From the Nobel Prize-winning author .... Greed is the story of Kurt Janisch, an ambitious but frustrated country policeman, and the lonely women he seduces. It is a thriller set amid the mountains and small towns of southern Austria, where the investigation of a dead girl’s body in a lake leads to the discovery of more than a single crime. In her signature style, Jelinek chronicles the exploitative nature of relations between men and women, and the cruelties of everyday life.
With translation assistance and a foreword by Karen Juers-Munby First produced in 1998 at the famous Vienna Burgtheater, the remarkable and provocative Sports Play by Austrian playwright Elfriede Jelinek is a postdramatic theatrical exploration of the making, marketing and sale of the human body and of emotions in sport. It explores contemporary society’s obsession with fitness and body culture bringing into sharp focus our need to belong to a group, a team or a nation. Sport is seen as a form of war in peacetime.
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 monologue, 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. On the Royal Road brings into focus the phenomenon of right-wing populism. Carefully perched somewhere between tragedy and grotesque, high-pitched and squeamish, Jelinek in this work questions her own position and forms of resistance. 'Ms. Jelinek's play is a screed of outrage at the political, economic and cultural forces that have brought us to an unprecedented — and for many, unimaginable — moment of crisis for modern democracy. Mr. Trump is never mentioned by name, but the narration sketches an undisciplined, uncouth monarch who has been propped up by obscene wealth, a nonstop media circus and a remarkable talent for self-aggrandizing...[On the Royal Road] is neither a polemic nor a historical dramatization but an of-the-moment allegory for our deeply troubling political, social and economic reality.' — A. J. Goldmann, New York Times '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.' — The Guardian
This is a completely revised and updated edition which shows the reader how to take control of multiple sclerosis by using natural and medical therapies to prevent its progression.
Kurt Janisch is an ambitious but frustrated country policeman who talks to a lot of people in the line of duty, particularly women. Things go from bad to worse for Janisch and the women who fall for him. Someone sees and knows too much, and soon there's a body in a lake and a murderer to be caught.
Scritto nel 2002, il monologo Jackie, pur avendo una forte autonomia estetica e concettuale, è la quarta parte di una pentalogia dedicata a miti e figure femminili, raccolta in volume nel 2003 con l’allusivo titolo La morte e la fanciulla I-V. Drammi di principesse (di prossima pubblicazione per La nave di Teseo). Jacqueline Kennedy si rivolge al lettore situata in un altrove che non è la vita, dalla quale si è già congedata, e nemmeno un tradizionale aldilà trascendente, ma piuttosto l’indistinto immaginario in cui questa figura continua a esistere nell’epoca della comunicazione di massa. Nel dramma non troviamo infatti un personaggio colto in un momento centrale della sua esistenza, e nemmeno la coerente narrazione retrospettiva, svolta in prima persona, di una vita giunta al suo termine. Jackie parla al presente, come se gli avvenimenti a cui ha preso parte continuassero a svolgersi incessantemente. In un certo senso la sua voce sembra un commento fuori campo a una serie di celebri sequenze filmiche e fotografiche presenti nell’immaginario collettivo, fondamento della diffusa costruzione mitografica di Jacqueline Kennedy. Dalla prefazione di Luigi Reitani
A dozen years after the collapse of the Third Reich, four adolescents commit a gratuitously violent assault and robbery in a Viennese park. Among the group of young criminals in the park are Rainer Witkowski, a liar and a coward who fancies himself a poet, an intellectual and a leader of men, and his twin sister, Anna, who responds to rejection by losing her ability to speak. Their father, Otto, is a brutally sadistic, crippled ex-Nazi who takes pornographic pictures of his battered wife and whose sexual abilities are failing now that the aphrodisiac of Auschwitz is only a dim memory. He is unrepentant; history, he believes, has forgiven him. The son cites Sartre's proposition that history does not exist. But it does, and it repeats itself here in an explosion of sickeningly familiar violence.
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