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Die Ausgesperrten [Download] ➵ Die Ausgesperrten ➾ Elfriede Jelinek – Buyprobolan50.co.uk تشعل إلفريده يلينك صراعاً درامياً عارماً بين جيلين، جيل ينفصل بعنف عن جيل قديم، فتطلعنا على كيفية ظهور العنف تشعل إلفريده يلينك صراعاً درامياً عارماً بين جيلين، جيل ينفصل بعنف عن جيل قديم، فتطلعنا على كيفية ظهور العنف في النمسا منذ خمسينيات القرن العشرين، وتصفي حسابها مع أوزار كارثة النارية من خلال تجليات شخوصها المستبعدين من شريحة تلاميذ المدارس، والعمال المحيطين والمتشرزمين، وجماعات الفقراء المنسحقة، وهي تنتقم من أحد فلول النظام النازي ابتداءً من وصف تشوهه الجسدي والنفسي ومروراً بوصف روحه الفاسقة وانتهاء بقتله والتمثيل بجثة على يد ابنه.


About the Author: Elfriede Jelinek

The Piano TeacherShe was awarded the Nobel Prize in Literature in for her musical flow of voices and counter voices in novels and plays that, with extraordinary linguistic zeal, reveal the absurdity of society's clichés and their subjugating power.



10 thoughts on “Die Ausgesperrten

  1. M. Sarki M. Sarki says:

    http://msarki.tumblr.com/post/1049189...

    It is not surprising that Elfriede Jelinek religiously maintains her exact same tone throughout this fine and caustic work. Covered by molasses would be a fair analogy to the feeling I get as she expresses her cynicism, irony, and sarcasm in her clever use of dialogue and action. She is extremely facetious in all her chronological accountings. Even if most of her words somehow avoid a physical eruption in my body they still live as a drip inside my head. And because of her chosen words and depictions this book then proves to be one of the most violent books I have ever put my eyes to. Cormac McCarthy’s Judge in Blood Meridian, or the Evening Redness in the West has absolutely nothing over Jelinek the Writer. She is most brutal in her presentation and reasoning. Her justifications on the page are brutally honest attempts to seek the truth behind all behaviors. Sadly, for me, there are few instances, if any, when this book actually becomes a joy to read. It remains always difficult, and Jelinek seems to be challenging the reader to get beyond the typical desire to be suspended from reality and occasionally transported out of one’s life. She instead duly rams her diseased and harsh palpability into the face of every hungry reader looking for a better escape. Elfriede Jelinek is a force to be reckoned with. She is waiting.


  2. Shanmugam Shanmugam says:

    Suffering is for sissies, full blown hurting is order of the day!

    Anna despises two classes of people: first, those who own their own homes and have cars and families, and second, everybody else. Constantly she is on the verge of exploding. Pretty much sums up the tone of this novel.

    The setting is post-war Austria, late 1950s. After signing a treaty, occupied forces had left Austria. Bourgeois war criminals have been forgiven and taken back the reins of Austria again. Past fascist crimes and skeletons are comfortably hidden in closets. Economic bloom.

    Elfride Jelenik's 'Wondeful, Wonderful Times' explores a few weeks of four violent adolescents' activities. Novel starts with a violence, wherein these four youths attack and loot a complete stranger, out for walking in municipal park. The novel ends with an even more brutal violence. Rest of the fiction involves depicting darker sides of human beings. Compared to 'The Piano Teacher' and 'Lust', this novel has more characters, 7 to be precise. So, it naturally gives Ms. Jelenik more opportunities to explore filthy side of human beings in turmoil. And, she capitalized it wonderfully.

    The foursome is a worthy enough sample to explore class structures and conflicts. One (Hans) is from an working class family rooted in socialism, two (Rainer & Anna) are from a petite bourgeois family, whose father is an ex-SS. Remaining one (Sophie) is from an aristocratic family, which made fortunes during war time, using forced laborers. While Hans and Sophie could elude the madness because of aspiration for economic ascent and assured financial foundation respectively, it is an irony that Rainer and Anna gradually degenerate into ashes.

