Elfriede Jelinek

En bok om och till Aris Fioretos. Redaktör Cecilia SjöholmRedaktörsassistent Astrid GrelzOmslag Håkan LiljemärkerBegränsad upplaga: 250 exemplar Medverkande:Paul Auster Anna Bengtsson Magnus Bergh Bigert & Bergström Daniel Birnbaum Mirces Cartarescu Love Derwinger Kjell Espmark Magnus Florin Jörgen Gassilewski Durs Grünbein Gunnar D. Hansson Gabriel Itkes-SznapElfriede Jelinek Stefan Jonsson Mara Lee Claudia Lindén Arne Melberg Lothar Müller Ernst Osterkamp Daniel Pedersen Håkan Rehnberg Mikael van Reis Monika Rinck Hans Ruin Cecilia Sjöholm Sophie Tottie Jan Wagner Sven-Olov Wallenstein Ola Wallin Magnus William-Olsson

La pianista es una densa e inteligente, pero amarga, inmersi n en la vida de una mujer cuya forzada soledad y sordo sufrimiento es paradigma de muchas vidas de mujer. Erika Kohut es una pianista frustrada que ejerce de profesora de piano y siempre ha vivido bajo la sombra de una madre posesiva y absorbente. Vencida por un fracaso que no es sino trasunto de una derrota mayor, la de escapar de un dominio indeseado, y presa en la telara a de sus inhibiciones y de una perpetua vigilancia, Erika ha aprendido a ser austera y severa. Esta situaci n toma un curso muy diferente cuando conoce a un alumno que se enamora de ella. Entonces, a trav s de su fr gil psicolog a, de su tortuosa inexperiencia en las relaciones humanas, comienzan a abrirse paso las fantas as acunadas y nunca dichas, en las que se mezclan dominio y subordinaci n, placer y sufrimiento. «Para mujeres y hombres como Jelinek el oficio de escribir revalida y consolida su posici n de absoluta excepcionalidad en los tiempos que corren. - Jordi Llovet, El Pa s ENGLISH DESCRIPTION From the Nobel Prize-winning Austrian author: a "brilliant, uncompromising" novel that "gets behind the cream-puff prettiness of Vienna" - Publishers Weekly. Erika Kohut teaches piano at the Vienna Conservatory by day. By night she trawls the city's porn shows while her mother, whom she loves and hates in equal measure, waits up for her. Into this emotional pressure-cooker bounds music student and ladies' man Walter Klemmer. With Walter as her student, Erika spirals out of control, consumed by the ecstasy of self-destruction. A haunting tale of morbid voyeurism and masochism, The Piano Teacher, first published in 1983, is Elfreide Jelinek's Masterpiece. Jelinek was awarded the Nobel Prize For Literature in 2004 for her 'musical flow of voices and counter-voices in novels and plays that, with extraordinary linguistic zeal, reveal the absurdity of society's clich s and their subjugating power. The Piano Teacher was adapted into an internationally successful film by Michael Haneke, which won three major prizes at Cannes, including the Grand Prize and Best Actress for Isabelle Huppert.

The magnum opus of 2004 Nobel laureate Elfriede Jelinek—a spectral journey through the catastrophic history embedded in the landscape of Austria “The surface of [Jelinek’s] prose cracks and bursts . . . fissured by phantasmagorical description, gallows humor, multilingual puns, and scouring sarcasm. . . . Jelinek’s novel is finally . . . a furious accumulation of lost moments and possible outcomes, an enormous, spectral kaleidoscope erected before the unfathomable.”—Dustin Illingworth, Washington Post The Alpenrose is a mountain resort nestled in Austria’s scenic landscape among historic churches and castles. It is a vacation idyll that attracts tourists from all over Europe. It is also a mass burial site. Amid the snow-topped peaks and panoramic vistas, ghosts haunt the forest: Edgar Gstranz, a young skier who died in a car crash; Gudrun Bichler, a philosophy student who committed suicide in her bathtub; and Karin Frenzel, a widow who (perhaps) died in a bus accident. As the three slip in and out of the hotel, engaging unsuspecting tourists and seeking a way to return to life, the soil begins to crack under their feet as the dead of the Holocaust awaken: zombies determined to exact their revenge. Scrupulously rendered for the first time in English by Gitta Honegger, The Children of the Dead takes readers on a mind-bending ride through time, space, and memory. Concocted from experimental theater, splatter film, Gothic literature, philosophy, religion, and more, Jelinek’s phantasmagorical masterwork is a fierce confrontation with our fraught legacies in the name of the innocent dead.

