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Elfriede Jelinek (2004 Nobel Prize in Literature) - Novels, Play
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Nobl Prize Literature Austria Piano Teacher
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Elfriede Jelinek (German: [ɛlˈfʀiːdə ˈjɛlinɛk]; born 20 October 1946) is an Austrian playwright and novelist. She was awarded the Nobel Prize in 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 clichés and their subjugating power."


The Piano Teacher, the most famous novel of Elfriede Jelinek, who was awarded the 2004 Nobel Prize in Literature, is a shocking, searing, aching portrait of a woman bound between a repressive society and her darkest desires.
Erika Kohut is a piano teacher at the prestigious and formal Vienna Conservatory, who still lives with her domineering and possessive mother. Her life appears to be a seamless tissue of boredom, but Erika, a quiet thirty-eight-year-old, secretly visits Turkish peep shows at night to watch live sex shows and sadomasochistic films. Meanwhile, a handsome, self-absorbed, seventeen-year-old student has become enamored with Erika and sets out to seduce her. She resists him at first, but then the dark passions roiling under the piano teacher's subdued exterior explode in a release of sexual perversity, suppressed violence, and human degradation.

Celebrated throughout Europe for the intensity and frankness of her writings and awarded the Heinrich Böll Prize for her outstanding contribution to German letters, Elfriede Jelinek is one of the most original and controversial writers in the world today. The Piano Teacher was made into a film, released in the United States in 2001, was awarded the Grand Jury Prize at Cannes.


Lust
In a quaint Austrian ski resort, things are not quite what they seem. Hermann, the manager of a paper mill, has decided that sexual gratification begins at home. Which means Gerti - his wife and property. Gerti is not asked how she feels about the use Hermann puts her to. She is a receptacle into which Hermann pours his juices, nastily, briefly, brutally. The long-suffering and battered Gerti thinks she has found her saviour and love in Michael, a student who rescues her after a day of vigorous use by her husband. But Michael is on his way up the Austrian political ladder, and he is, after all, a man



Wonderful, Wonderful Times

"That's brutal violence on a defenceless person, and quite unnecessary, declares Sophie, and she pulls with an audible tearing sound at the hair of the man lying in an untidy heap on the ground. What's unnecessary is best of all, says Rainer, who wants to go on fighting. We agreed on that."

It is the late 1950s. A man is out walking in a park in Vienna. He will be beaten up by four teenagers, not for his money, he has an average amount, nor for anything he might have done to them, but because the youths are arrogant and very pleased with themselves. Their arrogance is their way of reacting to the maggot-ridden corpse that is Austria where everyone has a closet to hide their Nazi histories, their sexual perversions and their hatred of the foreigner. Elfriede Jelinek, who writes like an angel of all that is tawdry, shows in Wonderful, Wonderful Times how actions of the present are determined by thoughts of the past.



Women as Lovers

The setting is an idyllic Alpine village where a woman's underwear factory nestles in the woods. Two factory workers, Brigitte and Paula, dream and talk about finding happiness, a comfortable home and a good man. They realize that their quest will be as hard as work at the factory. Brigitte subordinates her feelings and goes for Heinz, a young, plump, up-and-coming businessman. With Paula, feelings and dreams become confused. She gets pregnant by Erich, the forestry worker. He's handsome, so they marry. Brigitte gets it right. Paula gets it wrong. Using the conventions and language of romantic fiction, Elfriede Jelinek has written a moving tragedy whose power lies in its refusal to take at face value its characters' dreams and aspirations.


Sports Play


The first English translation of Nobel laureate Elfriede Jelinek's astonishing, provocative play, a post-dramatic theatrical exploration of the making, marketing and sale of the human body. It explores contemporary society's obsession with fitness and body culture, bringing into sharp focus our need to belong to a group, team, and nation

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