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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Dark alder thickets to the right, deep down below by the river, where one always finds them, I don't have to change much there. In addition there is now, a real rarity, a canape on this road, on which there's hardly any traffic at night, an approaching car with a roof rack: Skis rest in their coffin-like box, funny, it looks like a cap for the car, and this box contains play, sport, and fun in such a small space that it would be impossible to squeeze in people as well; how are they supposed to amuse themselves, when there's room for their apparatus, but not at all for them? The roof rack is practical in any case, I think, people can straight away be buried in it if they have an accident. The car shoots past and briefly finds itself on the fringes of a hail shower of contempt caused by the country policeman, who in any case feels contempt for everything that doesn't belong to him. No reason to get excited. So, it's gone, the fast car, like a wet poodle, but in truth it has remained master of the house, it was an S-Class Mercedes. Despite everything the road is and remains dry. The eyes go ahead, don't turn aside, here comes the turn-off we're looking for. The crime didn't happen here, but here, as already suggested, paper tissues from earlier unions could still be lying around. If someone thought of examining these as well, then they would have a scent, although a cold, dried up one. But we don't quite know what modern forensic medicine is capable of. Yesterday and the day before yesterday Kurt Janisch already drove along the road at night to all the places where he's been with a certain young woman, who disappeared, sleepwalkers both, almost asleep in what they were doing, sometimes also calling to the other body: You can't do that, no, or can you? You can do it better than that! Did we leave out any part of this body by mistake? Then we'll attend to it the next time, till the first bit has healed again. And if it can, the body then remains quite at liberty, until one's home again, where another will without fail take an interest in it. And where those already present there, who never go for a walk because they always have to patiently wait, want to suck one dry again for the sake of this obliging service, even if one has arrived back already completely empty and exhausted and cannot possibly be used again today, except for washing the car, where one has to do nothing else except to be and be there. The car doesn't ask for anything more than that. Nature provides the water. Past. Not a sound in the modern car, which glides more than it drives along. Now just don't make a mistake with the speed, don't attract the attention of a colleague (very unlikely!), until one reaches the river bank and then at a particular spot has to scramble down a fair bit, something only local people would think of. The others, who don't know the area, would think it's a vertical drop, and we're not going to break our necks just for a fuck and we don't want to drown either. It's much cheaper breaking one's neck on the road without having done any sport beforehand. Yes, there, about another two-and-a-half miles, that's where the entry to the path by the river, hidden beneath branches, must point the way to an extinguished smile, to a circling screaming, as if birds had come to visit and couldn't find the exit anymore.

It can't be, do you see what I see?, in front there, on the road, a large dark mass, a heated mass, swiftly coming nearer, but with no glowing headlamps fixed to it, why on earth not. Nothing that could sprout wings and lift up into the air, and yet, how strange, that's exactly what it does do now, and there follows, fractions of seconds later, the soft impact of a body, which only just now came swinging along like a not quite full sack, which earlier, still in the forest, no one could beat, and which is now quickly and briskly drawn up from the road over the windscreen, the wedge-shaped profile of this modern Japanese car, as if by invisible strings, before immediately disappearing again. For another moment the night is darkened even further by the powerful bag of muscles, which like lightning and yet at the same time also ponderously (as if workers were bracing themselves sideways with ropes, grumbling and groaning, their feet pressed against the car body, in order to heave up, heave ho, their burden), slides up over the front part and the front window of the car as on a snow plow and has disappeared again, hardly has it appeared, so evidently the whole heavy mass was flung, almost dragged upwards, by the forward ploughing car and now already, like an unidentified flying object (but the moment that it happens, the country policeman knows what is happening), has risen above the car and landed on the road behind it. For the hundredth of a second the huge, already almost slack sack of fur and bones and horns hangs still and immobile above the vehicle like a strange, black moon, then it strives a little higher towards heaven, on a parabolic flight path, whose zenith (delta t), since the object, commensurate with the speed at which Kurt Janisch's car was travelling, will land 15 yards behind the Japanese car in the roadway, in exactly the middle of this stretch. While the bag of bones flies, it turns without grace a couple of times on its axis, a cumbersome comet, whose horned head, heavily burdened by the weight, points almost majestically in rapidly changing different directions, depending on the phase of the flight, and then lands on the road, the body, and is, for a moment at least, completely still. Quite unexpectedly Kurt Janisch's car was deprived of the momentum (M) which was necessary within the time (t) to lift the mass of a huge stag (m), a full-grown ten-pointer, for the killing of which the owner of the hunting ground up there had coughed up quite a sum, if the stag hadn't anyway had to cough its last, from ground level to the apex of its flight path (a), which was located behind the car, as well as to propel the stag in the direction of travel. The result was a drastic deceleration of the country policeman's car by several miles an hour. The car struck the stag above the fibula, or whatever it's called in this and similar animals, the bumper, therefore, caught one of the hurrying, swinging hind legs, losing contact with the ground, the hindquarters sagged away, down to the radiator, and off it went, off went the backwards flight, right over the car. At the corresponding moment in time Kurt Janisch was no longer driving very fast, he had already been approaching the turn-off down to the river and begun to look round, to see where he could park in the seclusion of undergrowth.