    Pessimism, Domestic abuse, Perversion, Misanthropism, Brutal crimes, Cowardice, Misunderstood Existentialism, Depression, House corners with piled up garbage, Dirt, Sweat, Hatred, Humiliation… About three fourth into the novel, paused a moment to wonder why was I reading this book. Do we really need these kind of books? Life is no fairy tale! And, life is not only of misery things either! However, not many dare to explore these dark areas. Of them, only a few can handle with surgeon like precision. Ms. Jelenik's impassive approach in this novel is really a rarity in fiction writing. Whereas 'A Clockwork Orange', Charles Bukawski's novels and other transgressive fictions sometimes tend to show crimes in glamorous light and tempt a reader into filthiness, Ms. Jelenik's characters at best emote only pity for them. You despise their acts, you despise their characters, but you never want to be one of them. Ms. Jelenik cleverly employs voices and mocking counter voices with a dry humor. Every other line makes you to laugh and cry at the same time.

    Do not get misled by the title, it is about anything but of wonderful times.


  3. Amy Amy says:

    Austria must be a really fucked up place. Granted, this perception is based almost solely upon the films of Michael Haneke, and now, the books of Elfriede Jelinek (who also wrote The Piano Teacher which Haneke made into a film)

    In this story, four intellectual and rebellious teenagers commit a series of violent crimes just for the sake of violence. In their spare time they misread existentialist works, go to school, have terrible family-lives, and some fuck people as a form of manipulation. The twins, Rainer and Anna are the most despicable and pathetic, but rich girl Sophie and lower class Hans are right up there. The characters are in no way meant to be sympathetic, and are meant to satirize post-war Austria; dealing with Nazi pasts, xenophobia, and sexual perversions.

    This book reads very much like a Haneke film, so for that reason, most certainly cannot be recommended to nearly anyone. However, if one finds those films interesting and has a stomach for disturbing scenes, then Wonderful Wondeful Times may be worth your attention.


  4. Sahil Sood Sahil Sood says:

    Wonderful, Wonderful Times
    “In reality I am revolted by my desires. But the desires are stronger than I am.”

    Music annihilates distinction: The indistinct chords promise the fine-tune of harmony, of melody, of strings, flutes, clarinets, and voices working in perfect order; while the distinct chords, forever straining under the musician’s adept fingers, revolt against the oppressive order; their harsh, inconsonant sounds in the milieu of musical grandiosity, struggle to remain stiff and alone, but alas, they must give away, the musician argues; the musician beats one more time, and the chords, both distinct and indistinct, sounding the beat of pleasure and pain, reach a crescendo; the musician smiles, the crowd applauses, the violence of annihilation fills them with ecstasy.
    Elfriede Jelinek’s “Wonderful, Wonderful Times”, set in the post-war Austria (late 1950s), which is struggling to get on its feet after a failed Socialist uprising and suffering the wounds of defeat in the Second World War, charts the story of four teenagers and how they spend their everyday lives engaging in wanton acts of cold-blooded violence. The novelization is haunting, for part it mostly focuses on the internal thoughts of characters, and the characters are an unlikeable lot. “People should not be beaten up for the reasons of hatred but for no reason at all, it should be an end in itself, admonishes her brother, Rainer.” The forewarning appears in the beginning of the novel, where the four teenagers assault an unguarded foreigner. While describing the attack, Jelinek makes every attempt to normalize it. The attack is seen as a direct result of the baggage of hatred the people of her country carry after the war. It’s important to keep the context in perspective while reading her novel.
    The events are described in astonishing fluidity. All sorts of perversions take place. The one-legged father beats up his wife and kids to make up for loss of his masculinity- possibly resulting from seeing the carnage of naked women and a failed Nazi uprising; he ogles in public, takes naked pictures of his wife, and uses every tool to inflict violence upon her. His son, Rainer, sworn to a life of an artist, which he sees as full of opportunities to assert one-self and create a cult of own, dabbles in existential literature and uses it to exhort others to rationalize their deviant urges. The teenagers, tired by the misery, drudgery, and squalor of the country, find refuge and freedom in their wanton acts. They steal, assault, and even kill. “We need the universally valid norm to get a kick out of our own extremeness.”
    Jelinek’s tone is hateful and repugnant. Be it an artist or a philistine, no one is spared. The acrid stench issues out of every word and pore of this book, till the bile is clogged in the reader’s throat. Yet she sustains it by her passion of reading into human behavior in times of desperation. She sees ‘filth’ as a natural phenomenon, if one is left to one’s wild, untamed instincts. “Every child is instinctively drawn towards filth, till you pull it back.”
    “Wonderful, Wonderful Times” is intensely harrowing. The final act of the book left me running for the covers. It’s steeped in decadence, violence, and sexual depravity and treats these as natural processes for understanding human mind and behavior. There are times when the book goes overboard and become a parody of it-self; but such instances are rare and are overshadowed by the brute force of Jelinek’s literary power. The teenagers are sexually voracious, self-willed, angry individuals who threaten and demonize the stifling order that enfolds them. This is the angriest and scariest book that I’ve ever read. Her work reverberates like chamber music. It doesn’t attempt to challenge anything. It only shows. In that way, it’s a spectacle: take it or leave it.

    https://sahilsood.wordpress.com/2015/...


