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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Mr. Janisch would prefer to move into one of the houses that are already there, then he would have two of them, his son would also have his (not quite, the old woman, to whom it belongs, is still alive, please don't forget to bring her no flowers! Not until her funeral will some be handed to her, from the garden naturally, what do we have one for), Mr. Janisch Jr. wants to do some rebuilding then, but that can wait. There's still another person living inside, a person one can't simply take out of it like jam out of the jar. The people here owe the mountain countless unpleasant hours, and as far as dirty tricks are concerned it is in constant competition with the lake. The lake gets something tipped into it which doesn't agree with it, the mountain has thrown off its magic wood and has become a threat to people, settlements, and buildings; it is a wood with an excellent effect on public welfare, so let us set up a welfare committee, not to cut it down, but to keep out the water and the stones and to break off dolomite and other nonsense, but this wood has not kept its promise. It didn't keep the stones to itself, that would certainly have been a feat, since there are so many. And below it, too, there are shocking scenes taking place, a house slips into the depths, and nothing but the balconies with their floral decorations are peeping out, we're enchanted by them, so much beauty in such a small space! It's just being photographed now, before it disappears. Look, the tree up there, it's interesting, too: Its root fibers reach desperately into the air, will they manage to catch hold of the piece of earth that's sledging down to the valley there, but already the whole tree itself is toppling over, and in the air in which its root ropes are waving around it won't even catch a midge, in the air there's no support anymore.

Nice and warm today, but the days are still rather short. It'll come. They're already stretching their limbs. Spring awakens. A girl's room in an attic is empty. The whole business, the dream-heavy feelings behind drawn curtains, at the edge of a precipice, is not the routine case, which it will appear to be for a couple of days, it is not a case at all yet. A young woman is missing, it is assumed she has not been able to resist the wide world, the district capital, yes, the one with the big hospital, in which people die of cancer, which they were unable to show to a doctor of their choice in time-people never have time for the essentials, and if they do, then they wouldn't know which ones and which kind-it is assumed, therefore, the young woman has presumably been unable to resist the world beyond the village and simply hasn't come home for a night. Didn't feel like it. A vanished young beauty, a lost light. Don't panic, beauty is untouchable, just try to catch hold of this beautiful swan, then you'll soon see! Beauty is untouchable, it's for our eyes only, so that we all get something from it, not only the gentlemen who climb over marble cliffs in order to get to know Naomi Campbell or Cindy Crawford personally. Gabi Fluchs will pop up unexpectedly, but she will be most urgently awaited by her mother and her boyfriend. She can be here at any moment. We'll start waiting now. So, early in the morning her mother waits with the familiar comfort of a cup of white coffee and a sandwich with either sausage or cheese, usually with both. Then, as every day, the daughter is supposed to catch the bus, the stop can be seen from the living room window of the detached house, or the train, but the daughter doesn't see why her mother always has to be gazing after her as she does so. Plants bloom in these troughs, too, and reach out cheekily to the shiny windows, until they can get a hold and look into the room, but why then do they so persistently and stupidly turn their heads away to the other side, to the flashing sun? Perhaps they looked too deeply into the window glass? Why do we not want to see what is evident and would interest us; what forces us to constantly incline our heads to the other side? On the other side are the people who should be our models, beautiful and good humored. And we are here.

The sun entices us out there. What, the Worthersee is somewhere else altogether? It can't be! We don't believe it! Well, it doesn't matter, stranger, we'll just drive there. How good it feels, the sun shower. Do we, too, have to find out something that to know would certainly not make us feel so good? We have to see, we won't give up, what others want to obscure: They use sweet smiling cats' faces for that, or stylized portraits of dogs stuck to the windows of cars, and for this purpose alone: to keep off some of the light, to stop the glare. Early in the morning Gabi always thought she looked so pretty in front of the shiny bathroom mirror, and she was, too, remembers her mother. Getting up ten minutes early to put on make-up, that will perhaps get her one hour's pleasure, later, again and again, but not until later (that's the point of pleasure, that one can't consume it right away, first pay at the checkout of the drug store!), and yet she always smiles herself into a good mood again in the mirror, our Gabi, who's an apprentice in a big building materials company. All of it without success. She's hardly started. But the sun has already risen for her, no one can be brighter than it, and the thousand pieces that the atom has ordered for itself in order to enter into competition with them, nothing can be brighter than this sun, except sometimes a human face, which in the end one still doesn't like, for one reason or another. But one is too dazzled to notice. So we'll just leave the face to the one it belongs to. It won't suit him either, it didn't even suit Socialism, which took it off right away and put the old one on again. Then Socialism was content again for a few years with what it was familiar with.

So, how can we help up to its feet this ground, which is just rushing down towards us, down the mountain flank, and promptly landing on its nose, not on ours, please? This nice, comradely mountain-also a face which has fallen and no one wants to help up. The mountain has dropped its mask. Now it already looks different from how it did a little while ago, when it was still whole. Perhaps houses will even have to be evacuated? Watch out, that could mean loss of homeland and lead to critical situations! I wish I could plan an early warning system, but would need help, so that the life of these people here could be maintained to the same high standards they are used to, inclusive of the deep freeze cabinet, into which at least one whole deer would fit if it were foolish enough to go into it. And also inclusive of a glazed conservatory, in which things could very well be a bit more exotic, if we had been sent the appropriate catalog, which we ordered on the phone.

The mountain remains unpredictable, again and again it throws off its debris, which has grown too heavy for it, it has to relieve itself. Last year's avalanche alone, thank you very much, it need not have been so generous, that first the slope slips down, and then all the rock follows. Austria. Just as during the holidays visitors have been getting to know it from above, so for centuries and millennia, mines have been getting to know it from below, at every level. The country's top side and its underside are well trodden. The country exists as positive and negative, depending on where one finds oneself, at the moment unfortunately we hear more about the negative. Why do I always only see the negative, I am admonished. I don't know either. Perhaps I don't know the country well enough, so as to be able to do justice to its good sides. One can be shut up inside the mountain, no I wouldn't like to get to know this country from the inside at all, the outside is already enough for me. We have mining to thank for all that, for being so hollow. You probably think, the doors always open when you hammer on them with your fist? A mistake. Right now you're sitting in the mine cage at the bottom, and while up above the rubble is breaking away from the mountain and howling and raging the mud is coming to visit, you yourself are smashed to pieces down there, and no one will ever see you again. Someone should have taken care of it, the mountain, shielded it from human beings, instead it turned into a shield somewhat full of holes for them. The thunderstorm came, a thundering and roaring as if from a thousand express trains arose, yes, exactly, as if, let's say, rather: five hundred trains are pulling out at the same time. Ordinary mortals were frightened to death, and the rest did then really die, it's true, you can read it up in many other places, if you don't believe me. I think of the big hit that God had with these dead, who will be in the papers for years, but he wasn't on target. The mountain wouldn't have helped me, nor anyone else either. No one helped it, although it was put in our care, and what did we do to it? We hollowed it out completely, disembowelled and made what I don't know what out of its innards. This and many another mountains have been ground down into baby powder, is that not unbelievable? The big doesn't remain big, it is as if it's made for whatever's small. We've already said a lot, perhaps too much, about the water, but we will no doubt be able to say a great deal more about it, when one day it's finished with you. Nature is as romantic as a human being, both want to have a nice experience and can, too, but a human being moves in a larger radius. This missing girl, Gabi, likewise had no end of care, but you see how deceptive such protection can be; you'll understand when the storm comes and you're left standing in the rain with nothing to shield you. All right, all right, I will stop, but not yet.

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