The magnum opus of 2004 Nobel laureate Elfriede Jelinek—a spectral journey through the catastrophic history embedded in the landscape of Austria “The surface of [Jelinek’s] prose cracks and bursts . . . fissured by phantasmagorical description, gallows humor, multilingual puns, and scouring sarcasm. . . . Jelinek’s novel is finally . . . a furious accumulation of lost moments and possible outcomes, an enormous, spectral kaleidoscope erected before the unfathomable.”—Dustin Illingworth, Washington Post The Alpenrose is a mountain resort nestled in Austria’s scenic landscape among historic churches and castles. It is a vacation idyll that attracts tourists from all over Europe. It is also a mass burial site. Amid the snow-topped peaks and panoramic vistas, ghosts haunt the forest: Edgar Gstranz, a young skier who died in a car crash; Gudrun Bichler, a philosophy student who committed suicide in her bathtub; and Karin Frenzel, a widow who (perhaps) died in a bus accident. As the three slip in and out of the hotel, engaging unsuspecting tourists and seeking a way to return to life, the soil begins to crack under their feet as the dead of the Holocaust awaken: zombies determined to exact their revenge. Scrupulously rendered for the first time in English by Gitta Honegger, The Children of the Dead takes readers on a mind-bending ride through time, space, and memory. Concocted from experimental theater, splatter film, Gothic literature, philosophy, religion, and more, Jelinek’s phantasmagorical masterwork is a fierce confrontation with our fraught legacies in the name of the innocent dead.

Carefully perched somewhere between tragedy and grotesque, high-pitched and squeamish, Jelinek's play, On the Royal Road, brings into focus the phenomenon of right-wing populism, which spreads like a virus and has a lasting effect on global politics. Nobel Prize winner Elfriede Jelinek is known as a writer who works in response to contemporary crises and cultural phenomena. Perhaps none of her works display that quality as clearly as On the Royal Road. Three weeks after Donald Trump’s election, Jelinek mailed her German editor the first draft of this play, which turns out to be a stunningly prescient response to Trump and what he represents. In this drama, we discover that a “king,” blinded by himself, who has made a fortune with real estate, golf courses, and casinos, suddenly rules the United States, and the rest of the people of the world rub their eyes in disbelief until no one sees anything anymore. As topical as the evening news, yet with insight built on a lifetime of closely observing politics and culture, On the Royal Road brings into focus the phenomenon of right-wing populism, which spreads like a virus and has a lasting effect on global politics. Carefully perched somewhere between tragedy and grotesque, high-pitched and squeamish, Jelinek in this work questions her own position and forms of resistance.

A new play from Nobel Prize winner Elfriede Jelinek that deals with the 2015 terror attack on the satirical French magazine Charlie Hebdo’s offices in Paris. In Greek mythology, it is Hera who blinds the hero Heracles, so that, in a fit of fury, he kills his own family. In the twenty-first century, the gods have another name. So did the three young men who stormed a magazine’s editorial office and a Jewish supermarket in Paris in January 2015 and murdered twelve people. The blind fury, however, remained and more virulent than ever, not least because the weapons were so much more effective. In this raging text, arguably one of her darkest, Nobel Prize winner Elfriede Jelinek investigates topical political events in the context of enduring history and myths. Fury expresses itself not only multi-voiced and from the changing perspective of Islamist terrorists (and their special hatred of Jews), in the shape of furious German citizens, individual narcissistic humiliation, or brutal distribution battles around the globe. Rather, fury also appears as the motor that has driven people with a devastating force for centuries. With her characteristic linguistic power, Jelinek articulates her own disconcertedness in the face of these crimes. In passing, she returns repeatedly to the contradiction between religious laws against representation and the deluge of images online, where movies of assassination, severed heads, and other atrocities are exhibited for millions to see. Fury is a compact grand epic that starts in primal times and attempts to describe the indescribable, relating the inexplicable in our times.

