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 go a middle-aged woman, who once gave birth to Gabi, a cheerful teenager, that's exactly what she is, like all the others, a young person, who preferred to be with someone else, no matter who it was, rather than alone, and a young lad, who at the moment is still going to a technical secondary school, hopping from electricity pole to electricity pole (when they've gone rotten, they're butchered and new ones are planted, then new men, whom the country still needed, clamber about on them like squirrels, a Mr. Janisch Jr. among them, he too already the father of a schoolboy, young as he is. A final squirt of milk, milked from a jolly evening in the dance hall, and after that: intermission, then close-down and curtains), and both together are sticking up notices that show Gabi's face, a black-and-white photocopy of an original star photo, yes indeed, that's what it was selected for, but was unfortunately returned by the addressee, and now everyone can read it whether he wants to or not. These photos can't be avoided. It's afternoon, the sun is already decently warm. The thumbtacks bore zealously into the tarred wood of the poles, which bear it patiently and with heads held high. At last they are important, not just for light and telephone calls (both essential to a tragedy! In a good light something even worse could happen, and one would see everything quite clearly and certainly immediately pass it on. So we've got everything here, when on TV a man would like to make up with his girlfriend and both of them cry cry cry so loudly that there's almost not enough power for it). Gabi's mother and her boyfriend knew right away: Something's not right. Our Gabi doesn't simply disappear like that, without telling us where she wanted to disappear to. Life is a crime story, it's unbelievable, all the things that can happen to a person, mostly it's little things, but that's just what one has to have an eye for, because at a second glance people are completely uninteresting. Well, not to me, I live off their diversity, which makes for more work, however. I'm not allowed to declare anyone boring, and if I do, then I have to explain at length why. And why do these two, mother and future son-in-law, have such a bad feeling? Already early this morning. They walk along the route which Gabi usually takes, whether by bus or on her bicycle, even stop car drivers and ask them. The pair of them will end up going on foot to the county town, where the building firm, Gabi's master, is spread out under the vault of heaven on the greenfield sites, which border all our towns, even the least among them, yes, those above all! Only there do the customer and employee parking lots cost nothing, because the ground didn't cost anything anyway. Why stand there at all? Dusty road, paper-strewn hard shoulder for dead animals, I don't want to write everything down again and again, that happens here, but I must. From time to time a wreck is towed away. Injured people have to be cleared away, too, they can't simply be left lying there. They leave their blood there, part of it, and the modesty of their possessions, the half-open handbag, keys, well-worn purse, little lucky charm attached, a little teddy bear, at least it's still alive. Yes, when one drives a car, one has to rely on always looking, straight ahead, but also look in the rear-view mirror from time to time, please don't forget!, and one should trust one's eyes, when a truck comes round the bend doing sixty, it means it!, when it comes up from behind, big as ten water buffalo, and takes one on its horns before one has even heard it snorting. The country roads here are blood roads, and the landscape is the circulation. That's why we're always going round in circles and not getting anywhere, because we couldn't read the map.

Now the flowers go on flowering. No one takes them for a walk without killing them first. But dear hands are already waiting and are held open, perhaps there's a new piece of jewelry as a bonus. She never said anything to me about problems, says Gabi's boyfriend to the Country Police, who would rather follow new paths in traffic surveillance than implacably pursue people on their old well-beaten trails right into their most intimate spheres. One has to catch them in good time, before they go missing or have been so squashed on the road that they can't even be recognized anymore. At the moment local traffic sections are being set up step by step in individual districts which were equipped with the necessary equipment-including unmarked cars! Yes, indeed, just you watch out, something that looks just like you and your familiar little boat through life, which you get into punctually early every morning in order to bring it to life with a divine spark and a whiff of gasoline from the atomiser, careful: A rapacious wolf in a BMW can be hiding there! Since 1991 completely new possibilities also arise from the possible use of laser guns to measure speed. There's one already, who flashes and is not God. It can't be, protest immediately! What do you need a light for, you know very well that you were driving too fast. Big Chief Nimble Forefinger also doesn't need much more than this one finger for the camera gun to achieve a convincing (and lasting, there's a photo as a memento!) success, and the target is always you. So why the gun, we can easily make a rough estimate, that one was doing sixty. No no, it's not so simple nowadays. It was doing seventy-five. The gadget made such an effort. We want to know exactly, and the legality of all measures of criminal prosecution, which were admissible until now, also remain effective when the new police security law comes into force, so pull yourself together! A pretty throat, a pretty pharynx are soon squeezed tight or torn open with no other tool but the mysterious eye, which finds the area, which death particularly likes to visit for a picnic for two, even if only for a couple of seconds, but that's enough for him. Yes, this is a good place to live, thinks death, this flesh is still new or as good as new. It wasn't expecting me, well, so I'm coming unannounced, and no one knows anything about it. So I can easily come again, since no one saw me the first time. The next time perhaps I'll even come in broad daylight, which I don't need to be afraid of. I wasn't caught the first time, although police patrols with two officers each were in the area providing minimum cover! Luckily death, which was informed in person, knows where each patrol is poking around: I'm afraid of no one and always do the right thing, he says, or he can do it another way- whatever I do, it's always right, I am my own court of last resort, so there's no right of appeal, there's no higher court. I see how anxiety takes hold of you. You're asking yourself, why does something exist with which there can be no bargaining, you even bargain in the electrical shop and in the builder's yard, even with the country policemen!, and really do get a lot of things cheaper than you'd thought, just think of your new garden grill, the demonstration piece on which the demonstrations left no trace. Me, you'll even get for free, but in return I make everything you bought beforehand completely worthless. So it's better if you don't buy it at all, you're better off buying a candle, a few schillings, it'll be worth it, to someone, just to you! Well, who will do you this good turn, I don't see anyone who would do it.

Please have a bit more fun while you still can, so that you get to know even more people who will take care of something like that for you. But unfortunately people never listen when they're having fun, even if you bawl in their ear, they're having so much fun. A way of speaking that's meanwhile out of date, this passage should in any case be deleted, I think, but then the whole thing will be too short. The cries of passion, this bawling, with which the genitals, our subjects, distend as if they were frogs and were now being pumped up even further, almost as much as their owners already are, well, we still have mastery over our bodies, don't we?, so these cries should be adjusted to contemporary usage, isn't that so? So, e.g., you can easily dispense with the meaningless courtesy of having to address a country policeman as officer. And then when he forces his cock, lovelessly pulled out of the trouser leaves wrapped around him, between your legs, sweeping aside with his hands the troublesome thighs, and drags you, preferably even before you've grasped who this is, into the bushes, hitting you on the back of the head so that you are involuntarily forced to lower it and keep your mouth shut, because you can't yet speak German well, the language of our country, the country policeman's thoughts are already somewhere quite different, with someone who stands as solid as a building and isn't thrashing about all the time like you, then, then it's quite all right to call him by his first name and say Kurt to him, where on earth is he? Where on earth are we? Perhaps you haven't even met him yet? That's just too bad. Then you can also go alone into the booth with him, and not to cast your vote, which I wouldn't do if I were you.

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