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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SEVEN

Please permit me to say the following once again, because it is important to me and because I can't now find the passage where I said it once before: If your vegetables are enriched by high dosages of nitrates, then you must on no account eat them! It's a sign that thanks to excessive use of fertilizers the ecological balance of the water has become upset, and with it of course your vegetables. It is therefore excessive and damage to health may result (if this has not already occurred), if the very good water, that we have, is polluted. What we douse our food in, we should even keep particularly pure so that it does not dose us. Natural bodies of water: superabundant plant growth. Yuck. How this body of water must feel, I'd rather not try to imagine. The water wants to be as hard-working and decent as the people who drink it, but the people don't help it, they don't give it a hand. Animals would be paralyzed with shock if they could read that. They have to drink water, too, after all. Aquatic plants would die off, excuse me, I can explain that: Instead of ceasing to absorb oxygen, like those of us who have died, they now really start, just as the rest of Austria, full of love and greed, receives the tourists, our dear guests who visit us, unless the government doesn't suit them. It doesn't suit me either. So I'm a stranger here myself. As already mentioned, excessive use of poison causes the whole orchestra of nature to strike up all at once, and even Bruckner wouldn't have wanted that. There is too much too much too much of everything. We have enough too. More than enough. We've had enough.

If you are contemplating wallowing in excess: You're better off taking the whipped cream and leaving the oxygen! Besides my little bit of water here, in this machine, is also overloaded with poison. Instead of answering genteelly when I'm asked, I tip my whole life, which is itself long dead, into this dead water zone, but deader than dead, that can't be. It would be a good thing if for once a decent flow got going into this zone, if the water at last got a decent employment policy, so that its trophic level finally improves. Otherwise we always only remain what we were-trophies of history, displayed as a warning to other countries. And what we grabbed we couldn't take with us, or could we? No, we're not going to give this Klimt painting back now. We must have got something out of it, for making all that effort, until almost no one escaped with their lives. How we would rather have more turbulent times again, how we would like to profit from the movement of the river, until the last particle of water in us, our upright little Austrian homebody souls, is carried along (that's how coarsely our bodies of water are spoken about, I swear it), in addition to the main movement (acquisition of property), by the dear little secondary movements, the belief in God, the heavenly Father, whom we have soft-soaped for so long for our own entertainment, until he finally gave us back to ourselves, newly redecorated, as good as new, no, better!, and we had nothing more urgent to do than hand ourselves over to a new leader, voluntarily, as if we were one and a half years old, at the outside, and couldn't understand what he's saying to us. As if nothing had ever happened. There are some who still can't get enough, we've already described them and now only have to clear away our own refuse. It resembles the leguminous plants, tenacious, yielding, slimy, but in this water, in the lake, it can't be done away with, at least not for a while. This refuse consists of owner-occupied houses, of which one always provides security for the other, until the banks, exhausted, raise a small white flag and decline. The banks are asexual, that is, they do not allow themselves to be mollified either by men or by women. They are not oriented towards propagation and regeneration like the plants of the earth, they are programmed for concentration, so, now they've caught someone again, who thought up some dirty trick with the interest redemption, he won't get far with that. If he were richer, they wouldn't have got him. They even caught the fraudulent chicken farmer and his brother, but not his powerful backers. The Freedom Party Building Society has been wound up, a pity really. They're also feeling the country policeman's collar, but he always removes his jacket very quickly, and the banks can once again take a walk. Yes, that's completely true, he is a person, a truth, a work, a property, yet in reality nothing belongs to him. Gather round me, if you want to hear once again, how many people this country has killed, no doubt you're asking yourselves why then I'm always only talking about the one person. He's not that important, after all. No, you're not asking yourselves that, and I can understand that. No one asks me about anything whatsoever. I have already described what you will find in this standing water, which has urgent need of a second leg to stand on, but now it's finally going to be found, the relic, the victim, that's quite different from just talking about it. On the other hand one imagines it to be worse than it is, finding a corpse; and I have hesitated so long to describe it, until I almost didn't feel like it, here, on the low shore of my resolves. Please throw the first stone now, but in such a way that it can hop around on the surface of the water a couple of times, as happy as a new federal chancellor.

