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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No grave should be made of me, thinks country policeman Kurt Janisch. That would be the worst thing for me. To end up in a small container. No. Preferably in a large one!

The girl on the other hand. Her body still belongs to her, passing its time like a song bird, hopping from branch to branch, until she hits the ground below, but by then she has long ceased to have herself in her hand. So please, what's she getting up to now, she's banged into something with her pointed tits, which she can keep for all I care and whose production in the nearby district hospital is still evident. The man cannot even take Gabi properly in hand for his almost dreamy, yet precisely directed hand manipulations, she slips through his fingers every time, which doesn't, however, annoy him very much. But it would certainly be no big problem for him. Standing on the shore as the life-saver of a small child or a car, he would like that better. He would jump into the waters without hesitation. His penis nods when it's squeezed, but also of its own accord. How the girl has to laugh when she sees that. She asks especially for this movement, which he wrests from an implacable life and from a body which is deaf to entreaties. Women are mud and that holds onto everything. Slime. Something can be drawn out, a sledge, a wheelbarrow, and before one can pull the cart out of the dirt, it's already disappeared again. The mud has it. Only occasionally, during a thunderstorm, do women voluntarily part with something, rushing in fear out of their emergency accommodation with their families, which they must be ready to leave at any time. For once the mud has time to spread, calmly and deliberately, I mean with deliberation. Then there come the women, a whole flood, stir everything up, themselves most of all, because they are so in love, and then they lose themselves, in their own mud, because their partner has suddenly gone, for no reason. What, already? So soon? That's a gloomy prospect! We can't see any reason! Perhaps the mountain will come after all? For the time being its stones are coming down. It can take a while before it comes itself.

I don't know, there's something different about the girl this time, the country policeman is still thinking, as her blissful gaze at him is suddenly as if extinguished. So. Yet another veil over her pupils. Finished. The man's peace of mind is gone. Now he has thrown the older woman, in whom he places some hopes, out of her own living room, just because of the girl. She had become quite unbearable with her constant demands for more, without even knowing everything she's got. She doesn't even have all her wits about her, one is always missing. She should for once go and rub her gusset herself, with her own hands, so she sees what that's like. But when she's supposed to whack off in front of him, then it only makes her all the greedier for him, precisely because he wants to watch her. It is one of many variants of the heightening of pleasure, all of which she would like to get to know later at her leisure. Eager for knowledge she listed them all, the variations on her flesh. She even gives the man orders, because she's waited so long for it. She has a right. He'll take that from her. He has a method for that. He's already dreading it. He knows: As soon as he opens his shop, she's already running in, and he's the one who's supposed to be directing the traffic. He hardly has time to start his engine, and she's already trying to throttle it. He thinks, she wants nothing else except to feel number one in his books. Can't she hear her expiration date, even if she can't read it? Doesn't she hear, on the other side of the door, the moaning of an adolescent still under sweet sixteen? Well, that's a different tune, isn't it? As fresh as a folk song, as resolute as the federal anthem, but one doesn't know the words. All the notes the older woman has mastered, the man knew long ago. Because he reads them from her red, sweating, enraptured, blissful face, which she puts on when she sees him. And the tune she strikes up underneath him is false, he thinks it is even deliberately faked. It is a strange whimpering, which begins to turn into an almost practiced groaning, hardly has he touched her. He wouldn't have believed it, if he hadn't heard it with his own ears. This woman doesn't have anymore devotees than her house. In reality an unpropertied property-owner, that's what she is, who believes she resides in the realm of the untrue but beautiful. That's love. Jealousy upsets whole goods trains, it upsets me too, but the goods are what count. Get your doll out of my house and do it this minute. Oh no. I'm sorry, I didn't mean to be so rude, please, don't leave me. I didn't want to order you to do something, which could be terribly painful for you, but even more so for me. I haven't once doubted your love or entertained the least suspicion, even if behind this door you're ramming this little girl into my ground. I love and sacrifice, and I don't draw back from that, because I see that you could never deceive or exploit me. Go now and get rid off her! Before anything else happens.