  5. Nate D Nate D says:

    Simple declarative sentences, epigrammatically mapping a deep and troubling national malaise. Seriously, this just pours the vitriol. I wonder if it's possible that Jelinek hates Austria as much Bernhard? In any event these three stars are just my subjective enjoyment of this, which for some reason never fully clicked with the material, though Jelinek is clearly vital and essential. Will be checking out more, perhaps The Piano Teacher, of which the film version is utterly devastating.


  6. June June says:

    “And then there was that sentimental Hans Christian Andersen movie. The star killed himself and his wife and children because the wife was Jewish. Before he died he had one final opportunity to display his profoundly humane brand of humor, which was not a destructive sense of humor. That kind of humor only works if it comes from deep inside. Deep inside he was lacerated by fast-acting poison. Some people die less conspicuously and perhaps the torment they suffer is even greater. As it was, his innards were torn apart and all that remained to posterity of the Danish teller of fairy tales was celluloid. Something survived him, at any rate. What wonderful, wonderful times they were. Scorching hot desert sand.”

    Not one for the beach...


  7. Derek Derek says:

    Something of an unknown gem (at least here in the States), and easily the most pessimistic, nihilistic, unsettling, and harrowing book on this list, and perhaps holding on to those superlatives even if I extend it to every book I’ve read. Jelinek has an outstanding ear for characters’ interiority, especially useful here when those interiorities are so exaggeratedly disturbed. Set in Vienna in the late 1950s, and following the generation of young people whose parents were involved in the Second World War as Nazis, the novel delves into subjects most authors would flinch at. One such example, written from the point of view of a character’s father, a former officer with the Nazis:

    Taking an abrupt decision, the ex-officer (the things an officer has to be capable of, such as decisiveness!) goes into the kitchen to rape his wife, since he suddenly feels like it, but the cow makes an awkward movement as usual, and he slips on the tiles and falls to the floor with a crash. […] It’s his belief that the cause of the trouble is that the powerful stimuli he was flooded with as a younger man in the occupied eastern territories have been far weaker in recent years. Once you have seen the mountains of naked corpses, women among them, the charms of your housewife back home offer no more than a paltry temptation. (98)
    None of this would mean all that much--it would read as merely shocking for shock’s sake--but Jelinek imbues the characters with such realness that even exaggeratedly grotesque subjects such as these seem feasible, important, worth discussing. It helps, too, that the opening chapters of the novel can be used forever to demonstrate the efficacy of the third-person omniscient point of view. Given that there are four main characters, Jelinek swings between their perspectives with ease--sometimes even multiple times within a paragraph--in such a way that the book would seem downright impossible to write if she hadn’t done it this way. There are some strange formatting things I can’t make heads or tails of (some paragraphs are indented normally, others halfway across the page), but this might be a mere printing or translation error. But the quality of the book is surely in Jelinek’s command of her chosen POV, which even the best books can sometimes seem to not make full use of. In addition to making the narrative constantly engaging (by switching between characters, and seeing, at times, how one’s desire is subverted or ignored by another’s), she uses it to characterize extraordinarily well. Another example from later in the book, when Rainer, an eighteen-year-old delinquent who gets his pleasure from Camus and his ilk, is observing a café where grammar-school nobodies are conversing; Rainer is envisioning not only their current lives, but the lives they will come to lead:
    Sunshine and parents who get on well, visits to castles, farewells, sadness (though a twinkle of merriment in one eye because it is perfectly likely that we’ll meet again), siblings who help you cope by playing amusing parlour games, siblings who squabble and laugh as they do so, the piano, Debussy, Impressionist paintings, a lake, a sheep, the miller in the forest, golden clouds, rambles with a rucksack on your back. (182)
    She goes on like this for quite some time, notable because it’s one of the very few places with any light, any joy. And of course it’s only there to underscore what Rainer doesn’t have, can’t have, never will have. And so he hates all of it for that reason. Anyone familiar with Radiohead’s song “Fitter Happier” can see Jelinek doing that type of work over a decade earlier. Again, the book is unremittingly bleak, but shot through with such clear, descriptive, imaginative writing that Jelinek renders any complaint against it moot.


