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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FOUR

Grand, wild water, you fall with little head held high, even if you've already been tamed! Here, where you're just foaming, you haven't even been chlorinated yet for your domestic users, who in the city stand under the shower and want to drink you as well (but they prefer to drink something better, stronger). You tumble down from the slopes of the High Alps, which is where we are now, to get away from us and do something useful, perhaps also undertake something entertaining, one thing at a time, work first, then pleasure, cool and clear, free to your home. The limestone High Alps of Lower Austria and Styria can fall down without you as far as I'm concerned, they wouldn't know what to do with you, but no, that's not quite right, it wasn't here, but right next door: A whole lake together with the shoreside trees disappeared in the limestone mountain range! One gulp and gone, as if the lake couldn't get along by itself, as if it wanted to belong to someone else, to the mountain, a big lake, yes, it made progress, only in a backward facing direction, inside, away from the astonished visitors. And it took away all the gawking trees standing around as well, so that nothing would be missing in its subterranean mountain dungeon. The visitors were left behind. You sweet water you, you are gathered up by the steep forest roads, the inclines, the plastic slopes, the rocks, at first you look enchanting, transparent, glittering, then you turn to mud, become soil, while we, along with you, fall into the bottomless limestone pits, but only into the little ones. Here there are no dolinas, which could eat up whole lakes. You have to go further south for that. Water: You come, yes, this, too, along with all the soil into the houses of the area, in order to take a look at what you've been missing when you decided to remain wild. But they upset your plans there (and you had a sparkling water as well, didn't you? Yes. I ordered it, but it didn't come), when they contained you and sent you down the pipes, with no message except purity itself, for which you first had to be caught and held tight. How pleased they were at first, to have got hold of you in the middle of the alpine pastures, you're always trying to run away. But soon you've become a plain fact, which one can also eat, if one still can't grab hold of it; so of course you were contained, so that, even if very diluted, like all truths here, you could be believed nevertheless.

