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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The woman is now moving forward more quickly, she knows the exit, not many people do, to the right off Hadikgasse, follow the Meinl Blackamoor sign, the supermarket that goes along with it is at the back of the brand new apartment block, which the woman hasn't seen before. She still knew the old block, built for employees of the Austrian Fed. Railways, this street is called Kathe Dorsch Gasse, exactly. If she doesn't take the turning in time, then she can drive all the way to Lower Austria on the motorway and drive back from the Maschik side, as people say here, that is, from a long way out of town, by way of the villages before and around Vienna, via Hadersdorf, Mauerbach, Unterpurkersdorf and Oberpurkersdorf (do you know it? A man wants to buy a railway ticket to Peking. He goes to the ticket office window in Purkersdorf and asks for a single to Peking. The man behind the window says, You're putting me on, the best I can do is sell you a ticket to the Polish border, after that you have to see yourself how you go on, with the Trans-Siberian, the Trans-Mongolian, or by dog sled, I don't care. To cut a long story short, the rail customer gets to Peking, enjoys himself like the half-wit he is, because he's got as far as Peking, but then he wants to come back. He goes to the ticket office at the main railway station in Peking and asks for: A single to Purkersdorf, please. Asks the man behind the window: Ober or Unterpurkersdorf? Boomboom. What? What did you say? Please yourself.). Here's Huttelsdorf Station and we cross out the complicated street plans leading past it and make our own, which will likewise turn against us sooner or later. Then follow Linzer Strasse away from the city for a bit, up a steep road, on which the residents politely get down on their knees and beg in vain for the 30 limit to be adhered to, here our children play in front of their own houses and our retirees go out of their apartments and into them again, and others also cross the road, who don't want to die yet either, and don't have any eyes in their head, but the road belongs to them, they know that at least; it doesn't matter, all the people here, as far as the eye can see, belong to us, that is, to themselves, decent, eager to get on and hard working as they are, as a reward for which they are allowed to live here, in the healthy western suburb, and naturally we don't want them to be encroached on or even harmed by outsiders. Who abides by that. No one. We are all precious, and when we possess something and lose it, we have to replace it. Time is passing now, too, yet again, well what do you know, we nearly didn't recognize it this time either. The way it's looking today. We must go to the hairdresser right away and get a manicure, so that we're perceived as well-groomed women, untouched by time. Yes, we have to subject ourselves to this torture, otherwise there'll soon be too much earth under our fingernails bitten down to the quick from working in the garden. There's nothing illegal about the black under our nails, we got the dirt under our nails from gardening, and we're going to go on with it now, this healthy activity, before we ourselves end up under the earth. Before that we should still be looked at nicely a couple of times, and be acknowledged as women. Today once again we clearly rise above the men. Do you see us? Today it can be taken for granted that we have a profession and are independent. The amount that I've written about that, and it was all completely unnecessary.

Well I never, it's you. The woman has stopped the car on a very steep narrow road where she once lived. Here, this little house, inherited from her parents, in order to keep it, now keeps others better than she could have done. A roofer's van is parked outside, evidently the roof is to be renovated at last. The woman sold the house two years earlier to settle in the country, an old dream that is now over. The seduction of dreams lasts for years, the seduction of people happens more quickly. Now, while I wasn't watching, the woman has been recognized by a former neighbor who's taking her dog for a walk. The dog is brand new and bored. Have you dropped by for a visit? I haven't seen you for at least a year. You're looking well. Oh, thank you. But this short dialogue, almost all of which I have left out, ensures that the woman doesn't dare to stop and look at her former house for a little longer. Nice people bought it from her, look, they've got children who are intended to grow up in the healthier air of the suburb, which supposedly comes straight from Schneeberg Mountain, but has for some time been living in sin with the Flotzersteig refuse incinerator (the partner is usually the last to know!), and in their own house. Look, there's a tricycle in the front garden, mommy didn't insist on the child bringing it into the house, although the garden gate is less than three feet high and anyone could climb over. Nice, harmless people, have they ever suffered because of something? Nearby four frog sculptures and two crow sculptures, in amusing poses, they're talking to each other, just look how nice they've made their stay here, because they don't need to go anywhere. The house disappears beside the woman, who reluctantly, she would rather be alone now, allows herself to be pulled along by the neighbor on the short lead of a rather one-sided conversation. No surprises emerge from this mouth still familiar from earlier days. It is as if time, which before could still walk, has now stood still and only the people had gone on, well, perhaps they've gone further than was good for them. The people haven't noticed that time has stood still, they were so deep in conversation like these two women. Who hears a weak cry, which has no need to emphasize itself and so remains almost inaudible? No one. The women walk on, the dog is supposed to be taken up to the camping meadow of the Municipality of Vienna and run, play, or scrap a little with colleagues. It is to enjoy itself in the good air like a song suddenly loudly sung across the meadow. Without any echo. The dog is allowed to repeat the exercise every day. The lucky thing. The trails disappear before they were drawn, people come closer to themselves, because no one else does it, no, they run after each other and never catch anyone. No, that's wrong, too, they would gladly come closer to one another, but it's usually not wanted. Everyone wants to look for something of their own, a house of their own, a child of their own, a partner of their own, entirely for themselves alone. No one is satisfied with a room of their own anymore. Everyone would even prefer to have their own TV channel, because they never like what's on offer. The dead are particularly inconsiderate, because they evade us and the media, which report on dead things (or have you ever seen a more live person than the folk song sprayer Karl Moik, the last thing you saw before you fainted? Well, and even he's dead, as soon as he ended up on the TV screen, although his face is still thrashing around as if he had to escape a shark), so have you ever seen anything alive outside of the nature programs, which had to be specially dedicated to life, otherwise we wouldn't know that this landscape lies here and nevertheless lives? We wouldn't have seen it, unless, thanks to the considerable magnification which the camera granted them, ants, beetles and larvae would fill the screen, blown up to giant size.

