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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FIVE

People would be very angry with me if they knew that here I stick them into sausage casings and hang them up, exposed to every glance, but the trousers won't stay up without a body. The house door bangs shut. A young woman has been swallowed up by the earth, which, however, is no earth all. The earth is made of water, which is meanwhile playing somewhat listlessly with the body. There our Gabi is at present entering into a symbiosis of plants and creatures quite in harmony with the water, with each individual species separately. Oh, if only there were more choice! Because protection of this human-water community plays a key role if people want to protect themselves and their species too, of course, but first of all themselves. In order to do that, they must, which is a lot of work, but necessary, so that humanity does not perish, protect all other species as well, because there just is this sensitive community basis in which bogs, swamps, ponds, and river meadows in particular are always very threatened. This young woman on the other hand is already dead, it's a first rate failure, if a life was already brought to an end so early. Who did what wrong? Who is the culprit? You know it, I know it, so why ask. One is only young once, some stay young forever, because there is no later for them. They've saved themselves something there. In life they had a grim opponent, who in this case has won.

So the wanted posters with Gabi's modeling photo are stuck to the poles. The cars drive eagerly past, see the pieces of paper pinned there and brake abruptly and slow down with a screech, because their owners will have been curious, which will frequently have caused a headache for the vehicles behind. The remainder of their heads they can collect later at the hospital or from the emergency road service, where they will be handed over on production of the certificate of registration. A good thing that we let a photographer into the house, now we've still got something left of this pretty girl. It's almost ugly in its pure beauty, her photo at least, and at the bottom a low neckline, the rift, which separates her from us older folk; when one sees that one would like to have been a bit young oneself and then remained exactly that way. The neckline points to something, and not to this building materials firm in the county town, where Gabi was employed as a commercial apprentice. The company is invisibly stamped on it, although the photo rather signals idleness to the beholder, like most photos, don't you think? Perhaps it's because of the clothes, but the message of this photo is fake, the mouth is like one which would like to give a kiss, not one which would like to read lines on a computer printout, the expression on the photo is prettier. How good for this girl, that it was as if made to love and kiss. Gone. Are we in agreement, that the account can now be closed, inclusive of the owner? Not in agreement? Then you have to put her on the table, in newspaper format. In any case we assume your agreement and then automatically deduct everything from your account.

