Piano Teacher Quotes

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Every day, a piece of music, a short story, or a poem dies because its existence is no longer justified in our time. And things that were once considered immortal have become mortal again, no one knows them anymore. Even though they deserve to survive.
Elfriede Jelinek (The Piano Teacher)
I tell you a secret about Chopin, piano is his best friend. More. He tells piano all his secrets.” - piano teacher Eleanora Sivan.
Anna Goldsworthy (Piano Lessons: A Memoir)
The first thing a proprietor learns, and painfully at that, is: Trust is fine, but control is better.
Elfriede Jelinek (The Piano Teacher)
And in the end, I think, we're all just trying to survive, aren't we?
Janice Y.K. Lee (The Piano Teacher)
Art and order, the relatives that refuse to relate.
Elfriede Jelinek (The Piano Teacher)
Sunday, the day for the language of leisure.
Elfriede Jelinek (The Piano Teacher)
No art can possibly comfort HER then, even though art is credited with so many things, especially an ability to offer solace. Sometimes, of course, art creates the suffering in the first place.
Elfriede Jelinek (The Piano Teacher)
Was there anything more intimate than being truly seen?
Janice Y.K. Lee (The Piano Teacher)
most expensive originals have cheap imitations.
Elfriede Jelinek (The Piano Teacher)
simple people. . . . listen to music with their hearts and enjoy it more than those who are spoiled, jaded, blase.
Elfriede Jelinek (The Piano Teacher)
Strictly speaking, there are no holidays for art; art pursues you everywhere, and that's just fine with the artist.
Elfriede Jelinek (The Piano Teacher)
Love isn’t stackable and interlocking, like boxes or Legos. Love is like a one-legged man standing on a three-legged chair that is placed on top of a two-legged piano. I should know, because I’m the guy trying to tune that piano, fix that chair, and affix a prosthetic leg to that guy—who happens to be my piano teacher. Mr. Balloonky, you get down from there now!

Jarod Kintz (This Book Title is Invisible)
Mr. Mancini had a singular talent for making me uncomfortable. He forced me to consider things I’d rather not think about – the sex of my guitar, for instance. If I honestly wanted to put my hands on a woman, would that automatically mean I could play? Gretchen’s teacher never told her to think of her piano as a boy. Neither did Lisa’s flute teacher, though in that case the analogy was obvious. On the off chance that sexual desire was all it took, I steered clear of Lisa’s instrument, fearing that I might be labeled a prodigy.
David Sedaris (Me Talk Pretty One Day)
the ignorant majority, which does however possess one thing in abundance: It is raring for a fight.
Elfriede Jelinek (The Piano Teacher)
Sicherheit erzeugt Angst vor dem Unsicheren.
Elfriede Jelinek (The Piano Teacher)
It was almost as if the incoming commander-in-chief had some sort of mental health problem. The kind of mental health problem that you would be disturbed to discover in your kid’s piano teacher, let alone the president of the United States of America
Al Franken (Al Franken, Giant of the Senate)
Her body is one big refrigerator, where Art is well stored.
Elfriede Jelinek (The Piano Teacher)
Manchmal scheitern wir in der Tat, und ich glaube fast, dieses prinzipielle Scheitern ist unser letztes Ziel.
Elfriede Jelinek (The Piano Teacher)
After all, people with a herd instinct hold mediocrity in high esteem. They praise it as having great value. They believe they are strong because they are the majority.
Elfriede Jelinek (The Piano Teacher)
...and he starts playing. Cora shouts, "DO ME, PIANO MAN!" And then a teacher swoops down and kicks us out.
Hannah Johnson (Know Not Why (Know Not Why, #1))
Only the TV sounds are real, they are the actual events. All the people around here experience the same things at the same time, except for some loner, who switches to the educational channel.
Elfriede Jelinek (The Piano Teacher)
Wer suchet, der findet Anstößiges, auf das er insgeheim hofft.
Elfriede Jelinek (The Piano Teacher)
Don't imagine that the art of poetry is any simpler than the art of music, or that you can please the expert before you have spent at least as much effort on the art of verse as the average piano teacher spends on the art of music. Be influenced by as many great artists as you can, but have the decency either to acknowledge the debt outright, or try to conceal it. Don't allow "influence" to mean merely that you mop up the particular decorative vocabulary of some one or two poets who you happen to admire.
Ezra Pound
Seek and you shall find the repulsive things you secretly hope to find.
Elfriede Jelinek (The Piano Teacher)
Vorsorge ist besser als das Nachsehen zu haben.
