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 a ladies' hairdressing salon a country policeman would be even more conspicuous than a king, unless a customer had parked her car wrongly, then all eyes are on her and her hairstyle, a semi-finished product. The country policeman would be generous but just. He arranges a meeting and prepares to obscure the evidence, so that behind the blinds he can fulfil all secret desires, including those which are not kept secret at all. Instead they force themselves upon him like inquisitive dogs, which are immediately sent away again without the stiff retriever stick they're panting for, chased away because they are so wet and unappetizing that one hardly wants to lie down beside them. But there is a stately home to be given away and one says very softly: come! And then he comes. If the women don't get a king for the bedside table, where the magazines with all the color pictures lie, perhaps they'll get the servant of the state, who has to be there for the king at all times. Paper: doesn't blush. In the photograph the king is altogether relaxed and casual and friendly. I would say, this woman is freshly permed but unrelaxed, if I would dare say so and had not forbidden myself to constantly look down from my high horse at what I've made up. The father of the country policeman could still be alive today, the way he looked then. Here lives always come along twice or even many times over. They stand next to one another like houses, one the same as the other, but that doesn't affect me. The lives match one another like clothes, but often they don't match the person to whom they were handed out. They are mostly uneventful, as if too much life had to be distributed among too few people, of whom each receives more than enough of one and the same fate, of which we now carefully pick up the pieces, having had a smashing time. The mother of the present country policeman, for example, it's as if there was another one of her and then another, as if most of the women here were like her, I still know at least one or other of them and can offer them to you to make your choice. But I already know you'll choose something else, but then at least the side-dish will be right. How enthusiastically she used to look at these pictures, Frau Janisch, as if inwardly elevated, incidentally at exactly the same hairdresser on the main square, but then the chairs were green and harder. Later Frau Janisch even bought the magazine, so that she, too, would have something to leave her family. That was when she could still walk upright. Let's act as if it were today: So she looks and looks again, as if the king along with her husband could vanish into thin air before she can even show them off, and all that while her hair is being wrapped around thin rods, oiled and then heated up, the very fine roast, smelled long before it's ready (and again every time one's hair is washed! All of life is chemistry and smells accordingly…), and she tries to jut out of her dress, the country policeman's wife, as if it were made of exactly the same dotted silk as that of the queen and not for example done in an anonymous workshop under the backcombed hair, which please must look exactly the same as her majesty's in the photo. Unfortunately that's not possible. Not even we poets can do that. Instead of which the person looking for advice is handed a wire hair net for her head and something completely imperishable and incomparable in Trevira, nylon and other artificial fibers. Not bad either, made for all eternity, unless one sets fire to it, but that's just it: different! Eternity doesn't want it and gives it back cheap, since already used. There's nothing to be done. This queen was a model for many women of the time and unleashed imitative impulses precisely because she was not beautiful, just as we are all not beautiful. But, she too, a very well-groomed and smart woman, there's nothing you can say to that. No criticism on our side is necessary here. Anyone who hasn't got beauty in their account needs clothes and hairdresser all the more badly, in order to be able to imitate beauty as successfully as possible, before one hits the street in this new dress and there immediately shrinks again with all one's shortcomings. On the contrary, often one even has to add something, house and property. No grounds to take in guests as well, whom one then has to feed one's own flesh, because there's nothing else in the house. I personally know one, two widows and single women approaching retirement, who succeeded in going much further in their public appearance than had ever been foreseen for them. And then they were still overtaken by younger women. At the last moment. I strike the gong. Boing. Time's up. Every time is up some time. I've often said it and I'll often say it again, because it's so unjust that time passes, but I always have to stay here. It lasts just as long as one lives, because one's own life is the measure of time. Here comes the next one that is no longer one's own. So already in the course of one's own life it must be taken hold of determinedly. That's as clear and transparent as the soup, which people have dished up once again today behind their freshly cleaned windows. Who's going to eat it all?

Today there's once again something lurking behind the responsibilities and reports of the country policeman-I can't quite see what yet-when he pulls the drunks from the pub tables, hits them, examines his victims briefly and superficially, because you don't see the internal bleeding, and then calls the ambulance, because of course the victim bashed himself and his not very full head. The victim says nothing, because he is unconscious, and doesn't have much to say anyway when he is conscious. You're just not allowed to kill anyone, that would be the condition that's agreed verbally, one's only allowed to put his head together with his ears and the vital nose and the absolutely essential mouth in a plastic bag, in which breathing is impossible. That is its nature. A smoked sausage is also allowed to stop its breath, we've got nothing against that, I assure you, that's its business entirely No one else's. Talk about the miscellaneous brutalities of this country police district has got as far as the county town, where it's mentioned with a laugh and a particular, knowing expression. Nothing can ever be proved. Although killing involves a profound emotion, an inner importance which allows one utterly to forget oneself, because one has thrown oneself entirely upon another human being. Just ask a murderer, he won't tell you! That one was allowed to kill, above all: one could do it, for that women think you unique, because otherwise they don't know anyone up to it. They like to crowd around the violent criminals, the country policeman knows that, he once arrested one, they didn't even let him put on his shoes after he had shot his wife with a revolver and seriously wounded his adolescent son. But something like that, to get someone like that, is like a win in the lottery, even if not the big prize, because in the country people enjoy killing, they practice on animals after all, but quietly, there are houses, you find five bodies early in the morning and don't know why. These people don't get much variety (the examining magistrate, when informed, that the culprit has a firearm and was able to make use of it, immediately passed on this infernal information, he already knew his man's number from other cases, the latter was never just a number and had among other things also fired on the Kobra special duty unit of the Country Police force. It's not healthy). Mostly the murderer does end up in prison and is defused, his family is disconnected, the murderer however has not been devalued as a result, along with his tormented heart, which he now displays openly. Indeed, I see: Some women are already writing him beautiful love letters. The country policeman has had them weeping and wailing in front of his duty desk two or three times, the women, while he, nervous, because he's got too few fingers had typed up a report. Some perpetrators do nothing but cry, the whole time, but they never ever express regret. Perhaps this house provider, in whose little home this perpetrator will soon, in about fifteen years, be sitting at table on parole, will give him a helping hand. He will pitch in, he promises her, he will crush his conscience in his bare hands till the juice runs out. The only silly thing is that he was caught. Then at the trial, with his final words, the murderer apologized as kindly, as good-naturedly as possible to his victim, but by then the victim was long buried and no longer heard anything. That was an interesting man, one should try to learn from him. From others one can only learn that there are no longer any hidden Nazi printing plates in Lake Toplitz and one can drown if one looks for them nevertheless. Yet the area around the lake is to be cordoned off as a prohibited area. The Country Police can do that. Using an underwater TV camera, it's possible, with a bit of luck, to find another corpse after three or four years. Like the eighteen-year-old schoolgirl, unfortunately as a skeleton, in the forest, or the apprentice who wasn't even sixteen yet, unfortunately in shallow water and hence still intact, in the lake, in the lake. We're sure to come back to it.

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