Such blubbering or something like it, often heard, often seen on the display, but never read, heard, or copied, now emerges from the handfuls of hair flowing down, which gently drape a glans which has already turned blue. We are in the car again, which is standing there, something else is standing too, only the heater is running. Afterwards the man will have to pick strands of hair from his mouth, pull them like fishbones between his teeth, which right away, you never know where you have to be first, it's like the homebound traffic jam at the junction with the Federal Highway to Mariazell on a weekday at five, so he'll need to feign kisses, which would actually have turned into angry bites, if the tongue had only joined in. But it has taken cover in time, sticking to the side of his mouth, so that nothing happens to it; he's already dreading, even before he opens his mouth to let in her aquatic bird of passage, one of many, and in addition all the flaps and nozzles of flesh, all of it, all the flesh won from impenetrable swamps! As if it's disappeared. He must force it, the tongue, well now, somewhat belatedly, it is joining in our aerobics exercise after all, after it had briefly withdrawn behind the barrier of the teeth for a rest. The tongue would fit very easily at the edge of the lake, but it is the slow-flowing rivers of a woman which are squeezed out through the sweet fingers of love. Juice shop. Have your glass ready nevertheless, you won't get anything else. If you place this glass on a tea light, the light will never flicker and go out. Because it cannot get away.

We are now on a parking lot, which isn't one at all. It is, freshwater life-forms can confirm it at any time, almost a bog, thick, juicy fennel stalks everywhere, though not until summer, now fresh weeds are just beginning to grow rampant and swamp the place, foul, stagnant, vegetable, right next to it the winter refuges of birds, it doesn't matter which. The vegetation is not yet fully developed, that's still to come. Rome wasn't built in a day either, but on swampland nevertheless.

We just have to watch that the wheels don't sink in, so that we can get away from here again, but there's plenty of brushwood, it can be put under the wheels if need be. So that we have the necessary friction and the peace and quiet for a young woman called Gabi, who at this moment is likewise rather naughty, to make a face and give this man a blow job. She has mastered that like an older woman, but she hasn't mastered herself. That's something they can all do, women: be bad, until one has to smack them on their raised butts, yes, turn it around to me, whispers the man in her ear, at least she didn't suffocate earlier on, Gabi. She's recovered again. A reason to be cheerful, but only one of many. So now she's ended up here, on this human island anchored in the lake, swamp island, this is exactly where, later on, it's already settled, he has to open up the salty face down there once again and give it a good licking, she won't give him any peace until then. Otherwise he'll drive straight back to the other one after all. Earlier we didn't get to where we wanted, she stopped us right to the end, the other one. Swamps only exist where there is very high precipitation, but Gabi is still very wet, from what, from that. Please, just let me drive Gabi home at least, the country policeman said a couple of minutes ago to Gerti, let me, I'll just quickly drive her home, and then I'll come straight back to you. I'll take her away, and come back as quickly as possible, right away, but you'll have to give me ten minutes, a quarter of an hour, you'll get something in return. No, nothing will get in the way, not this time, it did other times, but nothing will get in the way today, I promise you. For today, even I've had enough. I know: you haven't. This man may have enough, yes, even of himself. Nevertheless best of all he likes to do it with himself, which he conceals from all the people close to him: For him that is the equality on which our civilization is based-to avoid as far as possible being measured against others! He reflects, condemned to making advances: all the women, and so many all alone!, but most of all he is attached to himself and his dreams. They are all dreams of bodies, and they are sometimes even better than the dreams of houses. It is a pleasure at last to have people in front of one, and without the small difference between one another and what they have between their legs, that's not so very important in his opinion. He's had enough of women, he's never fed up with property, but the bodies, they befall him and overwhelm him. Nor does he see anyone he knows in front of him but faceless people in indeterminate positions. How nice. Children, whether boys or girls, get their chance just like adults. The age of the children is unimportant, they can be almost sixteen like Gabi, they can also be infants, it doesn't matter which month. And they all open up just for him, like suns.

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