Elfriede Jelinek (The Piano Teacher)
Some mothers seem to have the capacity and energy to make their children's clothes, bake, give piano lessons, go to Relief Society, teach Sunday School, attend parent-teacher association meetings, and so on. Other mothers look upon such women as models and feel inadequate, depressed, and think they are failures when they make comparisons... Sisters, do not allow yourselves to be made to feel inadequate or frustrated because you cannot do everything others seem to be accomplishing. Rather, each should assess her own situation, her own energy, and her own talents, and then choose the best way to mold her family into a team, a unit that works together and supports each other. Only you and your Father in Heaven know your needs, strengths, and desires. Around this knowledge your personal course must be charted and your choices made.
Marvin J. Ashton
Money never goes out of fashion.
Elfriede Jelinek (The Piano Teacher)
I want you naked, sitting at my piano and rolling your hips like you’re fucking the notes.
Pam Godwin (Dark Notes)
Der Künstler geht dem bitteren Schenkeldruck der Wahrheit wie dem der Regel gern aus dem Weg.
Elfriede Jelinek (The Piano Teacher)
She will prolong her life by the length of her story, even though time will wear on inexorably as she tells it, thus depriving her of the chance to have a new experience.
Elfriede Jelinek (The Piano Teacher)
Halbwüchsige [...], die sich in der Welt schon abgehärtet haben, aber noch keine Verantwortung tragen, auch für ihre Körper nicht. Sie vertragen es, wenn Unten einmal Oben ist und umgekehrt.
Elfriede Jelinek (The Piano Teacher)
Gleich wird sie dieses Stück ihres Lebens bei einer Freundin und bei Rindfleisch mit Fisolen repetieren, das Leben gleichsam um diese kleine Spanne des darüber Berichtens verlängern, wäre nicht die Zeit während ihrer Erzählung, die ja ihrerseits unaufhaltsam verstreicht. Und der Dame damit Raum für neues Erleben nimmt.
Elfriede Jelinek (The Piano Teacher)
I pointed at, Something. He pointed at, Nothing. I pointed at, Something. Nobody pointed at, I love you. There was no way around it. We could not climb over it, or walk until we found its edge. I regret that it takes a life to learn how to live, Oskar. Because if I were able to live my life again, I would do things differently. I would change my life. I would kiss my piano teacher, even if he laughed at me. I would jump with Mary on the bed, even if I made a fool of myself. I would send out ugly photographs, thousands of them.
Jonathan Safran Foer
Der Herdeninstinkt schätzt ja überhaupt das Mittlere hoch ein. Er preist es als wertvoll. Sie glauben, sie seien stark, weil sie die Mehrheit bilden. In der mittleren Schicht gibt es keinen Schrecken, keine Furcht. Aneinanderdrängen sie sich um der Illusion von Wärme willen. Mit nichts ist man im Mittleren allein, mit sich selbst schon gar nicht.
Elfriede Jelinek (The Piano Teacher)
Alec pulled Magnus to the ground and dove out of the shower, sliding along the wet floor and slamming into the wooden closet doors on the other side of the wall. Awkwardly, he grabbed at the bottom of one of the doors and wrenched it open. Magnus had no idea until he saw Alec rise to his feet, seraph blade in hand. "Muriel." Before the Drevak could attack again, Alec launched himself toward the ceiling and executed a long forward slice. The two pieces of teh demon dropped to the floor behind him and vanished. "It's so weird that there's an angel Muriel," Magnus commented. "Muriel sounds like a disapproving piano teacher." He held up an imaginary seraph blade and intoned at it. "My great-aunt Muriel.
Cassandra Clare (The Red Scrolls of Magic (The Eldest Curses, #1))
Schein geht vor Sein [...]. Ja, die Realität ist wahrscheinlich einer der schlimmsten Irrtümer überhaupt. Lüge geht demnach vor Wahrheit [...]. Das Irreale kommt vor dem Realen. Und die Kunst gewinnt dabei an Qualität.
Elfriede Jelinek (The Piano Teacher)
The mob not only grabs hold of art without being entitled to do so, but it also enters the artist. It takes up residence inside the artist and smashes a few holes in the wall, windows to the outer world: The mob wants to be seen.
Elfriede Jelinek (The Piano Teacher)
The Ph.D is one of the chosen who know that some things can never be fathomed, no matter how hard you try. What good are explanations? There is no possibility of explaining how such a work [Mozart's Requiem, in the instance] could ever have come into being. (The same holds true for certain poems, which should not be analyzed either.)
