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 country policeman, whom we actually wanted to describe before we slunk off behind a tree, has a special watch just for running and a pulse rate gauge and a solo gauge that cost a lot of money, oh no, that's not true, they're presents from a woman! With that he could feed one of these poor souls for a week, if he's keen on watches, and knows how to prepare them. The country policeman is informed about that, and his information is very modest: Once the water was still here, right below me. He knew his way around this geo-information system, this hiker and sportsman. This man of the law, his own law of course. Soil, water, forest were indispensable, like him they have an extremely complex range of duties and must not be mistaken as to what they should do when. Now unfortunately we've lost nature; when we were looking for it, it was a handy opportunity to set things right at the same time. The water belongs in the ground, the forest belongs on the ground, the water doesn't belong on top of the ground, and the forest doesn't belong in the water, otherwise the water overflows, I mean, comes over us. I constantly have to make such decisions with respect to politics, economics, and extraction techniques, with very far-reaching consequences, when I want to say something about nature. There's no other way of putting it, because nature doesn't exist anymore, so why should it suddenly come back? Just so that I can look at it a bit more closely this time? Nature is the opposite of something that has something to say to us, although it very often pleases us. That's why we now have to express it somehow, so that everything really does come out. At present nature is nowhere to be seen. Please hand me your efficient planning and decision-making outline, on this basis I shall then be able to write something entirely new about nature, should you in all seriousness expect that of me.

As a child the country policeman sometimes biked along the stream down in the valley with his father, while the water comfortingly bubbled up from the depths, only just arrived from the mountain heights, and still with the vigor of its origins fairly high up hopped over the stones, its own work, because all water comes out of itself, so it belongs to itself and no one else, and so we have stolen and used it, haven't we? or not? And the son also walked around with his father, I can still remember it myself. His father was friendly, sometimes even kind and protective like a hut up in the Alps, unlike the weather house, one never knows where one is with it, sometimes the girl is outside, then the boy, and it's impossible to decide which of the two one likes better.

There comes the nice thought, that one of them sits down on one's face with their naked buttocks, the legs hanging left and right over one's ears like a pair of cherries, and then sometimes one thinks involuntarily: rather the boy. There's more to him. Perhaps the character of the father, also a country policeman, was a bit lacking in color. If we're talking about water: To the son the father appeared dull, as if nothing recognizable could be reflected in him, as if his feelings had been impoverished under the pressure of his advancement and the constant performance of his duty, with which the former small farmer's son had to prove himself. Although everything was always there for the son when he needed it, it works like this: Sometimes pay no attention to the child, then again be strict with him, which is only fair, since for a long time one ignores the child whom one was raising up, until then it falls down the cellar stairs. Keep a close eye on the child, if possible frequently step on his toes so that his legs grow heavy. That will do him a great deal of good, because he will be able to recognize at an early age the difference in his father's behavior, in accordance with the Domestic Animal Husbandry Index. Behavior is fair to animals, if the following points have been addressed: possibility of movement, ground conditions, social contact, hutch or coop climate (air! light! God!) and intensity of care (teacher! cane! stone! scissors!). Points are awarded, and the score should really be higher than 25, if the child is to sit the test and his elders, who, as the word says, are older, are to pass it. As he walks past, the father nods absent-mindedly to you, so, he's not going to hit you, at least not for the next ten minutes. Perhaps he'll hit your mother, because he likes doing that more, but not you. Not yet, this time. Perhaps again the next time. Let's just wait and see. The father has died meanwhile, of cancer. Wasn't he still there, only yesterday, when he had his son read the signs of the shops in town as a reading exercise? The boy looks at what's displayed in the window, then he says the name of the shop. Wrong. But if one can't see it, it doesn't exist, does it? Even forests, though not of course those with a primary welfare function, because they are supposed to protect us, ward off dangers by crushing people, settlements, and buildings, which did not comply with official provisions or prohibitions, to pulp. Yes, they come down in person, the forests, if they've got into a rage. Who would have thought it of them? They're not sorry to make you suffer, when your house was standing on this spot just a moment ago! Was the father not nice to his son, who almost jumped as high as the father's parting when the latter deliberately stood on the boy's toes? The son should please raise his feet when he's walking! Not shuffle along like that on the gravel of the inn garden. When after all one only comes here once a month as a treat. If you think that's nice, then you might just as well regard the struggling bushes in my front garden as embellishments.

The father did well by his son, yet it was always as if he remained in a dazzling, far-off other place, blurred, and that's the way it should be. The child should look gratefully at a photograph of the father to discover his whereabouts: We've moved. New address-Row 14, plot 9. Then we don't need the child for one or two years, because his father is with God. It would be an unheard of event to be able to climb up a ladder for a piece of cheesecake or some other effeminate confection, for a man that's normally a trifling task, a trivial matter. By that I mean to say no more than, and why didn't I say it right away: Every child wants to admire his father, no matter for what, but one doesn't even get business support, no matter for what. The mother has to take care of the rest, that's more than I or anyone else could otherwise ever forget. In the case which unfortunately we have to deal with here (because it won't become healthy of its own accord, now I'll just try a root treatment), the mother was a secret red wine drinker, like so many women in this area. Where the waters don't simply briskly come marching along, but are always plunging down, as I already said, it's not so easy to catch hold of them, then there the wine is allowed to flow freely. The cheapest kind. So, we'll just keep this double measure in the kitchen bench, and then sit down. If we need it and can still stand up, we've got it right away, we just have to raise the lid. Surely our mother will still be capable of rifling her own supplies! The cupboard is big and full enough, particularly if one's seeing double, to open up, so that the whole wine in its bottle-green dress, like a lizard, can slip into her hands and in a flowing movement disappear into a mouth, always the same one. What distinguishes the mother-son relationship? A close relationship would be distinguished by warm-heartedness, understanding and other positive aspects, if such a relationship could be established. Now I have to step back a little, because ignorant as I am I only know about mother-daughter relations, and they, too, are not exactly caressed by the rising sun. At any rate they don't give me rosy cheeks. As a side-dish for everything, except unfortunately all too rarely above us: the sky of an indescribable blue, with sharply defined clouds moving across it and reflected in open, dragonfly-like, gleaming window leaves. A moment ago maternal nodding off drew streaks across the panes, although it's some years ago; stop, there's someone still moving there! I don't believe it! Mommy, you've wet yourself and made your body dirty while you were bedridden, says her son more or less to himself. He had meant not to think about it. To really look for something like it, he hadn't meant to do that either. And, because he seems to need to, he continues: I hope life will one day carry me on to someone who's worth it, someone who is at least as precious as the beautiful women coming from nowhere in the l'Oreal advertisements. Then again some women are not like mommy. They are more like climbing plants, which cover the wall of a house, hopefully their own, and if one only asks them firmly enough and fertilizes them decently, then they yield a crop, and I stand underneath and catch all the fruit, thinks the country policeman.

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