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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But today this country policeman does not look at all cheerful to me. No one will one day have him as a husband, because he's already married and asks his wife almost every third day how she is. Then he's away again, from place to place, where he stops cars, as if he could stop himself. To see in love of all things the fulfilment of his financial longings, in a caring hand, which hands him stocks and shares, anonymous saving bank books and golden watches, in a soft body, which offers him its fantastic, firm, magnificent covering, provided with a super veneer, so that he, the country policeman, at last has security, what do you say to that? You are bored by such tenderness? What can I say to that?

No further lights went out, Gabi's will be the only one, I hope, though one can never know what will occur to the unappreciated mixed-up minds of the desperate. Other women have disappeared here, at greater intervals, no, I'm not saying anything more about that now. Growling, the tires get stuck into the ground, don't want to let go, then hurry on nevertheless, where to, fortunately it's still the winter tires on this cold track, on which they rush away in two deep well-worn icy ruts. The air rises up against the vehicles, which are driving along poorly cleared detours, which force them to go up into the mountains by way of the forest tracks, where snow is still lying on hidden routes which outsiders don't know. It plays happily with them, the oncoming air with the few cars, caresses their shiny, colored bodies, one of them belongs to the country policeman, his face is quite expressionless, what does it matter, no one sees it. A woman is supposed (he called earlier) to be stretching out expectantly towards him in her house, and she is supposed to snuff it, but not too soon. That would perhaps be the best long-term solution, for the house as for the woman. But not too soon. He just came off duty, now we're driving straight to her. Can it be that she didn't open up yesterday, although she was definitely at home? No. That's impossible. That she was eating thoughtfully at home, piling salami and ham on bread to the accompaniment of her favorite music, by candlelight, which is romantic, but only a deux, since it's a pleasure to make a fuss. Except every flame is a potential fire hazard, let's be honest, and should be avoided, if Christmas is over and a person hasn't disposed of his Christmas tree in time. The country policeman will at all events try, after some walking up and down and scouting around, to get into this house, which today he wants to conquer in a surprise attack. It's all taking too long for him. His fingers are itching to angrily beat the woman if she doesn't want to give up her house voluntarily, he clenches his fist on the driving wheel, just not to feel once again the steely firmness of her nipples scratching around between his fingers, are such tiny taps, which have remained shut to every child for life, only later to fall into the hands of a freebooter for free, I too now almost feel their contentless pointed stoniness between my fingers, I have properly sealed and hung these two old sacks, these skin-colored airbags with the milky-blue veins, the producers made quite an effort there on their silken assembly line, which-there's not much to be done about that now-forthwith and to the end will no longer contain anything that could even remotely serve anyone as nourishment. They are to serve purely for pleasure, the two of them, but please not for the pleasure of the country policeman again, who's not interested, and it's not a pleasure either, he doesn't care if they make more agreeable acquaintanceships, how nice for them. But the house for him! I wish I could say the same about myself. They would jump into the country policeman's hands with joy at any time, the two dumplings, because he at least, one among millions of the like-minded, who from time to time get instructions to confess something which they haven't done, so that they can remain silent about what they have done, he at least knows exactly how to turn a woman's switch between thumb and index finger, look, it's quite easy to be a creator when the corresponding creature is already present but doesn't know it yet. The desert lives, and in order to live, it must already have contained all this energy, this momentum. No? This desert wants to be decently serviced, if you please, that's the least that can be expected, otherwise perhaps it will wait in vain. You won't believe it, but to make it bloom requires only a little skill and the affection of a talented handyman who knows the way things are and will perhaps be moved once again, just once more, pleaseplease, through kissing and pleading, at last to step a little closer, even if he's already standing on one's toes with all his weight. We wouldn't even have noticed that. Please, gentlemen, come and pinch my nipples, pinch them really firmly! And we'll manage to go a little further down as well, my dear fingers, that little race track, not worth mentioning, down to the fleece, this matted material at the end of the stomach, made of organic fibers, which would melt in the heat if anyone could ever warm to them. Well, we won't set the whole house alight to get a woman on heat and to guide the turbulent flow movements of a cock into her, until everything goes down the river bank and disappears in the water. The house is supposed to remain standing. Then we won't need much more to be happy.