Elfriede Jelinek (The Piano Teacher)
I try not to hate anybody. "Hate is a four-letter word," like the bumper sticker says. But I hate book reviewers. Book reviewers are the most despicable, loathsome order of swine that ever rooted about the earth. They are sniveling, revolting creatures who feed their own appetites for bile by gnawing apart other people's work. They are human garbage. They all deserve to be struck down by awful diseases described in the most obscure dermatology journals. Book reviewers live in tiny studios that stink of mothballs and rotting paper. Their breath reeks of stale coffee. From time to time they put on too-tight shirts and pants with buckles and shuffle out of their lairs to shove heaping mayonnaise-laden sandwiches into their faces, which are worn in to permanent snarls. Then they go back to their computers and with fat stubby fingers they hammer out "reviews." Periodically they are halted as they burst into porcine squeals, gleefully rejoicing in their cruelty. Even when being "kindly," book reviewers reveal their true nature as condescending jerks. "We look forward to hearing more from the author," a book reviewer might say. The prissy tones sound like a second-grade piano teacher, offering you a piece of years-old strawberry hard candy and telling you to practice more. But a bad book review is just disgusting. Ask yourself: of all the jobs available to literate people, what monster chooses the job of "telling people how bad different books are"? What twisted fetishist chooses such a life?
Steve Hely (How I Became a Famous Novelist)
That's the beginning of how it all changes. We become survivors or not.
Janice Y.K. Lee (The Piano Teacher)
[D]amit das Kind den Weg durch Intrigen auch findet, schlägt sie an jeder Ecke Wegweiser in den Boden und Erika gleich mit, wenn diese nicht üben will.
Elfriede Jelinek (The Piano Teacher)
Với tâm trạng hồ hởi, Erika nói suy cho cùng bản chất của tình yêu cũng chính là cực điểm của sự tầm thường.
Elfriede Jelinek (The Piano Teacher)
Người đàn bà có thôi thúc trao tặng tất cả tình yêu và giữ tỉ giá.
Elfriede Jelinek (The Piano Teacher)
Najperverznije što je ljudsko biće dosada smislilo, ali i vidjelo, medo je na biciklu.
Elfriede Jelinek (The Piano Teacher)
Who am I?" I try one last time. "Your housekeeper? Your piano teacher?" "You're Shortcake" he says simply.
Sally Thorne (The Hating Game)
It took you twelve years to see that being “good” had gotten your piano teacher everywhere and you nowhere at all. So you decide, for the first time in your life, that you aren’t going to be one of the good girls anymore. You decide that “good” is not an adjective that ought to be applied to a person, as it only rendered you inanimate and inhuman, like a piece of cheese or a watercolor painting.
Roxane Gay (Not That Bad: Dispatches from Rape Culture)
Erica tem receio que tudo fique como está e tem receio que algo se possa vir a alterar. Luta violentamente para conseguir respirar, uma espécie de ataque de asma, e depois não sabe que fazer com tanto ar.
Elfriede Jelinek (The Piano Teacher)
One of the most corrosive aspects of the criminal justice system is its toleration of the insanity defense...Legitimate in some few cases, the insanity defense has been rendered farcical through its manipulation by so-called experts.
Robert K. Tanenbaum (The Piano Teacher: The True Story of a Psychotic Killer)
(...)não sabe como pode amor ser tão mal recompensado, que é como quem diz o seu amor. Esperamos sempre do nosso trabalho a recompensa. Acreditamos que o trabalho dos outros não precisa de ser recompensado, esperamos poder pagá-lo mais barato.
Elfriede Jelinek (The Piano Teacher)
Էրիկան նման է սաթի միջի միջատի՝ ժամանակից դուրս, տարիքից դուրս: Էրիկան պատմություն չունի, և նա ուրիշի պատմությունների մեջ չի խառնվում: Այս միջատը լիովին կորցրել է վազելու և սողալու ընդունակությունը: Էրիկան ապրում է անսահմանության կոճղակաղապարի մեջ տապակված:
Elfriede Jelinek (The Piano Teacher)
I understood where I had come from: from a dreary tangle of sadness and pretense, of longing, absurdity, inferiority and provincial pomposity, sentimental education and anachronistic ideals, repressed traumas, resignation, and helplessness. Helplessness of the acerbic, domestic variety, where small-time liars pretended to be dangerous terrorists and heroic freedom fighters, where unhappy bookbinders invented formulas for universal salvation, where dentists whispered confidentially to all their neighbors about their protracted personal correspondence with Stalin, where piano teachers, kindergarten teachers, and housewives tossed and turned tearfully at night from stifled yearning for an emotion-laden artistic life, where compulsive writers wrote endless disgruntled letters to the editor of Davar, where elderly bakers saw Maimonides and the Baal Shem Tov in their dreams, where nervy, self-righteous trade-union hacks kept an apparatchik's eye on the rest of the local residents, where cashiers at the cinema or the cooperative shop composed poems and pamphlets at night.