The spoilsport, Gabi's corpse, who was searched for as a living person and so could of course never be found, not even with all the photos on the masts, almost the whole way up to the Semmering Pass, pops up now as a dead woman, although the dead are of course inactive and don't respond to anything anymore. In the deep water of our mountain lakes there are places where one never finds them, the dead, doesn't matter, we have enough of them, I mean there are plenty of them. There in the mountain lakes, the shores drop almost vertically, these lakes can be 600 feet deep or more. There are holes in the lakes. They have the power to make people disappear without trace forever, at the Last Judgement there will then be great astonishment, when the prettily packaged women all bob up from the bottom in order to avenge themselves for their discontent in the water's cold hell. How great will be their disappointment, when others, the hosts of angels in their fast four wheel drives, which have been acquired for them so that they can get everywhere on that day when the trumpets shall sound without pause, will first of all want to take revenge on them. Because, going by the book, the misdeeds of the living are not erased by the death of others. But the business with Gabi affects me so badly nevertheless, I really don't know what to say now, but simply can't let it out like cigarette smoke, quickly, as if in passing; description is difficult of course, if one has never seen a real dead person. A film is only a weak substitute, a little bench in Shudderwood Station. So horror turns up today, weighs me down unusually heavily, and yet I can't look away, although actually I wanted to read the newspaper. Two men who, after a big meal at the inn, wanted to stretch their legs a bit (they will soon have to be unhappy that on this occasion they couldn't stretch their legs under the table), their wives have remained sitting and gossip away, this time without making use of the corrosive rage at their families, which so often overcomes, e.g., me, now walk down to the lake on a cold, soon to be green path, which is already depressed at the thought of all the police boots which will shortly be tramping around on it. So. I now read, because I'm used to reading, from the two men's faces, what they're thinking when, close to the shore, they discover, re-emerging as unexpectedly as it disappeared, first of all just bobbing up and down, a man-sized roll of green shiny tarpaulin, such as is used, fairly pointlessly, because it's never quite waterproof (I can tell you a thing or two about that, since I had to bail out water from my balcony three times) as covering on building sites. The tarpaulin is tied up with wire. What's that? It is at any rate first of all curious. Because something is as big as a human being doesn't mean that it has to be one. But anyone seeing this roll imagines this plastic cover has been made the size it is so that exactly one human being or four square yards of soil or a five foot three inch tree trunk fit underneath, the one has no protection anymore, the other would have been very much in need of more protection, the tree trunk has no more wishes except for the nice damp earth, which it will never see or feel again. The circle of readers stands up to get a better view, the tarpaulin hides something, which for days seemed to have been swallowed by the earth, but the earth was unjustly accused. The water had the human roll the whole time and was playing yoyo with it, but the string was a wire tightly wound, and so the water was soon fed up with the game. It didn't work, there's nothing one can do with this packet and, whatever is inside it, we can't unpack it. We just have to pick up our textbook again, which tells us what killed us, who are all of us waters, in such a way that we consist almost only of water-nitrogen, phosphorus, potassium, and organic stuff, we got a fresh load of the latter three days ago, but don't know what to do with it yet. Apart from that, like many children, we are basically glutted, for which there are good reasons. These are the words of the water to us and to the two men, who don't understand its language. But the language of this plastic roll they understand instinctively and take a step backwards and are suddenly silent. What's that. The two men have already eaten, that's a good thing, because at this moment their appetite would have disappeared, if they hadn't earlier on arrested it in good time and taken advantage of it for their own ends. The lake is not deep, nowhere, and yet no one has made the effort to coax this roll a little further out. There it is now, a possible covering for a human being, but not a good one.

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