What do you want? The woman appears in the door, as if surrounded by a whole troop of guards. Why. This security will, as always, disappear completely in about ten seconds. She'll be trembling then and not know why. That's a start. The man pushes past her, as if he were avoiding a vehicle in the snow, he doesn't brush against her, will have to bump her later on, because it's expected of him that he'll be rough. And he couldn't act any differently anyway. He hates her. He could keep still, yet the coarseness would break out without him doing anything about it and crash through the thin fence in front of the feeding enclosure, while the more docile hinds are still politely showing their admission tickets after forming an orderly line. Have you already heard about Gabi. This is her bag. She forgot it here, you remember, the day before yesterday. Did she. Give it to me, I'll hand it over to my colleagues dealing with the case. I don't know where Gabi could have gone afterwards. Do you know? She must have been somewhere. Why haven't you moved out yet. Be quiet. I'm talking now. I told you, the next time you should already be undressed when I come, why don't you do what I say. On the contrary, you did what I said. Give me a kissy pleaseplease. I always want to be among the first, right there at the front. Perhaps that's my mistake. If my father were still alive, then my life would have been completely different. In my father I would have had someone who's got a similar character to mine, who understands me and protects me. He was killed in the war. I miss someone whom I never knew more than someone whom I know now. Most of all I miss someone who doesn't exist at all. Not yet. But one mustn't give up hope. Says the woman, whose home is warm, cozy and clean. No one is listening to her. The country policeman tugs absent-mindedly and clumsily at her top, which she has lifted up especially for him, she thinks there's something there just for him, that he will absolutely want to study. But he doesn't read, not in her eyes, not on her body, because he knows this book, every book, by heart beforehand. He gulps down the woman at the kitchen table, where everything is prepared. She quickly has to put the plates on the sideboard again, as she hears the material of her skirt tear, she clears everything away, though there's no charm in the arrangement, she can't bother with that now, when it comes to the last little bowls with olives, miniature corn cobs, more olives, and pickled pumpkin chunks, she can no longer see where she's putting them and hears the clattering of china, but it's only the good-humored collision of two ships, meeting at night on a sideboard instead of at sea, not the grinding squealing of things shattering. Hopefully, that will not all come flying down now and make a terrible mess, she's still thinking, as he's already shoving up her dress, pulling her panties past her knees and turning her around, all as usual, so that this time, too, he doesn't have to look at this charmless face, which would like to ask him something and doesn't dare, well, and now he presses the upper part of her body, her chest, which he has briefly and hurriedly kneaded, after he had first lifted the whoppers out of the bra and, squeezed together like two pancakes, because he's loaded the whole of the woman's weight onto them and basically squashed them flat, giving them a form, which was not originally intended, throws her down on the unfloured table top, and her head as well, gripped by the neck, like a whip, the hair gripped by another hand, giving additional assistance, down, down with you, you tramp, down, while she's still quickly trying to explain the Nice Weekend Program that she's prepared for him, together with the starting times, feverishly, as if what counted was to plan the whole weekend in five minutes and immediately put it behind one as well and if possible also quickly attach the instructions for the video recorder. So. She'll be quiet in a minute, the woman, and her hair falls over her, beside her on the table top, where to begin with she still tried to support herself with her hands, in order to take a little of the weight of her body off the hard table, to relieve the pressure. She can do that, if she likes, she won't keep it up for long, she has to bear his weight behind her as well, so, and now spread the legs and relax the inner muscles, otherwise you'll get a whack on the ass. I see she still finds this task difficult, and in such an uncomfortable position as well. Yet she planned everything carefully, even if quite differently. A leading role was to be played by a mountain hotel on the Semmering Pass. But God thinks and the director does what he wants. Rejected. Too expensive. Lend me the money. I can't leave. What could I say to my wife. Are you going to open up now, I don't have to get in there, you're the one who always wants it, what are you waiting for, I don't need you. Financially speaking I'm facing ruin anyway. A pile of ruins. And what are you going to do about it. The woman feels him breathing heavily on her neck and biting into the two tendons that attach her head to her body. Please. Please don't. Ow. Good, if one's honest. But