Amos Oz (A Tale of Love and Darkness)
Snobs by Julian Fellowes The Piano Teacher by Janice Y. K. Lee People Like Us by Dominick Dunne The Power of Style by Annette Tapert and Diana Edkins (this is out of print; I will lend you my copy) Pride and Avarice by Nicholas Coleridge The Soong Dynasty by Sterling Seagrave Freedom by Jonathan Franzen D. V. by Diana Vreeland A Princess Remembers: The Memoirs of the Maharani of Jaipur by Gayatri Devi Jane Austen—complete works beginning with Pride and Prejudice Edith Wharton—The Custom of the Country, The Age of Innocence, The Buccaneers, The House of Mirth (must be read in strict order—you will understand why when you finish the last one) Vanity Fair by William Makepeace Thackeray Anna Karenina by Leo Tolstoy Brideshead Revisited by Evelyn Waugh Anthony Trollope—all the books in the Palliser series, beginning with Can You Forgive Her?
Kevin Kwan (China Rich Girlfriend (Crazy Rich Asians, #2))
Ժամանակը Էրիկայի շուրջը աստիճանաբար գիպսի պես կարծրանում է: Այն անմիջապես փշրվում է, երբ մայրը բռունցքով կոպտորեն հարված է հասցնում դրան: Նման դեպքերում Էրիկան նստում է՝ ասես իր նուրբ պարանոցի շուրջը ժամանակի գիպսե օրթոպեդիկ օձիքի փշրված մնացորդներով, և համոզում ինքն իրեն. ես արդեն պետք է տուն գնամ:
Elfriede Jelinek (The Piano Teacher)
The teacher was asking her students what their parents did for a living, and Timmy stood up and said, “My daddy’s a doctor and my mommy’s a doctor too.” And little Sarah stood up and said, “My mommy’s an engineer and my daddy’s an accountant.” And then little Billy stands up and says, “My mommy’s a writer and my daddy plays the piano in a whorehouse.” The teacher was horrified and later she called Billy’s father, and said, “Why would you ever tell your child a thing like that?” And the father said, “Well, actually I’m a defense lawyer. But how do you explain a thing like that to a seven-year-old?
Garrison Keillor (A Prairie Home Companion Pretty Good Joke Book)
My mother, who is a pianist and a fine artist, purchased a piano for me. Twice. This was back when I was a small girl. Pianos, of course, came complete with the quintessential piano teacher who whacked my hand with a stick each time I struck the wrong key. I learned a few pieces, yes, but eventually my pen compelled me to write too much and the sound of the leaves rustling in the wind compelled me to climb trees too often. Sorry mom. Coincidentally, books come from trees and flipping the pages sounds like wind through leaves... hhhmmmm... I guess I’m still just climbing trees now, but in a different way!
C. JoyBell C.
I regret that it takes a life to learn how to live, Oskar. Because if I were able to live my life again, I would do things differently. I would change my life. I would kiss my piano teacher, even if he laughed at me. I would jump with Mary on the bed, even if I made a fool of myself. I would send out ugly photographs, thousands of them.
Jonathan Safran Foer (Extremely Loud & Incredibly Close)
I regret that it takes a life to learn how to live, Oskar. Because if I were able to live my life again, I would do things differently. I would change my life. I would kiss my piano teacher, even if he laughed at me. I would jump with Mary on the bed, even if I made a fool of myself. I would send out ugly photographs, thousands of them.
Extremely Loud & Incredibly Close
ONA se oseća isključeno iz svega, jer je isključena iz svega. Drugi idu dalje, čak se i penju preko nje. Tako malu prepreku predstavlja ona. Putnik odlazi, ali ona ostaje, kao mastan papir od sendviča, da leži na putu, u najboljem slučaju malo vijori na vetru. Papir ne može daleko, on truli na licu mesta. To truljenje zahteva godine, godine bez promena.
Elfriede Jelinek (The Piano Teacher)
Նա սովոր է մտածել, բայց ոչ գործել։ Հերմետիկ փակվածությունը նրան պարգևներ չբերեց։
Elfriede Jelinek (The Piano Teacher)
We are what we repeatedly do. Excellence, then, is not an act, but a habit.” Will Durant
Nicola Cantan (The Piano Practice Physician's Handbook: 32 Common Piano Student Ailments and How Piano Teachers Can Cure Them for GOOD (Books for music teachers))
Many young people are still driven to art, as in olden times. Most of them are driven by their parents, who know nothing about art—only that it exists.
Elfriede Jelinek (The Piano Teacher)
By not encouraging injuries, a mother avoids having to close wounds later on. Erika's mother prefers inflicting injuries herself, then supervising the therapy.