Originally written as a libretto for the Berlin State Opera, Elfriede Jelinek’s rein GOLD reconstructs the events of Wagner’s epic Ring cycle and extends them into the present day. Brünnhilde diagnoses Wotan, father of the gods, to be a victim of capitalism because he, too, has fallen into the trap of wanting to own a castle he cannot afford. In a series of monologues, Brünnhilde and Wotan chart the evolution of capitalism from the Nibelungen Saga to the 2008 financial crisis. Written with her trademark ‘extraordinary linguistic zeal’ (Swedish Academy), rein GOLD is a playful and ferocious critique of universal greed by the 2004 Nobel Prize in Literature laureate.

Carefully perched somewhere between tragedy and grotesque, high-pitched and squeamish, Jelinek's play, On the Royal Road, brings into focus the phenomenon of right-wing populism, which spreads like a virus and has a lasting effect on global politics. Nobel Prize winner Elfriede Jelinek is known as a writer who works in response to contemporary crises and cultural phenomena. Perhaps none of her works display that quality as clearly as On the Royal Road. Three weeks after Donald Trump’s election, Jelinek mailed her German editor the first draft of this play, which turns out to be a stunningly prescient response to Trump and what he represents. In this drama, we discover that a “king,” blinded by himself, who has made a fortune with real estate, golf courses, and casinos, suddenly rules the United States, and the rest of the people of the world rub their eyes in disbelief until no one sees anything anymore. As topical as the evening news, yet with insight built on a lifetime of closely observing politics and culture, On the Royal Road brings into focus the phenomenon of right-wing populism, which spreads like a virus and has a lasting effect on global politics. Carefully perched somewhere between tragedy and grotesque, high-pitched and squeamish, Jelinek in this work questions her own position and forms of resistance.

Although Elfriede Jelinek is an internationally recognised playwright, her plays are difficult to find in English, which makes this new volume all the more valuable. In Rechnitz, a chorus of messengers reports on the circumstances of the massacre of 180 Jews, an actual event that took place near the AustrianHungarian border town of Rechnitz. In The Merchant's Contracts, Jelinek brings us a comedy of economics, where the babble and media spin of spectators leave small investors alienated and bearing the brunt of the economic crisis. And in Charges (The Supplicants), Jelinek responds to the immeasurable suffering among refugees fleeing death, destruction and political suppression, and asks what refugees want, how we as a society view them, and what political, moral and personal obligations they impose on us.

»Elfriede Jelinek skriver så att man hör smärtan som ett dunkande hjärta under den kallhamrade texten.« | Synnöve Clason, SvD Erika Kohut är 36 år men bor ännu med sin mor - som övervakar varje steg dottern tar. Det har hon gjort sedan Erika var barn och offrades på konstens altare i musikstaden Wien. Hela sin ungdomstid har Erika tränat för att bli konsertpianist. Talangen räckte inte hela vägen. I stället försörjer hon sig som pianolärarinna. Den tortyrartade, lustfientliga disciplinen lever kvar i henne och förs vidare till hennes pianoelever. Sina undanträngda begär lever Erika ut i hemlighet, söker tillfredsställelse för dem på de mest obskyra ställen i staden. Pianolärarinnan [Die Klavierspielerin, 1983] är Nobelpristagaren Elfriede Jelineks stora mästerverk. Med ursinnig kraft och språklig virtuositet skildras en kvinnas ensamhet och det samhälle hon lever i som en fånge. Romanen filmatiserades av Michael Haneke 2001 med Isabelle Huppert i huvudrollen.I svensk översättning av Margaretha Holmqvist. ELFRIEDE JELINEK [f.1946] är en österrikisk författare och dramatiker. Fadern var tjeckisk jude, modern wienska med rumänskt påbrå. Hennes litterära verk är på olika sätt svar på uppväxten i Wien och Österrikes arv efter nazismen, men bär också spår av Jelineks musikaliska bakgrund (som klassiskt skolad organist). 2004 tilldelades Elfriede Jelinek Nobelpriset i litteratur.»Vi har här en Nobelpristagare som inte är älskansvärd, men hon är ett grundförsvar mot den tilltagande bekvämligheten i världen.« | Sigrid Combüchen, DN »Michael Hanekes film baserad på Pianolärarinnan är inget jämfört med romanen.« | The Guardian