one should at least know beforehand what one wants. You want it or don't you? Yes but. But why do I always have to suffer like this? Why is my hair so tousled, right after going to the hairdresser? Why is my new skirt torn? Why does the country policeman not feel sorry for the woman? Why does she love and sacrifice herself and not entertain any suspicion? Why is this woman so weak and often has very bad moments when she is alone? Why did he promise her a weekend on the Semmering if he in any case never wanted to go there? Why did she not know that he wouldn't want to go there? Why does her fear not subside? Why don't we often go abroad, where we, too, could feel like new? Perhaps because we like each other enough to just stay here? Why do we love and sacrifice ourselves? Why don't we change our approach, even if we have to admit to ourselves that we are deceived and exploited? Why does this man always stick his cock, after he has wiped it with a piece of absorbent paper (take a look at the screen, yes, that's the paper I mean, the one with the particularly absorbent honeycombs, your ears are nothing compared to it, and your mind ditto, one can even pour water onto it and put a pound of vegetables on it) from a kitchen roll, in so quickly again? Why does he always pat her head briefly like that, as if he would really like to hand out a couple of good slaps instead, that can drive one crazy? When will she come down to earth? After the journey back, which isn't necessary, because the woman is already at home? Why doesn't she have a photo of him? Why has he never given her a present, not even flowers or a piece of cake from the cafe? Why does she always have to wipe herself without him helping her? Where have the paper tissues got to again? There's only this paper towel, and its little dress is absorbent, that's true, but a bit stiff. And this careless pincer-pinching of the left nipple between the fingernails, did he absolutely have to do that, too? The pain is terrible, I've never felt anything like it, it'll turn red and swell up, and the next time he does it again, in the same place, hello. Yes, pinching and no kissing was definitely part of it. It simply occurred to the man, specialist and pleasure-seeker in one, and he immediately did it, it's not work for him, merely something to do. It occurred to him and he immediately carried it out. We can understand that, it was perhaps the final playful surprise, which an artist bestowed on his completed work, before yet again no one will buy it from him. When will the difficult everyday life of the woman continue? Tomorrow? The day after tomorrow? Next week? The music still radiates in its case, but cannot penetrate the darkness. In a moment it will once again be allowed to pour out its treasures before these two people, who have not found their way to one another. It can hardly wait to break out behind the cordon of the CD player and be allowed to flood this home, desired like hardly another, like an angry torrent of people protesting against the government and prevented only by a couple of wire fences from sweeping away everything that is not in keeping with their will. Nazis out. The country policeman's cock has slipped in and out again, this loose bird, which knows its way around its little house, which is just as big as it is itself, but no bigger, a wonder, however, that it can move around in it at all. It doesn't only want to eat, at least it sometimes leaves something behind, its little doing, its dropping, that's the way they are, the birds. Basically they are no different from us. They can control themselves just as little, and yet our gaze rests on them with pleasure as they hop to their nesting places and away again. They leave their shit behind, but they themselves never stay. And: No, they don't treat anyone. They're treated, the sparrows, fetch their grains, sunflower seeds, nuts, cereals. The feed is there, so the birds are there, too. If there were no grains for them, they just wouldn't come. Nature has absolutely no mercy on us, not even in little things. Nothing comes from nothing. And if there were no grounds for existence, we wouldn't exist either. We do possess the honest aim of slipping through fate's fingers, but this country policeman is someone who gets a grip on things, on the neck, on the hair, on the ass, he doesn't leave off and he doesn't leave any bit of us out. Nor does he leave any of this cut meat, which he gulps down standing, straight from the sideboard, where the plates have been shoved under and on top of one another like icebergs. It surely doesn't matter where the plates are standing. Wherever they are, there I'll come and eat. Would be a waste otherwise. No problem. What's the problem about that. Only God, shocked at everything that he's forced to see, has determined at which bird table he expects himself to be distributed, in wafer form, as food. We're not allowed to take him home and perhaps even stick him in the oven to heat him up. Yesterday a lawyer drew up an agreement. Please take a seat, sit down and don't listen to me any longer. Just do it. I'll be brief. But not just yet. Please wait.

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