Elfriede Jelinek (The Piano Teacher)
Mentally damaged people need more room than the normal sort, they can't be put off with excuses, and they need at least as much space to run around in as a medium-sized sheep dog.
Elfriede Jelinek (The Piano Teacher)
I had a strong bias in favor of Russian scientists; many can be put to active use as chess coaches (I also got a piano teacher out of the process). In addition, they are extremely helpful in the interview process. When MBAs apply for trading positions, they frequently boast “advanced” chess skills on their résumés. I recall the MBA career counselor at Wharton recommending our advertising chess skills “because it sounds intelligent and strategic.” MBAs, typically, can interpret their superficial knowledge of the rules of the game into “expertise.” We used to verify the accuracy of claims of chess expertise (and the character of the applicant) by pulling a chess set out of a drawer and telling the student, now turning pale: “Yuri will have a word with you.
Nassim Nicholas Taleb (Fooled by Randomness: The Hidden Role of Chance in Life and in the Markets (Incerto Book 1))
Es gibt sicher schönere Gegenden zum Reiten, doch nirgendwo wird man von so vielen unschuldigen Familien mit unschuldigen Kindern und Hunden an der Leine bestaunt, die sagen: Jö ein Pferterl, auf dem auch sie gern reiten möchten, wofür sie eine Ohrfeige bekommen, wenn sie zu lautstark insistieren. Das können wir uns nicht leisten. Zum Ersatz wird dann der Bub oder das Mädel auf das schaukelnde Plastikpferd vom Ringelspiel gepflanzt, wo sie gellend weiterplärren. Daraus könnte das Kind etwas lernen, nämlich dass es für die meisten Dinge billige Kopien gibt, die ihm vorbehalten bleiben.
Elfriede Jelinek (The Piano Teacher)
Երբ Էրիկան ամիսը մեկ մի որևե սրճարան է նստում, մայրը գիտի, թե որում, և կարող է այնտեղ զանգահարել: Այդ իրավունքից նա ազատորեն օգտվում է: Տնային արտադրության անվտանգության օրենքների և սովորությունների մի ամբողջ զինանոց:
Elfriede Jelinek (The Piano Teacher)
Der bequeme Fernsehstuhl breitet weit die Arme aus, leise ertönt die Signation zur Zeit im Bild, nüchtern regt sich der Nachrichtensprecher über seiner Krawatte. Auf dem Beistelltisch in beispielgebender Fülle und Buntheit eine sortierte Schüsselsammlung mit Naschereien, aus der sich die Damen abwechselnd oder zugleich bedienen. Wenn sie leer ist, wird sie sogleich nachgefüllt, es ist wie im Schlaraffenland, wo auch nichts zuende geht und nichts anfängt.
Elfriede Jelinek (The Piano Teacher)
well, David Bayles, to be exact — who began piano studies with a Master. After a few months’ practice, David lamented to his teacher, “But I can hear the music so much better in my head than I can get out of my fingers.” To which the Master replied, “What makes you think that ever changes?
David Bayles (Art & Fear: Observations on the Perils (and Rewards) of Artmaking)
She wondered how those fingers would feel sifting through her hair, stroking the side of her face, sliding over the skin of her neck down to her breasts, playing her like the piano she’d seen him on that first night. Her nipples pebbled. “That’s not a look you give your teacher, little crow.
RuNyx (Gothikana)
Եթե ժողովրդական ալեկոծությունը դուրս է հրում ՆՐԱՆ կանգառում, որը հեռու է տնից, նա իրոք հնազանդորեն լքում է վագոնը զուսպ կատաղության թանձրուկը, որը կուտակվել է սեղմված փոքրիկ բռունցքների մեջ, իսկ հետո զսպվածորեն սպասում է հաջորդ տրամվային, որը հայտնվում է նույնչափ հաստատապես ու ժամանակին, ինչպես աղոթքում «Ամեն»-ը
Elfriede Jelinek (The Piano Teacher)
Ali za ljubavnog čina ni jedna žena ne ostaje u tom uzvišenom položaju. Vrlo brzo i šarmantno mlada si gospoda uzimaju neka prava koja vrijede izvan njihova stana. Ženi odjednom zaboravljaju pridržati vrata, a do-godi li joj se neka nespretnost, obasiplju je porugom. Zatim joj počinju lagati, počinju je varati i mučiti te je napokon prestaju nazivati. Namjerno se ne žele očitovati o svojim namjerama.-Slijede dva-tri pisma na koja ne žele odgovoriti. Žena čeka i čeka, no čeka uzalud. I ne pita se zašto čeka, jer se odgovora boji više od čekanja. A za to vrijeme muškarac u nekom drugom životu odlučno počinje obrađivati neku drugu ženu.
