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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In future more than 2,000 people will be questioned in relation to the case, but what can one learn from people? They lie as soon as they open their mouths. It's always the same, it's what they've read and what they've seen on television, and they confuse that with what has happened to them and what really should have been in the newspaper, because it would have been much more interesting. Really it should only have been a matter of time, until the murderer would have been caught. It must have been a stranger. But there are hardly any strangers here and only a few tourists, and they are immediately conspicuous, because of their racy-sporty or rural-hunting costume, in which they dream of higher strata, to which they do not belong, and to whom the hunting grounds belong, no, they have no grounds here. In winter the frost's tender, sensitive hands chase away the strangers, in summer the rain, which mows down everything, even the bare earth. And anyone who's still left is driven off by us in person. Perhaps this girl, Gabi, wanted to see the whole wide world, but had not suspected that this small one would already be a size too big for her. Eyes bore into eyes and discuss and ask something. Names are mentioned, people are summoned for questioning. The Country Police are only doing their duty, the officers say again and again, when they once again stop in front of the hillock of a human being, who acts the boss in front of them, mole hill as Matterhorn; not much will come of all that. Each tells one's own truths, one more, the other less, the truths are, once one has got to know them, so hard to express, because they are probably not true at all. People are called, and they rush over in a state of agitation. Then they are sent away again. They all knew our Gabi, her mother and her boyfriend knew her particularly well, and they are questioned particularly well. They say, no one knew our Gabi as well as we did: There certainly wasn't another man. The two of them are sitting in the kitchen-living room again. They can no longer kiss the rim of the half-full cup of cocoa, which Gabi left standing the last time she was seen. She made it that evening before she left. She didn't finish it. The cup was rinsed. Where did she go after that? She shouldn't have gone out again, we definitely told her: stay at home or take your boyfriend with you. One or the other. The boyfriend didn't even know that she wanted to go out again, as he claims, although it's not much of a claim. She would never do anything without me, says the boyfriend. Funny. The boyfriend is at first naturally the main suspect, he doesn't, however, give the impression of having done it. He is altogether quite quiet. He was also quiet at school, except when he was required to say something. He did not have any greater difficulty than usual in expressing himself in the spoken exercise, which he delivered in the first lesson. There would have had to be something in the way he looked or in his voice. Nothing. He would automatically have had to make himself small in the face of something big like death, turn pale, stutter, something, sweat or stammer, if you like. His face seemed familiar to everyone, just as always. But who knows who he is, no, not the friend, who among us knows who he is. We, that is, everyone except me, knows how to make pheasant wrapped in bacon, but we don't know who we are. So, I am one of the few who really doesn't want to know. It's one reason why we always need variety, well, I don't need it. Perhaps we can find ourselves somewhere else? But to do that we always have to travel somewhere else. We also always knew everything about Gabi, apart from one essential detail, thinks the head of the regional CID even into his sleep, that is, even into his temporary death. It's the only way he can put himself in the position of the victim, by plunging into sleep and the next day hoping to have found a clue in his brain which he has not yet followed up. Again nothing. he's close, he knows that, but still: nothing. I'm sorry. I would tell you if I could. But I can't penetrate this dimension. A carton full of little wrapped sugar cubes from various cafes in places in the neighborhood, collected for the fun of it, which was no doubt as small as these sugar cubes, these keepsakes, which themselves don't keep their shape, but are happy if they don't have to dissolve and can first get to know two or three people to whom they are served, assuming their first owners have not damaged the wrapping with the signs of the zodiac too badly. But Gabi was always in these establishments alone, or with her boyfriend. There was never another man with her. At least no one whom we observed or whom we can remember. Her boyfriend claims she had recently perhaps been a little less passionate in love-making than usual, he says it shamefacedly. That points to something, but perhaps only that she had been a little lethargic or there was a lot to do at work. She wrote a letter, to a girlfriend: Mother and boyfriend hem me in, don't give me room to breathe, check up on me, pester me to do things, no idea what, it seems to be enough for them that I'm there, but I know, I'm their mistress, I know so, precisely because they pester me. Computers order these names, figures and dates, which in turn are shown to other men and machines. Many others note number plates and ask about the owners, who try not to look the fool. Too bad. One cannot know everything about a person, and one can know absolutely nothing about everyone, what does that mean. Even for someone smart it's hard to express, I already said so, and I'm not smart; I'll just have to take even better care to look smart, in order to understand life, although I already spend a fortune, otherwise in future I won't be admitted to life at all, and will have to let everyone else go in front of me. Would anyway be a bit late for life now, wouldn't it? If only I had learned