Please lend your ear and meanwhile watch as the woman now ascends the meadow, which tops off the hill, no, it doesn't go any higher, it only goes downhill again on two thousand more pages, which, however, I shall spare you. So, now we're there. The grass is meager, but already really green, greener than in green Styria, the spring is definitely further advanced, and now it is already somewhere else altogether. Summer will soon be here, but I shall likewise be somewhere else altogether, I hope I shall meet it there, too, the summer. The dog is let off the leash and toddles off, on the way he has already raised his leg several times at the side of the road, now that the whole hill, the whole meadow are available to him, he'll proceed more selectively with his urine. He looks for a lady to whom he could be married for two minutes, that's silly, none there. The dog finds a like-minded companion, sniffs around her genitals and then right away they hurry off together. The woman's former neighbor has long ago joined a club, which consists of dog owners. These are people who prefer dogs to other people. They get on, also invite each other around in turn. The woman takes her leave, relieved that the neighbor has found her doggy conversation group and has blended into this nice little circle, with many good wishes, visit us more often, don't you want to come for a coffee afterwards, no thank you, I just wanted to drop by the old place before you've all completely forgotten me, ha ha. A human formation strides through the play area of their animals, who mostly in playful fashion pounce on one another and form interesting alliances, just look at those two attacking a third, why on earth, no, they won't do anything, they won't do anything! Don't worry. They never bite, and if they bite today, then tomorrow they'll again never have done it, be like new or almost like new, because the vet will meanwhile have stapled two clips in their pleura. The group moves off, the people put their heads together and chat, the animals don't put themselves together, because now is not the right time for that. Some are weighed down by their corpulence, they are not at all weighed down by problems, they are very spoiled and well fed and altogether happy, although one cannot talk to them in their native tongue. The woman, who is barked at once or twice, because the animals have never seen her on their patch and are confused by the unfamiliar figure, who has not got a four-legged friend on a leash and isn't carrying a leash in her hand either, by which one could recognize a like-minded person, this person, who has perhaps never understood how to attach someone or something to herself, animals sense that, their hearts become completely indifferent and they take their leave without any visible sign, they simply take off, the figure stops now and looks down at the city whose southern segment, which lies before her now with the perfect clarity which sometimes follows the sunrise, which has released these pictures, which now break out impatiently from behind the cordon, and far beyond, as far as the irregular silhouette of the high rises at Alt Erlaa, the underground goes all the way out there now, which on the other side goes as far as Ottakring, a real triumph for the inhabitants, because it's just the place they always wanted to get to. Now at last they can. Here the corpse-like finger of the lighting tower of Engineer Gerhard Hanappi Stadium, the scanty parking lots in front of it are completely out of sight. To the right is the West Motorway, one can see a bit of it, before it disappears between the hills of the Vienna Woods, over there is the Auhof, look, they've built a Ginecenter there, the red neon sign can be easily made out, even in the daytime, because it's never turned off, and the lime green neon lights of the last gas station before the motorway can be admired in all the magnificence and citrus freshness which a company has provided them with.

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