For a moment the stag had been caught between a number of force vectors, to which it had succumbed. As if gripped by impotent rage, something had lifted it up, shaken it like a fist, then catapulted it away, to immediately put an end to the nauseating aversion of the earth, which at last wants a little company, which stays for a while and doesn't immediately run off again. The earth prepares the whole meal. In return it has to pay with one head of population, it always has to pay. No, just a moment, not this time! The cars and the open trucks loaded with wood are always in such a hurry and leave the earth so quickly. Only the dead remain definitely, even if not quite voluntarily, with us, that's no fun for the road nor for us. The dead: so many! What happened to the rest? In maddened anger, in towering rage, the earth, in alliance with the country policeman, has flung the heavy animal in the air, apparently on a whim, like a crumpled, damp handkerchief, like one of those which the hunter and collector has originally gone to look for, and has simply thrown it away, the whole bundle of bones, without thinking anymore about it. But only the earth itself has been struck, the gray road. The heap of meat has been thrown on its counter, now strip off the hide, divide up and sell the meat. Yet even as the animal, not visibly bleeding, turning somersaults, had plunged onto the roadway, the earth had evidently changed its mind, no we can't have such a good conversation with that one, who's interested in what a stag's interested in, acorns, hay, the backsides of hinds, well, and it now lets go the animal quite casually, the good earth. Let's just wait a bit for a human, there'll be one along shortly, at the moment the discos are still full of human tissue, skin, bones, hair, sinews, muscles, and all in the revealing splender of rave and hiphop clothing, sometimes one, sometimes the other, never too much, as far as the little honeys are concerned, our writing and TV-watching youth (up to the age of 50) will tell us what exactly. Correct would be this answer: Tomorrow three girls aged between sixteen and twenty will supply the earth all the more plentifully with fresh flesh, so we'll let the game go for today, without eating it, while we remain here at the meat counter, the sausage stand of life, and stuff ourselves till the grease is dripping from our chins. The animal is struggling up again, the forelegs are still kneeling, but the rear is already rising up, a hair-raising bleating noise, mixed with a kind of belling and groaning, listen, there it is again, what can that be, sounds like a siren. Fate is in such a bad mood that today it didn't even want to put together a decent carcass. The sound is quite close now. The stag stands unsteadily, still thrust forward by its own rage, to face the fate which it hadn't seen coming, after all it doesn't have any eyes at the back, but whatever has happened to it, it stands ready, its hooves lurching over the asphalt to fight with whomever; fate, sluggish as it is, has not even reacted yet to this attack by the meat mass of this animal weighing hundreds of pounds, and already the animal wants to fight it. So, now, with some delay, fate is at last handed the stag's papers, a little late, as mentioned, there's no hurry, it'll not be shot until next year at the earliest, it is an older, but very beautiful beast, and in a year's time it will be still older, still more majestic, perhaps have fled from a younger rival, no, it's not sick, it is, touch wood, healthy, thanks for asking, and has by and large remained so. Now it's back on its feet, it could be king of any forest, its head lowered, swinging, no, the neck isn't broken either, this is the confirmation: Fate's documents are always correct, it knows everything about us. What's happened to the rest? Our brand new Minister of Social Affairs will ask you that in all seriousness.

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