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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So the agricultural credit bank is sticking out its hand too, no, both hands, and our throat between them. No wonder, when this patient institution is constantly and again and again being told more and more gloomy stories, fortunately all made up, at the same time as more and more riches, which were never there, are depicted. There's someone who's in debt to us, but he doesn't make himself available for the repayment, what can we do? We like to sit in the comfortable colorful easy chairs in the appropriate branch, have fun and look cheerfully at the glace cherries on the frothy abundance (achieved through folding in of quite ordinary air!) of our demands. And then we look out of the window and straight into the window of the cafe, and there they are, the real cakes. Afterwards, full of cholesterol, in our grave, we'll feel better. But we already have to spread optimism around now, while the bank still has to learn how to deal with adolescents, when they have debts the size of future annual salaries with four different telephone companies. We're sticking to more solid assets, says Kurt Janisch and says his son Ernst. One of those bronze turrets on the detached house, that would be tiptop! that would be really smart, would really add something to the house, why don't we just cap it? Exactly: We'll put on a tower as well. We won't put on the matching Spanish boots. The long and the short of it is: The bank wants something every month. The funds are always only in prospect, and there's never a telescope there, so that they finally come closer and look bigger than they are. But that's going to change! There are quite different times coming for the hard-working, the decent, and the able, who want to take power one day, too, they've waited long enough for it and have gathered in a movement which, congealed as a cold fried egg, would at last like to add us, yes indeed, just US! as a toy or a greasy side-dish to an even greasier roast. I wouldn't vote for us, we would be too lazy for everything, war would always follow us, because we possessed no sense of judgement. At some point perhaps it will also acquire manners, this party, but it's not really necessary, because the big money, which sets great store that something like that will board this train anyway, even if still hesitantly, no matter who's driving and where to, but capital always keeps one foot on the ground so it can jump off in time and look for another engine driver. But that's where capital doesn't know our Janischs! Going along with them would have worked out all right the first time. Marx, too, would have written something a bit different, better even, if he had known about them. Admittedly Janisch amp; Co. didn't set up housing mortgage companies for long enough, although people like them in this party certainly did, and fell on their faces with all of them. The companies had to be wound up again, a pity really. Now Messrs. Janisch are trying something else! They want to make their own mistakes, but always ones which others would make too, if they had the chance. Indeed all human qualities are tied up in this community of the like-minded, and this bundle will then fall heavily on all our heads, I can see that already. Well, soon they're going to collect people, they already have the houses. You'll see!

So the funds: But first these have to be snatched from greedy arms and passed on to other greedy arms. The son of the country policeman, however, absolutely must have them right now, so that in association with his father (it's the Association of Austrian Building Society Investors, which has reproduced in full color in its house journal pictures of British country seats or at least of doctors' houses in the Austrian provinces, converted peasant cottages made of beautiful old wood, grown honorably gray without a lick of paint. We'll surely provide our building society investors with this nice little magazine after having taken their billions! Then the Austrians, men and women, will save even more. Interest at less than one percent! We'll move over to shares but still can't sleep anymore. If God created men in his image, why should man not be allowed to design his little house as a likeness of Buckingham Palace?) he can pursue his hobby of collecting houses and plots of land. The branch manager also has a hobby: speculation. The coming bad times have encouraged him to take it up. He is a brave and clever person. But that's a nice hobby, which you've been given there! Other people have to go to play tennis or go to die or go jogging, and indeed the rightful owners of the adjoining properties must die, owners, for whom their property had likewise once been a heartfelt concern, and which lay together like two peaceful villages before finally being gathered together in a cozy residential landscape, large enough to be entered by a country policeman and his son, but not by their families, whom they are also meanwhile fed up to the back teeth with. First they would have died if they hadn't been able to get them, the families, women, and children. And now they no longer fit, because their own demands have grown bigger, and the children too, unfortunately. Now they suddenly need much more! People grow out of their demands and are so stupid as to tend towards violence when they have new ones. We're still there too, unfortunately, a kind of elite, who put garden chairs on their balconies. Please be patient for a moment. One thing at a time, one house at a time, one woman at a time, one setback at a time, in order finally after all to grab the opportunities by the somewhat gray short and curlies. Ouch. The skin comes away, too. I call that the art of war! People die one way or the other, no fear, but their houses remain, unless we were in Kosovo, there it would be the other way round, but no, nothing at all is left there. Nothing of anyone. Whoever can do so wants to leave. Yes, something has to be done with the people, so that they don't rest and rust. They must have enough time, so that they can get their possessions to safety beforehand, before the war starts, which dreamy people have long longed for. They foresaw it, after all! Where is the truck, the tractor, the little horse, now it's time to go over the mountains. Before the properties crumble away, if you please, we'll just take them, if no one else does it. Abandoned property cannot bear the emptiness in itself, it wants to belong to someone again. Up there a horse is lying under the tractor, because they didn't want to take the pass road in proper order one behind the other. Some possessions are too big for any means of transport. If one doesn't take the wheel oneself and steers everything down to the smallest detail, even if it's down to the bottom of the roadside ditch, then someone else will take what belongs to one.