Elfriede Jelinek (The Piano Teacher)
Bio je to izbor od kojega ju je majka odmah pokušala odvratiti. Majka je znala da njeno dijete takvom vrstom glazbe neće uspjeti osvojiti srca mase, koju su i majka i dijete oduvijek prezirale, ona prva zato što je oduvijek bila malen, beznačajan dio te mase, a potonja jer se od početka trudila da ne postane takav mali, beznačajni dio.
Elfriede Jelinek (The Piano Teacher)
Քլեմերը բացարձակապես չի ցանկանում, որ լուրը տարածվի կոնսերվատորիայով մեկ, քանի որ նա սովորաբար առավել թարմ արոտավայրերում է արածում։ Իսկ սերը միայն այն ժամանակ է ուրախություն բերում, երբ քեզ նախանձում են այն անձի պատճառով, ում դու սիրում ես։ Կոնկրետ տվյալ դեպքում ամուսնությունը բացառվում է։ Բարեբախտաբար, Էրիկան մայր ունի, որը թույլ չի տա նրան ամուսնանալ։
Elfriede Jelinek (The Piano Teacher)
So what are your intentions toward my daughter?” Mom asks. “She’s still in love with her ex-husband, you know. Owen. A doctor. He and his wife just had a baby.” “I’m really not, Mom. But thanks for sharing.” “I’ve met Owen. I wasn’t impressed.” Leo raises his eyebrows and leans back in his chair. The gauntlet has been thrown. “Not impressed with Owen?” Mom squeaks. “He’s wonderful! He’s a doctor. You should see his work. He changes lives.” “He dumped your daughter.” “Now, now,” I say, pouring wine into Leo’s glass. “You’ll dump me, too, someday.” Mom huffs. “Then, honey, why are you wasting your time with this… piano teacher?” “She has needs,” Leo says. “Physical needs. You understand, right, Lenore?” She glares. I bite down on a smile.
Kristan Higgins (If You Only Knew)
Ona se osjeća isključena iz svega, jer i jest isključena iz svega. Drugi idu naprijed penjući se pritom preko nje. Čini se da je ona jedina prepreka na putu. Šetači prolaze, a ona ostaje ležati poput odbačena zamašćena papira koji otpuhuju naleti vjetra. Zamašćen papir ne može daleko odletjeti; trune ondje gdje je. A proces raspadanja traje godinama, koje se bezlično nižu.
Elfriede Jelinek (The Piano Teacher)
SOCIAL/GENERAL ICEBREAKERS 1. What do you think of the movie/restaurant/party? 2. Tell me about the best vacation you’ve ever taken. 3. What’s your favorite thing to do on a rainy day? 4. If you could replay any moment in your life, what would it be? 5. What one thing would you really like to own? Why? 6. Tell me about one of your favorite relatives. 7. What was it like in the town where you grew up? 8. What would you like to come back as in your next life? 9. Tell me about your kids. 10. What do you think is the perfect age? Why? 11. What is a typical day like for you? 12. Of all the places you’ve lived, tell me about the one you like the best. 13. What’s your favorite holiday? What do you enjoy about it? 14. What are some of your family traditions that you particularly enjoy? 15. Tell me about the first car you ever bought. 16. How has the Internet affected your life? 17. Who were your idols as a kid? Have they changed? 18. Describe a memorable teacher you had. 19. Tell me about a movie/book you’ve seen or read more than once. 20. What’s your favorite restaurant? Why? 21. Tell me why you were named ______. What is the origin of your last name? 22. Tell me about a place you’ve visited that you hope never to return to. get over your mom’s good intentions. 23. What’s the best surprise you’ve ever received? 24. What’s the neatest surprise you’ve ever planned and pulled off for someone else? 25. Skiing here is always challenging. What are some of your favorite places to ski? 26. Who would star as you in a movie about your life? Why that person? 27. Who is the most famous person you’ve met? 28. Tell me about some of your New Year’s resolutions. 29. What’s the most antiestablishment thing you’ve ever done? 30. Describe a costume that you wore to a party. 31. Tell me about a political position you’d like to hold. 32. What song reminds you of an incident in your life? 33. What’s the most memorable meal you’ve eaten? 34. What’s the most unforgettable coincidence you’ve experienced or heard about? 35. How are you able to tell if that melon is ripe? 36. What motion picture star would you like to interview? Why? 37. Tell me about your family. 38. What aroma brings forth a special memory? 39. Describe the scariest person you ever met. 40. What’s your favorite thing to do alone? 41. Tell me about a childhood friend who used to get you in trouble. 42. Tell me about a time when you had too much to eat or drink. 43. Describe your first away-from-home living quarters or experience. 44. Tell me about a time that you lost a job. 45. Share a memory of one of your grandparents. 46. Describe an embarrassing moment you’ve had. 47. Tell me something most people would never guess about you. 48. What would you do if you won a million dollars? 49. Describe your ideal weather and why. 50. How did you learn to ski/hang drywall/play piano?
