn't need the miracle stick, he always finds his way wherever he goes and a suitable pace as well. He can still walk well alone. The fuse can burn, there can be an explosion, rubble flying up, just ask the manmade lake here at the entrance to the village, which didn't make itself either, what that's like! One wants to be left in peace, is even perhaps a little ashamed, that waves several feet high foam up around one, the underwater embankments, the gently waving pubic hair of the lake drifts upwards like a furry shoe thrown down for a woolly cuddly toy-one has something between one's teeth, which one laboriously has to pull out again, one slurps the rich content of a mellow slime, which perhaps consists of nutrients, perhaps not, but basically one doesn't want to eat any of it, one would prefer to spit it out, let it nourish someone else! A sermon on the mount will be preached now. There are too many who want to eat, and they remove the basis of the man's existence, and one woman or another is supposed to give it back to him: If this man goes and doesn't come back, I'm going to die off inside like a whole region, which has absorbed too much nitrate and phosphate, thinks the woman. He can do anything with me, but he shouldn't do it. This flesh, for example, is so cold, brrr!, because for half an hour it had to lie naked on the steps down to the cellar and almost spend the winter there, you exaggerate. The sun can't yet properly penetrate the walls of the house, but no, it only seemed as long as winter to the woman, it wasn't longer than half an hour at the outside. Perhaps this Gabi girl also has a life's dream, it doesn't, however, consist in giving a country policeman valuable gifts, but in receiving these gifts herself. Will you buy me this, will you buy me that, that's what it's like with Gabi non-stop. What am I going to buy it with. It doesn't matter. The young ones at any rate are still supple, you've hardly pulled them out of the wrapper and they're already jumping into your mouth. Their bodies still deceive themselves all too often in their addressees, they don't read the sender's address and the small print, they don't have any experience and then the wailing and the weeping start up again. They're hardly more than children, who see us again and likewise want to go to the cafe in front of everyone! on Saturday afternoon! They all want to. How will mommy, how will both mommies, how will the cuddly toys who have stayed at home respond to that? If we only knew. Days go by. Weeks go by. His rare visits. Time passes differently for young people. The old save themselves all that, because it doesn't do any good. They learned how to save in harder times, and where do they find themselves now? Nowhere. In no-man's land. They don't know that the hardest times have just begun. This young woman must surely see that a different recipient is marked on this body, which at this moment falls on her, like a wolf, who has at last found the leg of lamb in the fridge. And the second body we see here is likewise mad about the man, and unfortunately about the same one, and unfortunately it had to stay outside, the body. Nothing to be done. At least the body out there wasn't tied to the banisters. All one can still look forward to is loneliness and isolation and illusions. And one can get self-doubt and submission for it, say our entertainment experts with their pouting lips, isn't that so, Mrs. famous sex adviser Senger, you too, in your little newspaper column, where you've been imprisoned for safety's sake, just in case you want to say it to us in person. No doubt someone is about to leave again, although he's only just come, and who will that be? Right, that'll be Kurt Janisch. How dreadful for these two women, each in her way matchless, that they have to experience something like that. And that's why unfortunately they can't set us an example. They don't give anything. They might perhaps have a lot to give us, but they don't do it, they prefer to give it to someone else. But they don't want to go either. The confusion that often prevails in very young people who look at one covetously, because basically they would much rather have the latest computer game or the latest pair of flared trousers bought for them, is that confusion at all, is it not single-mindedness? They are as ignorant as they are greedy, these young people, but mostly they look cheerful, in the hope that then they are more likely to get it. I can't say anything about that, I don't know what they do at which time. I don't know what they do at the same time. This confusion among young people, therefore, is often the result, as one can read here and everywhere else, of too many families having been destroyed, because the daddy, ever more frequently also the mommy, has cleared off, and that's what exactly the same newspaper tells me, in the shape of a quiet different figure, however, it's the authoritative figure of a priest called Paterno, whom I already listened to yesterday, but then his voice said something quite different and his hand wrote something quite different. But the most amusing and friendliest thing, just like the saddest and most frightful one, are often unfortunately the most terrible nonsense, even though this newspaper has already said it one way or another. At least the other way here has not done so. It gave away a guglhupf recipe, hmmm, that turned out well again! Oh, if only they had occurred to me sooner, these pieces of information for the information bulletin of the school of life, sooner than to Mrs. Gerti Senger and the priest August Paterno, before I was able to start a new page! Then I would have also been able to write them down here, these pieces of information. So they're still written down, but written down somewhere else.

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