Gabi's mother wanders aimlessly around the house, helplessly, as if a picture had been taken of her as a sheep, it doesn't matter by whom, but had originally been intended as a prouder beast. Doesn't she also have a friend in Germany whom she would like to join? She is already taking off into a new life, the run-up lies right in front of her, shining in the sun, below it a promising frozen lake, in which she, that's for sure!, is going to land. The end of the glacier, its tongue, which oscillates or recedes depending on the weather, glitters before her eyes; it doesn't look as if it's hard, where she's going to land. It looks quite like a glistening holiday paradise but will most probably be, like many lakes, merely an accumulation of meltwater, that is, a vale of tears. But at the moment there's something of the judge about her, the mother, as she weighs up what her daughter might have done, what has she got up to? Where is she? If one only knew where she is. She personally picked out this nice friend for Gabi, with whom she's even allowed to spend the night. What coded data can there be, to be filed and hidden in the computer? To be kept for later? Her mother knows all the data. After all, she entered it all herself. What of the more than 2,000 people to be questioned in months of work by 20 police officers, who will be put onto the case? What can they find out! Why does one have to make a note of thousands of car numbers? Why has Gabi run away, if that's what she's done? Her boyfriend is still there and washing his car again. The automobile is already shining loud and strong. No, her boyfriend doesn't know anything more either. He comes to visit the mother straight after school, sits down at the kitchen table, as if he could just as well stand. Takes a cup of coffee as if he could just as well drink tea out of his Walkman. Talks about his girlfriend who has disappeared, as if she had never been there. Knows nothing, as if he could just as well have known something. She's uncomplicated and honest, are the words he has been taught at the technical college, when it's a matter of an electrical circuit, which admittedly would never open itself voluntarily, unless it's struck by lightning. But what is to be done so that the circuit finally closes? We still have to practice that. At the moment the current is flowing in one direction, as if it could just as well flow in the other. The electrons are happy that they've got time off and no one is forcing them to do something they don't want to do, we can do it differently, but our trainer can't make us do it yet. As part of a team of fellow-students Gabi's boyfriend is just making an electronic door opener, but for the moment the door still remains locked, the circuit has not yet taken charge of the electrons, a circuit which would have the task of offering the electrons as little resistance as possible. That is also what our young people wish: no resistance to their plans! These electrons, the things they get up to with one another. No human being would have been able to think it up, but good use is made of it. They only want to follow their course if at the end of it there is a room less crowded with themselves. Otherwise they'd rather just stay at home. Negatively charged, as they by nature are, they strive, unlike me, for the positive. One can take them as an example at all times (from Muffler/Eberich: Electronics for Children, vol. 276, p. 7, revised ed.). And at this moment an automatic door mechanism also seems to be closing heaven's door, which he thought was already within reach. His room in his parents' house, also the new little flat on which there's already a down payment, is not going to be hoovered for a while, no small snack will be prepared anymore, not a soul will vote him president of his world and cut articles he wants out of the motoring magazine and put them in a binder, nor will he very soon honor his heaven on earth, his punctual destination every Saturday night, with a visit. Which he does not yet suspect. Gabi and another man? Impossible. There was no other man, and if there had been, then he would not be with her, because he wouldn't know her. That's just the gossip of jealous girlfriends. It doesn't count for much, because no one can account for it. There was nothing. Gabi was an open book to her friend, a window with its panes, so a suitable frame for him. That she could have been a first rate deceiver-if that were true, we couldn't imagine it, say mother and boyfriend unanimously. We always knew her every step, and when her boyfriend was washing his car, she sat or stood beside it and when it was summer showed a leg, when it was winter showed nothing, and when asked, said nothing special, but not nothing at all. She didn't know what she felt before she wanted it. Well yes, that she felt a bit cramped, we admit that. She wasn't so keen on the apartment which her mother had just started paying off, but her boyfriend was. The young man didn't know what he felt, until he saw the picture of the new Ferrari and our Schumi in it like a cork. Gabi's features were usually like a marshaling yard, they moved, but it didn't go anywhere, anywhere further away, to the land of smiles. To Austria. Straight there. No. Always only back, no matter where to. Absence, although at home, a vessel placed on the table, which sometimes floats in the light, then again is plunged into darkness, as the tides ebb and flow. Wash me, but don't make me wet, and do it above the all-time high water level. Wait a minute, no water plants grow there anymore, but there is nevertheless the desire that a great deal of water should cover one's foot, and then even more, ever more. Everyone always just wants more, no matter of what. Whoever takes a risk dies in it, particularly when the water level fluctuates according to the season. Quiet lies the lake, who lies in it? Deposits of mud, sand, debris, and a girl, who is swamped by water, they lie in it, i.e., if the girl hasn't come to rest at too great a depth. In other words, in order for the readers in the training room between land and water to understand more easily: If it must be a book, then a good book! Our Gabi was a bit like that: You know where you're at. Well, I don't know. One can pick it up again and again, this book, and it's never boring, no matter where one opens it, but usually respectably in an Ikea double bed, which her boyfriend got as a present from his parents (yes, indeed, everyone has to contribute something, otherwise we would be nothing, otherwise we would be others), at all times with clean sheets for him and his girlfriend. Otherwise there was nothing. They have made a balanced use of their resources for the future, since they've not yet been squandered, because resources are fundamentally indispensable, but also cannot be multiplied however. What I meant to say was: If there's a human being there, then he should also be left there, because when he's gone, no one can replace him. One can take another one, but this one, one exactly the same, will hardly be found again. Because one will find a lot to criticize in all the others who are like him. My God, how are we supposed to fill the pages if we can't even say the simplest thing simply! It's a complex field of activity, protecting and preserving human beings, and one can practice on nature from time to time. Of course that demands constant decision-making in many respects, which can have far-reaching consequences, but usually not, because it takes a hundred thousand years until one person comes to the conclusion that he shouldn't have burned his old shoes in the stove, because they've been poisoning and destroying the environment the whole time. The person concerned should rather have warmed people up with a beautiful body and a dear face and a fast car and a fast-moving TV program. Our Gabi had all that, and what good did it do her? None. As attractive as she was-none! no answer- in particular one can't miss this lovely photograph, hanging there, when one's waiting for the post bus, and many people, who have come too early, can't help but study the photo thoroughly, they've got nothing else to do, and the bus can't drive off in front of them, they're deliberately there too early. Although everyone knows Gabi in the flesh, they now stare at her photo for a quarter of an hour. How easy it is, to miss something, if one looks away for a moment. Although they all know Gabi well, at least to look at, she grew up here after all, on the photo she seems strange to them. There's something irresponsible, immodest about her, which appears forward. A completely different side is displayed here, which when she was alive one hadn't noticed. On the other hand such a look is altogether familiar from the magazines (the nude and her face, which she has too, at the top of my picture, and if not, then you're holding the newspaper the wrong way around or are looking at something that isn't a human being, on page five of the Kronen newspaper, but there should be a picture of a naked woman there, shouldn't there? My God, what's that, into whose face you're looking, is that a face at all?), and that on the photo Gabi is more undressed than dressed also seems normal to them, ever since they've had the TV screen, so for decades, in fact. There people do more than undress. They also completely undress their partners, and then they turn around, so that one can see inside them as well and: that they are really completely hollow and empty inside. One wouldn't have believed them beforehand. The bodies have meanwhile become so immodest as to thrust themselves forward everywhere, in order to be able to undress even more quickly. What fun! At Bauer Clothing every Monday the first five customers who arrive at the tills completely naked get a whole outfit to the value of 5,000 schillings-so you'd better hurry, you could really do with a complete retread! Some are overlooked unfortunately. Although they try to shout just as loud as the others. Such a pretty girl, our Gabi. Were one finally to find her, one would have to give her up again, and nobody would know. It takes a while to get going, after the usual waiting time, a routine search for a missing person, a certain country policeman also hears about it in the line of duty, but knows nothing, everything therefore, wants of himself to be able to take it seriously, hopes at least to feign seriousness, if necessary, but he doesn't quite manage it. He now puts on a somber expression in front of his colleagues. He's asked, yes, like most of them he knew this Gabi at least to look at, his colleagues know that anyway, a pretty girl. Basically they know nothing. They don't know that Gabi is resting at the bottom of the lake, which is not very deep. Yes, thoughts are sometimes deep, but the reasons which cause someone to do something are often not. The country policeman is something like a tour guide, but only if there's enough in it for him. There he is, take a look at how, as if by accident, he rubs himself up against this younger colleague, stands, as if unintentionally, close behind him when they're undressing. His colleague has his shirt halfway over his head and can't see anything and can't resist for a moment, which is over all too quickly, he is caught up in his clothes like a fish in a net, his arms are raised, his narrow hips are, well they're there and feature some red acne, I call something like that flesh, precisely in its imperfection. Such a pleasure to press the somewhat swollen cock as if unintentionally against the left hip of the younger man, so that it can follow the scent and can imagine a well-shaped body at least in outline.

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