Debra Fine (The Fine Art of Small Talk: How to Start a Conversation, Keep It Going, Build Networking Skills and Leave a Positive Impression!)
Majka svaki put ustraje u tomu da se prilikom tzv. -»davanja koncerata«, koji su slatka nagrada za uporno vježbanje, širom otvore prozori na kući kako bi u čarobnim melodijama mogli uživati svi susjedi. Majka i baka tada stoje pored prozora, naoružane dalekozorom, i s visine svoga brijega promatraju jesu li susjeda i cijela njena obitelj sjeli pored stare mačke na klupčicu ispred kuće poslušno slušajući »koncert«.
Elfriede Jelinek (The Piano Teacher)
Drama and comedy are the polite genres, founded on collectively agreed-upon ideas, perceptions and truths. But life, as subjectively experienced, is not like comedy or drama; it is much more disorganized and grand, intimidating and embarrassing. It is much more like opera and farce. Opera shows how we really feel at our most pained or selfish or exultant, and farce reveals how we receive the world in its raw, unsifted form. Or to put it another way, opera is how we really feel about ourselves. Farce is how we really feel about strangers. And both genres tell the true story of life as it is lived. The Piano Teacher, neither comedy nor drama, was both opera and farce, with Huppert as both diva and farceuse. Throughout, Huppert believes and gives passionately, and yet stands back, in full awareness. Life is more than we think, bigger but also ridiculous.
Mick LaSalle (The Beauty of the Real: What Hollywood Can Learn from Contemporary French Actresses)
O que é sensível tem de morrer pelo fogo, qual borboleta frágil da noite. E é por isso, diz Erika Kohut, que estes dois seres doentes à mais alta escala, isto é, Schumann e Schubert, irmanados pela partilha do mesmo prefixo, são os que têm um lugar mais próximo do meu coração dilacerado. Não o Schumann a quem já todos os pensamentos desertaram, mas o Schumann, mesmo mesmo antes disso ter acontecido! Uma unha negra antes disso! Ele já adivinha a deserção do seu espírito, já sofre com isso até aos seus vasos mais capilares, despede-se já da sua vida consciente, embrenhando-se pelos coros dos anjos e dos demónios, segura-se, porém, mais uma última vez, não mais possuidor da sua total consciência. Ainda um perscrutar nostálgico mais, o luto pela perda do bem mais precioso: ele próprio. A fase em que ainda se sabe o que em si próprio se perde, antes de renunciar por completo.
Elfriede Jelinek (The Piano Teacher)
But later that night, as I brush my teeth in the bathroom, I overhear Baba and Thaya Jaan talking in the guest room next door. “ All this music all the time. You shouldn’t let Amina do so much singing and piano,” Thaya Jaan says. I stop brushing and strain to hear every word, trying to follow. “But, Bhai Jaan, she is so talented. Her music teachers say she is really quite gifted.” “Yes, but music is forbidden in Islam. It’s a waste of time and has no benefit. Instead of filling her head with music, she should focus on memorizing Quran.” The toothpaste suddenly tastes bitter. I spit it out and wait to hear what Baba will say. Surely he’ll say the things he’s always told me, like how music makes him feel closer to God and that my talent is a gift from Allah. But all Baba says is, “Yes, Bhai Jaan,” and then he stays quiet. I am numb. Is Thaya Jaan right? Am I doing something wrong?
Hena Khan (Amina's Voice)
Pa i reproduciranje je jedan oblik stvaralaštva. Oni koji sviraju uvijek začinjaju juhu svoga sviranja nečim vlastitim, nečim što pripada samo njima. Njihova krv struji tom glazbom. Svaki izvođač ima svoj skromni cilj: dobro svirati. No i izvođač se mora podrediti autoru glazbe koju izvodi, kaže Erika. Priznaje da joj je to problem. Jer ona se nikako ne može podrediti. Njen je glavni cilj isti kao i cilj svih ostalih izvođača: biti bolji od ostalih!
Elfriede Jelinek (The Piano Teacher)
Majka pak, bez prethodne najave, otvara poklopac na NJENOJ glavi, rukom samouvjereno poseže unutra i počinje pre¬kapati i rovati. Sve razbaca i ništa ne vrati na svoje mjesto. Nakon kraćeg vremena izvuče nešto što joj se svidjelo, promatra to pod povećalom, a zatim odbaci. Inače majka dru¬gačije postupa i dijelove koje je izvadila najprije snažno iščetka, a zatim očisti spužvom i krpom. Potom energičnim pokretima osuši kotačić i, očišćenog, ponovo ga vraća u glavu. Kao da je nožić u stroju za mljevenje mesa.