Varma och kalla bad utspelas i ett land som besväras av det förflutna. Av det Habsburgska riket, kejsardömet mitt i Europa, återstår det betydligt mindre Österrike. Namnen på de författare som kommer till tals vittnar dels om ett slaviskt, dels om ett tyskt eller tyskjudiskt ursprung, även om alla skriver på tyska. I Varma och kalla bad medverkar flera generationer författare som berättar om sina personliga upplevelser av kriget och nazismen, men här skildras också samtiden. Alltifrån valutareformer till hembygds-berättelser, kvinnlig frigörelse och lyriska kärleksförklaringar gör antologin till ett både roande och tankeväckande nedslag i dagens österrikiska samhälle och litteratur.

Elfriede Jelineks Älskarinnorna utspelar sig i en idyllisk österrikisk alpmiljö, men romanens känsloliv är allt annat än idylliskt. Två unga kvinnor, Brigitte och Paula, drömmer båda om ett annat liv än att vara fabrikssömmerska eller butiksbiträde. Alternativet tycks vara att bli hemmafru. Motspelarna är Heinz, elektrikerlärling, och skogshuggaren Erich. De liknar huvudpersoner i en våldsamt ironisk skildring av drömmar om lycka och kärlek. Men så finns ännu en gestalt, berättarröstens »vi«, personifieringen av beskrivningarnas maskineri, den röst som med kraftfull tydlighet framkallar känslan att det verkliga fängelset finns utanför boken. Älskarinnorna [Die Liebhaberinnen] blev Elfriede Jelineks publika genombrott när den kom ut 1975. I svensk översättning av Aimée Delblanc. Älskarinnorna ingår i serien Nobelkvinnor, där åtta svenska förlag gått samman för att tillgängliggöra och hylla samtliga 14 kvinnliga nobelpristagare i litteratur. Böckerna släpps samma dag, den 14:e november 2018. ELFRIEDE JELINEK [f. 1946] är en österrikisk författare, dramatiker och poet. Fadern var tjeckisk jude, modern wienska med rumänskt påbrå. Hennes litterära verk är på olika sätt svar på uppväxten i Wien och på Österrikes arv efter nazismen, men bär också spår av Jelineks bakgrund som klassiskt skolad organist. 2004 tilldelades Elfriede Jelinek Nobelpriset i litteratur, enligt Akademiens motivering för sitt »musikaliska flöde av röster och motröster i romaner och dramer som med enastående språklig lidelse blottar de sociala klichéernas absurditet och tvingande makt.«

Elfriede Jelinek (f. 1946), østrigsk forfatter og dramatiker. Hun modtog Nobelprisen i 2004.Skygger (Eurydike siger) er en dramatisk monolog skrevet til Operahuset i Essen og opført første gang i 2014. Det er en genskrivelse af Orfeusmyten fra Eurydikes perspektiv og i et jelineksk syrebad. I myten om sangerguden Orfeus bliver hans elskede Eurydike bidt af en slange og dør, og Orfeus drager til dødsriget for at hente hende tilbage. At Eurydike gerne vil genforenes med sin elskede Orfeus, har siden oldtiden været en uudtalt præmis. Men med Jelineks Eurydike forholder det sig anderledes. Hun føler sig friere som skygge i dødsriget end som levende kvinde. Bogen er oversat af Jørgen Herman Monrad og Judyta Preis, som også har skrevet efterordet.