In Greed, Jelinek finds a way to deal with depth (with the abyss inside the human) without either reverting to the analgesic of realism or exhausting the reader with flood-lit ugliness. For all its derangement, Greed is not ugly. Indeed, once one has got used to it, it yields strange and memorable pleasures. But only if read in German. With its constant shifts of tone and register, the slippery sideways movement of thought through wordplay and punning, the frequent allusions to other German texts, the idiom of Greed poses almost insuperable obstacles to good translation. Jelinek herself took years to translate Gravity’s Rainbow and it would take a comparable labour of love to translate Gier adequately. As it is, doubtless under tight economic constraints, the publishers have paid for a hit-and-miss, standard, ‘by the page’ translation and the result is a disaster. It’s hard to imagine that Jelinek’s reputation in the English-speaking world will ever recover. It would have been better to have left the novel untranslated.I know all too well that some writers are nigh-on untranslatable, especially those who play with style and register.
Our response to stories of extreme sexual violence tends to a mixture of horrified fascination and what in psychoanalysis is called ‘projective identification’, where we cast out the nasty bits of ourselves and lodge them in some other person or thing – a kind of scapegoating. The media turns stories like Amstetten into freak shows, but, unlike a dog with two heads or a parrot that recites the Nicene Creed, Josef Fritzl or Fred West may set the psyche humming in unpleasant ways, especially if we are men. The question ‘Is there any part of this in me?’ must then be shouted down before it is even enunciated.This discussion is really frustrating. "Puritantical academic theory"? RTFA, please.
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posted by Kattullus at 10:31 AM on June 8, 2008