  8. Christian Engler Christian Engler says:

    Published in 1980, Wonderful Wonderful Times is a novel whose title is a complete contradiction to anything of what the book is indicative of. Understood and accepted. For me, however, it was a confirming piece of drip-drab fiction that only reiterated my original assessment of her after reading the perennial fan favorite, The Piano Teacher, a butcher job of a novel if ever there was one. This novel could take second honors, however.

    Set in the 1950s after WWII, Austria is trying to assume an air of normality and goodness, letting the past be the past and keeping the ghosts of history forcibly at bay. There are no spillover ramifications from the atrocities of war. In truth, that is untrue, but the character elders in Jelinek's stiff and poorly written and unconvincing novel would be hard pressed to have it otherwise, for their contaminated children are defects of a dark and wanted closeted history, poisoned brats who are extensions of the prior Hitlerian generation, perhaps a new lost generation.

    By using internal thoughts and musings, Jelinek creates a battered, soulless, snotty teen world, pumped up with lust and all the trappings that so commonly ensnare youths with their more-often-than-not unfounded angst and bitterness. Forget the dark nether reaches of the goth world and the escapist play games of the mentally demented, for the four direct characters: Rainer Witkowski, his sister Anna, Hans Sepp and Sophie, their world is the here and right now. It is the prowling and the attacking, the lying and the arrogant indifference, the self-absorption and the truthfulness in all the horror of the above said actions, the Nazi element being in all of those traits that fostered the cruel lunacy of human evil. The teens are not retaliatory of the past. They are a modernized re incarceration of it. And herein is Elfriede Jelinek's greatest shortcoming. Her plot is simply unconvincing and poorly strung together, an altogether limp and trite piece of nonsense, just like the unremarkable The Piano Teacher.

    The characters who have the potential for something greater are obviously stunted, even deliberately so, but their attempts at unmasking the hypocrisy of those in their immediate environment and even further away falls way too short, and no amount of ad-libbed justified philosophy as preached by Rainer compels those actions to be any more right than wrong. They are not preachers of reflection and healing. They are punks. They don't even come close. It is just too ridiculous and stupid, and I found myself saying, Give me a break! Mediocrity of this nature could be taught in a creative writing 101 class. This was dystopian fiction at its worst, and Anthony Burgess-were he still alive-could have taught Jelinek a thing or two.

    Not long ago, members of the Nobel Academy were asked if mistakes had been made in who had and who had not been selected to be a Nobel laureate, for Jelinek was so honored in 2004 for the musical flow of voices and counter-voices... Admittedly, he said yes, that errors had happened, first and foremost that Karen Blixen also known as Isak Diensen, the Danish authoress of Out of Africa was not chosen, that that was a big regret. He said that some authors should not have been selected, but he stopped short as to mentioning who specifically. It made me wonder if it was a not-too-subtle swipe at Jelinek's surprise selection, for an academy member did resign his post due to his very strong beliefs in her lack of literary merit. If a reader must pick up this book, be wowed not by its supposed merit and accolades, be stupefied by its pretentiousness and sloppiness.


  9. Mr. Mr. says:

    You can overlook a cripple deliberately, but not that tie.


  10. Brian Brian says:

    Elfriede Jelinek was born in Austria and won the Nobel Prize for Literature in 2004.

    It took me quite a few pages to understand and adapt to her writing style but once I did this book became an interesting but uncomfortable read. A decade and a half after WW2 and ex-Nazis and concentration camp survivors are left in the past with their terrible secrets while their children roam the streets of Vienna carving out a new and oft times more brutal society.

    This book reminded me of The Sailor Who Fell from Grace with the Sea minus the sailor. Kids can be real bad, and I don’t mean not eating their vegetables bad.

    A couple of lines that particularly stuck in my head:

    “Because everday life more often tends to destroy sensitivities than create them.”

    “Anna hits her forehead with her fist, but nothing comes out and nothing goes in either.”

    I’ve noticed that too. Even when I bang my head on my desk my thoughts stay imprisoned; neither being receptive or giving…


    I'll probably give this author a bit more attention. This book was crafted differently. The viewpoint roamed from one character to the next. Dialog was written without quotations or breaks in lines and who said what was indicated by name in parentheses. Reading the book, I felt like a little spirit flitting through the thoughts and actions of each character. This technique put me on the street with the players; I was part of their group. But getting that close to the characters was a bit uncomfortable... they were not likeable at all.


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