Sometimes it'll be the duties, sometimes a distant relative whom one could not have reckoned with, because one's never heard of him. These two men, Janisch father and son, altogether making the best impression, I can't say any more than that, the first as a country policeman, the other as tamer of telephone lines, to which one has to tap up to the top of tall poles, have discovered a fine method of living, so that property lies down sighing at their feet like a tired dog. Except no one is allowed to visit otherwise it jumps up and bites, as a sign, that the property belongs to us alone.

They pay court to women. Both of them actually. But mainly Janisch senior, the country policeman. That's so easily said, but he has already made so many people in this town and in this part of the country unhappy. Well, would you have guessed it? Preferably women who own houses or apartments in the nearby small town. These female proceedings have to be conducted and intimately handled, even if what the Janischs do is not described like that. They combine the pleasing with the useful. Well.

It's a good thing if one gets around in one's job and the hours are a bit flexible, so that one can go for a wee drive in between. The husbands of these wives should be deceased if possible or never have existed in the first place. There should never have been children present either. Who knows something like that (that a lady has to make an exit at a given moment, otherwise there's one too many around for her property), if not a policeman, priest, neighbor, telephone engineer, or the appropriate grocer, who himself, however, has cast an eye over this emptiness, which in his mind is becoming populated with ever more bricks, until one's heart grows heavy? However, only the margins in retail trade are worth talking about, not actions. This box of tropical fruit must not be knocked over, the ease and naturalness with which the venomous red leaping spider, but no, it's called a crested spider, will hop out, could produce expressions, which would become sights worth seeing. The grocer will never get back the eye he risked. That's the way women are, always the same type for the love command and for the most global project of all, against which environmental pollution and world peace are nothing: marriage. They all want it. Women and marriage, that's the perfect combination, especially in the country, where there aren't many distractions and you soon get enough of them. Marriage follows. It's not possible for a woman to say "thanks, but no thanks." The grocer will have to buy his bananas somewhere else and deliver them somewhere else, the door is shut to him. He hasn't got the faintest idea to whom this door is opened, but it must be to someone. He hasn't seen the woman behind it for weeks now. In the end the niece in Krems will get something she hadn't been expecting, and she'll get it after the aunt's end. It won't have paid off, that the grocer so decently delivered food to the old woman in his car. Others were quicker and there already. The neighbors, too, like to munch along, leftovers, too. They stare at the garbage. The things she throws away, they can still be used! People steal from one another, first out of conviction, then out of love. First they introduce themselves as neighbors and immediately transform themselves into friends, that is, greedy beasts, just as in our dear Balkans, which we meanwhile know better than our own living room, where the place appears on our screens at least four times a day, where neighbors were still neighbors but didn't stay that way. Our own neighbors spur on their apocalyptic steeds, so that this shoving, splashing, dripping flood of old men and women is directed into the bed, which stands in the bedroom, where often the TV doesn't come in. If one doesn't proceed carefully, it may be that one goes under and pleasantly anaesthetized by Anafranil suffocates in one's own shit. Stealing isn't so easy, often it's hard work, otherwise we'd all be doing it.

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