Here, at the start of the snow line, and soon he will spiral even higher up the mountain, a man in a brightly colored track-suit is racing along, as if he were flowing himself, a shadow on stones, away from the eyes of the world. If you ask me: No one will very easily outdistance him, after four miles he's still running quite easily. That's typical again: A restless man who can hardly keep his secrets locked up inside his skin, to make up for that his clothes are a good fit, and they fit him like a second skin. His vigorous ambition, I like it. Yet he is not one of those who want something good in the world. A spirit, who's always negative, except when he sometimes says yes. Fine. His constant dissatisfaction, I like that too. So I put him together for myself and now pass judgment on the result. To each his own. What would satisfy him, now that I don't like so much. So I pass judgment, and my judgment is harsh. He constantly wants to get something for nothing, even if it's a whole house, I certainly believe that. I merely hope the one he has intended for subjugation, whoever it is, will play along when the time comes. He's made a contact, which will be important for his future, and he's not going to let go of it again: Something big can come of it: The obedient oppress the submissive. Neither side will get anywhere. This man would even pit himself against the water, if he could find it, but the water has finally been shut up down below, it is itself a very large place, and it flows away, whereas the man is looking for his limits. Nobody is going to show them to him. Wait a minute, now I see the boundaries, they're made of steel, look like railings, and they are transportable. He didn't set them down himself, the country policeman, his colleagues in the capital did that in front of parliament, to protect the demonstration-free area which the representatives of the people have raised up against the people in order to show the latter: You're not part of us, but don't worry, we'll represent you anyway. The country policeman's commanding officer announces to this mercenary, so often late for duty, in bitter words, that overtime can no longer be paid, because the regional government doesn't have any money left over for it, and Mr. Janisch receives these bad tidings with apparent subservience. Another house less, in three hundred years at the earliest he will have one less. I like that too. The fact that he can accept that. In other respects the man definitely has to be tamed, but no one can do that to his desires. He would need support, because he can't find them, his own limits, and goes unhurriedly onto the wrong track of his being. Well, he won't find the water either anymore, we've put that under the earth. The earth a pair of lips that has received it. The man in his persistent angry darkness would not want to lay himself down in that. The water is already there, no place is reserved for him anywhere. The ground even swallows up houses, think of Lassing Mine, which disappeared, and the consequences! The house, almost all of it slipped inside the earth, you can still partly see the part that's poking out of the pit, if the people living round about let you, you can even see the window boxes usual in the area together with their colorful inhabitants, whose heads are meanwhile sadly drooping. You can still see the very tops of the furniture pieces, dear guests, toys, junk, stuff accumulated over time, but once again no one has time to water the flowers. To do that one would have to leap thirty feet and be able to breathe in mud. The locals don't want any people who find catastrophes beautiful, but now they have a place themselves to which visitors can travel at any time, just to take a look. And they wouldn't even find this place by themselves, they would have to look at the map and ask the locals, because there, where there is supposed to be something, nothingness has stopped over, to be drunk down eternally at the break of dawn. Only in a more solid house could he feel safe in the long term, thinks the man, despite everything that can happen to houses and that can also happen to one with people. We don't need to make any allowances for people who have disappeared, we won't see them again. Right now the country policeman is planning an extra storeroom in the cellar, under the stairs. If he takes something away here and instead builds something over there, a radically rustic cellar room, for example (the bones of the deceased could easily decorate the walls), then it'll work out all right, and even if it were a hollow space, a nothing, which also needs walls, of course, otherwise it wouldn't be nothing, otherwise the whole house wouldn't exist, which is itself a hollow space and only, like the clearing in the forest, becomes one by acquiring limits, consisting of itself, we place an order for them in wood or stone, and then we sit down inside and make ourselves comfortable. Could that be due to the fact that this man in his intimidating loneliness has long ago lost his limits and would like to meet someone who points them out to him again? And this time they should enclose a larger area than before, please. We would be happy if we could see his face, the face of the country policeman, for once, and not only have it described. Or is he himself the drawer of limits, is there something about himself he wants to forget? What does he need so that he no longer hides his light under a bushel, but can forever cast it across a well-furnished room? If the room remains quiet, the light will always strike him right between the eyes and then fall on the Persian carpet, just where the cigarette burnt a hole. After all, we got the carpet so cheaply because of the hole. We, however, with our sense of legitimacy, don't have to go so far at all, to find our limits. They are frightful, luckily they are as a consequence watched over by armed guards. It's enough if we run for three hours till our tongue is hanging out. But for the half-naked marathon man five hours aren't enough either, then we, he and I, read the newspaper, which doesn't want strangers to cross our borders, unless they book hotel rooms or find, somewhat cheaper, shelter on our farms together with the animals. This last three-quarters of a line, but only that, not one letter more, I can't afford to give anything away, I dedicate to the poor man from Sri Lanka, who yesterday was fished out of the Danube at Hamburg as the sole survivor, the remaining fugitives capsized with their rubber dinghy and drowned and have disappeared. Heat-seeking cameras have been specially developed to keep the borders under surveillance. People who are looking for shelter can be identified in the view-finder, even when they're lying flat on the ground. On these human carpets, at least they don't have any burn holes, because in this case we've burnt the whole carpet, we practice our fawning manners, which we require for those strangers who are to be stroked, slaughtered, and gutted. The rest get a good smack around the face and are then eaten by our dear rivers, so they don't cause us any extra work. So here no one slips on carpets of human flesh anymore, people are now enclosed like our springs and thrown into grated refuse containers. And then if they throw a fit, a lid gets shoved on top as well. We once again know everything that we forgot about humanity, when we looked at animals and they looked back at us. And we know even more, when we have looked at these strangers through these heat-seeking cameras and they haven't looked at us, because they don't have such cameras. Indeed. Even when they're lying flat on the ground, the strangers, we can still see them: Aha, so there it is, our own, sole border, we'll find it all right, once we have moved it. At least when our partner plays around, we'll certainly be able to show him our limit then.

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