something! When the mother wakes up, it hits her that her daughter is dead and she, the mother, can immediately go to her boyfriend in Germany, in Bavaria, but on first thoughts it's no fun at all, on second thoughts the fun will return. Yes, the two of them will return, perhaps after a really pleasant holiday together, Mr. Fun and Mrs. Joy of Living. The mother would in any case have moved away soon, why shouldn't parents be birds of passage for once? They want to move on sometimes, too. The mother has her own boyfriend and has put down a deposit on a house for Gabi, that should be enough, the couple, that was definitely the plan, would certainly have kept an eye on Gabi, lovingly hugged her, and Gabi would always have found ways and means of being horrid to them and to demand careful handling in return. Other people are also likewise burdened, no wonder that one would rather have their apartments instead of them; a wonder that most of them are still in one piece, given how often fate has struck them and wrested their few weak and delicate weapons from their hands before they could even read the instructions. So. Many are in the hospital. Mr. Westenthaler has smashed his kneecap for the umpteenth time, always the same one. All the rest are dead now, I decide, and so I save myself a lot of work, and they've already been cleared away by the good housewife's hand of death. So I no longer have to describe them. Thank you very much. The rest still lie under their burdens and wait for someone to put them back on their feet again and deliver them to someone who will perhaps be pleased about it. There isn't anyone like that, who sticks with one like the oak with the mistletoe. One cannot neglect oneself nevertheless, otherwise not even in the misty future will this long-desired partner turn up, who talks to one in a nice and friendly fashion. One must then on no account neglect him and not oneself either. When can one take a rest? It would be better if people had been on their feet long before that, then they would have had time to find someone better than the one they have. Only he who knows longing. Who knows what they suffer, the people? Oh, the one who knows and loves us is far away. In the water. Hardly is someone gone than one longs for him. Or not, who knows. No injuries of any kind could be identified on the girl's body, no visible ones at least. Someone got too close to her, but, to the forensic doctor's surprise, he by no means acted in a brutal way. What's even more surprising: in all probability no sign of sexual intercourse before death, not even traces of a violent attempt to penetrate her or ejaculate in or anywhere on her. The water obliterated these traces. Why did someone pull Gabi's trousers down to her knees and her pullover and shirt over her breasts? And yes, the open bra as well. Why these diligent pieces of work, which perhaps had nothing to do with diligence, but with necessity? And afterwards it wasn't necessary to pull up the woman's clothes again properly, why indeed, only the doctor is going to see her now, someone like that. It wouldn't have cost anything to make her look decent again and lay her out, the dead woman we see here. Two movements, one above, one below, but there are some who no longer have them at their command, ever since women can dress and undress by themselves. Did the taut weapons of a man take aim at this body, which came as suppliant or even as someone indifferent, which said no, and when I say no, does that mean no? You know, one can even lose self-control with suppliants in the face of their humility, which nevertheless demands everything, even as they throw themselves away, perhaps in order to create space for a whole lot more. Was it really necessary to pull down and push up her things so unkindly? And then this gentle, yet absolutely certain death, each one of its holds grips tightly-death, this free climber. He must be skillful, the fellow, sometimes he has to leave the scene of his activities very quickly afterwards. The young woman has not simply been choked or throttled, with the pressure and strength of firmly grasping hands, for several minutes, but gently through slight pressure of an open hand or a forearm on the throat, right on the nerve conductor center, which has its home there; dingalingaling sound the nerve ends with their integrated wiring, and then they're quiet and don't make a sound. No messages for you. Not on the display either. Time and date. In the year 2000 it will perhaps, at least for a while, be difficult to find the people whom death has marked with its expiry date. The computer will perhaps fail, felled, outwitted by time itself. And in 2001 it might get even worse, let's wait and see. Perhaps even death itself won't be working properly, because it will have been programmed with the wrong data. The young woman lying here with sodden head, armpit and pubic hair (so wet, it's as if nothing had ever grown there) lacks all marks of struggle and strangulation, which are virtually always found in such cases. Only a slight bruise on the right side of the head suggests that the head (in a car against the door cross-bar?) was struck hard and that then the dazed, but not unconscious woman was gently suffocated in this curious and unusual way. It can even have happened unintentionally, can't it? No, not that. An accident of love, which wanted something else than it could achieve? At any rate the girl didn't drown. The characteristic drowned lung, the over-inflation of the lung, the indistinctly defined, reddish to blue-violet discolorations on her body (Paltauf blotches) caused by hemorrhaging, are completely missing. No froth formation either? No, don't see any. The froth would arise during drowning through an intensive mingling of the fluid swallowed with chyme, gastric mucus and air. But did not arise here. Nothing to be seen. Any other questions? Make sure she's well preserved, but later I won't be able to answer them either.

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