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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We at any rate go back: routine search for a missing person. Computers go through their extensive collections of data and induce people who in reality have never met to come together, possibly fatally, on screen. Where have all the sex offenders of the district got to? Here they are, they're already waiting in this machine, waiting to be consumed by the state, which of them have we released recently and which not, which child-murderers are being protected by the federal government again and inexorably pursued by our Jorg for their whole lives, no, not by this federal government, by the other one. Who has not yet been put in prison for life and castrated and/or killed beforehand? There are a couple in this district, but it's not many, even including the well-known exhibitionists, who, at least in the early stage of their hobby, are harmless. We'll check up on them anyway, so we've got something to do before we go for something to eat or go off duty. But the girl will turn up again anyway, that's for sure. We'll make sure that it happens as quickly and unbureaucratically as possible and that she won't be altogether used up, the girl, when she is picked up, like a remark someone has made, quick before we forget it, before it has to withdraw and finally change completely, like the water in the lake. I see no sign of anything similar at the moment. I soothe my agitation about murderers; the environmental regulations will have to be kept to, no, we don't pee up against public trees and bushes, and nor do we pee in bus shelters or against the walls of other people's houses, this legal instrument, no idea which, serves to reduce regional disparities economically and ecologically, that is, at some point, some day, everything will be in proper order again in the plant and animal kingdom, and whatever doesn't belong to us: away with it, whatever does belong to us: bring it back immediately, we need it, quick march! Our Gabi is one of us, a native from the diversity of complex living creatures, no, from the complex diversity of all living creatures and animated nature. But we can't yet really imagine that she has already become part of inanimate nature, we need a picture of it. Where to get one, without stealing it. That a knockout of a girl has been knocked out of nature's plan, one of those in any case ultimately destined to be brace-wearing angels, yes, even they have to be given a helping hand, so that in the chorus or as soloists they look smart, well, knockouts: knocked out, but yet not so soon, hm, that the permanent balance between living creatures and dead and with it the ecosystem, is upset. So we don't want to have to imagine anything so horrible. Not this time. But the next time. Millions of living creatures may have disappeared, OK, we're completely used to that, but just one, that's not right, she should have someone to take along, let's see, who's still available. We always have, e.g., harmful organisms on offer, and what are we going to do with them now? We make sure that the economic harm is kept to a minimum and that the harm to nature is likewise as far as possible kept to a minimum. We are careful with nature's household but are not careful with our own household, for that we buy the new cleaner with antibacterial additive that will kill 99 percent of all known bacteria for you, but that last one percent, that's the problem. And because it feels it has a problem, something that can destroy more than it disturbs, it wants to let that out too at last, what are one's talents and abilities for, after all? As already said, one can destroy or create something. This one bacillus, this undesirable alien, which was left alive, can now multiply undisturbed because it doesn't have any competition anymore, and can make the most of its abilities. So we'll give this infant a nice new inflammation of the lungs, and this driving school pupil, who never washes his hands, a good dose of gastro-enteritis. Yesyes, chemical cleaning agents should basically only be used carefully and selectively where absolutely necessary, but preferably not at all. This individual girl, who did not remain alive, fell victim to a selectively acting murderer, who does not, however, want to be seen as such, only if it were absolutely necessary, because someone wants to see his ID (but his colleagues all know who he is! They buy watches and jewelry from him in a special gray area and think no more about it), and who was pursuing higher goals. No, I don't know all his goals. Information will be gratefully received. Ownership in itself is no grounds for complaint, unless someone wants to dispute it. That would then be grounds for an action for disturbance of possession, who knows how that will end, it all depends on the lawyer. What if in spring the leaves slip out for a visit, and then someone tears them off? Will there then be no spring? Which property in any case are you talking about, for heaven's sake? There is one admittedly, but it doesn't belong to one yet. At this point in time the property is still hidden by a woman, who is now (if it were permissible, I would say: She has pulled herself down over her eyes, so that passersby don't recognize her immediately) loitering in her open house door and sulkily lowering her face because once again a man has not come to the agreed rendezvous and has in any case probably frequently deceived her recently. The sex is right admittedly, it's the way she wants it and no other way, but preferably another way But otherwise quite a lot is going badly, which we shall have to sort out. The worst version of the truth goes: This man cannot have loved her, because one does not send someone one loves to their ruin. Or does one? No, it can't be. Because whoever or whatever one loves, one always puts it in the refrigerator for a quick between-meal snack, if one's not hungry anymore. Because after all, one doesn't want it to spoil and have to be thrown away. One stores the beloved person away, so that tomorrow and the day after tomorrow one can still eat of his wonderful body. Jesus. Oh, none of you were there in the nights! That's something I've often said. It can't be that he's been deceiving me for a long time with a younger woman. If one were to ask: Which of us is older, how our polycolor-impregnated heads would sink! She had often wanted to leave him, the woman, but the idea immediately made her ill. She was thinking of making another choice soon, if she had one, thinks the woman in middle age and glances down a street populated loudly but unharmoniously by women shopping, mothers with buggies and small children in Wellington boots, so truly the gray main road is no harmonium. Time is short. And she in turn uses her elbows, the woman, she just isn't quite as young anymore as she has made herself, because unfortunately only the dear lord God is allowed to make one. A man. Naturally. Rub things out in one's passport, who would do something like that! Dagmar Koller, wife of the former mayor of Vienna, will do it, but be caught.

In the meantime the need for action has become very urgent, but the last time someone else acted, who discovered her in her car at a crossroads, stopped and gutted her without even giving her local anaesthetic. Everything was taken out of her hands. Who could suspect it. We need something in writing. So sooner or later we go to the notary. The people who now want to act, no matter how and with what, they get first choice, and they choose someone they like. He tells the truth, is decent, sporty, clean and energetic and stands out from someone whom they just don't like so much, although he, too, is decent, sporty, clean, and energetic. But unfortunately one can't tell by looking at him. Fortunately only someone is chosen about whom you can tell everything by looking, above all, that he is steady on his feet, but he stands or sits even more steadily in his Porsche. The decent and able. The hard-working, too. What is their secret? I don't know, otherwise I would pass it on. Perhaps we want to be deceived, because we are constantly deceiving everyone, that is, if we get the opportunity. This woman for example has had herself sterilized, which she candidly confesses, although now she couldn't have any children anyway. She doesn't want children and has never wanted them, since she herself is a child and wants to be like a child for the man. Another child would always only have got in the way. The other, Gabi, herself hardly more than a child, also did nothing but get in the way. Which is the proof. Of what? For whom? No matter who it is, at the moment one sets the life and the soul of the party on him, and already he's off to the carnival at Villach or looks at it on TV and feels altogether at home in this country. Others live in the lake, no, you can't say that Mme. Author, if someone is sleeping in a lake that doesn't at all mean that they're living there. Didn't you see the rubber dinghy? It lives in an attic room with photos on the walls, baby animals and pictures of models, both of them public and private projects, it just depends who is making use of them and what he is exploiting them for. Exploitation is the main thing, in order to feel good oneself, simply fantastic. Every glittering snowflake tumbling down insensibly would say that of itself, while it's still in the air, it's looking forward to the soft landing, and then it's already melted. Not even a hot stone was needed.

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