Elfriede Jelinek (The Piano Teacher)
Het hoofd van een meisje van een jaar of vier wordt door een moederlijke orkaanoorvijg achterovergeslagen en roteert eventjes hulpeloos als een duikelaartje dat zijn evenwicht heeft verloren en daarom de grootst mogelijke moeite heeft weer overeind te komen. Eindelijk staat het kinderhoofdje weer loodrecht boven de wervelkolom, en het laat vreselijke geluiden horen, waarop het door de ongeduldige vrouw weer uit het lood wordt geslagen. Het kinderhoofdje is nu al gekleurd met onzichtbare inkt, de moeder is nog veel erger dingen van plan. Zij, de vrouw, moet zware tassen sjouwen en zou dat kind het liefst zien verdwijnen door een rioolrooster. Om het kind te kunnen mishandelen moet zij namelijk elke keer even de zware tassen op de grond zetten, en dat betekent extra werk. Die kleine moeite lijkt het haar echter wel waard. Het kind leert de taal van het geweld, maar het leert niet vlot en onthoudt ook op school niets. Een paar woordjes, de allernodigste, beheerst het reeds, al kan men ze bij dat gedrein slechts gedeeltelijk verstaan.
Elfriede Jelinek (The Piano Teacher)
Erika tako snažno stisne ruku uz tijelo da ruka druge glazbenice ne može probiti zid koji stvaraju Erikina ruka i tijelo pa kolegica, obeshrabrena, odustaje. Za takvu osobu svi kažu da je izrazito zatvorena. Pa joj se nitko i ne približava. Zaobilaze je. Radije nešto odgode i pričekaju samo da s njom ne bi morali imati posla. Neki ljudi glasno na sebe skreću pozornost, ali ne i Erika. Neki pritom čak i mašu, ali ne i Erika. Ima takvih i onakvih. Neki skakuću na mjestu, jodlaju i viču. Ali ne i Erika. Jer oni znaju što žele. Ali ne i Erika.
Elfriede Jelinek (The Piano Teacher)
Մայրը զգուշացնում է նրան ծուռումուռ ուղիների մասին։ Երբ մայրը նրա քթի դիմաց չի ցնցում հաջողության աստիճանները, որոնք տանում են դեպի վեր, նա պատի վրա նախշում է սարսափելի ուրվականների ստվերապատկերները, ովքեր բարոյական զանցանքի հետևանքով խոր անկում են ապրել։ Այս դեպքում ավելի լավ են արվեստի բարձունքները, քան սեքսի ձորակները։ Արվեստագետը, հակառակ նրա անզսպության մասին տարածված կարծիքի, պարտավոր է մոռանալ իր սեռական զգացմունքի մասին, կարծում է մայրը։ Եթե նա ի վիճակի չէ այդպես վարվել, ապա ճիշտ այնպիսին է, ինչպիսին բոլոր մյուս մարդիկ, իսկ այդպես չպետք է լինի։
Elfriede Jelinek (The Piano Teacher)
Քլեմերը՝ քրտինքից խոնավացած ձեռքով սեղմելով նամակը, իսկ մյուս ձեռքով երկչոտությամբ շոշափելով ուսուցչուհուն, ինչպես հավին, որը նա պատրաստվում է գնել, սակայն նախևառաջ խնդրում է հայտնել գինը և ծանրութեթև է անում՝ համապատասխանո՞ւմ է արդյոք գինն ածանի տարիքին։ Քլեմերը չգիտի, թե ինչպիսի հատկանիշներով են որոշում հավի տարիքը, որին գնում են ապուրի կամ տապակայի համար։ Իր ուսուցչուհու տեսքից նա կարող է հեշտորեն որոշել, քանի որ ինքն աչքեր ունի, նա վաղուց արդեն երիտասարդ չէ, բայց բավական լավ է պահպանվել։ Նրան լիովին կարելի էր անվանել ախորժալի, եթե միայն որոշ չափով հանգած հայացք չունենար։
Elfriede Jelinek (The Piano Teacher)
Sjedi sama u sobi, odvojena od mase, koja je na nju i zaboravila, jer Erika gotovo da je bestjelesna. Nikome ne smeta svojom prisutnošću. Iz debelog zamotuljka pažljivo razmotava britvicu. Njena joj se oštrica smiješi kao zaručnik zaručnici. ERIKA oprezno isprobava britku oštricu. Zatim britvicom više puta svom snagom pritišće o nadlanicu, ali ne preduboko, tako da ne povrijedi tetive. Uopće ne osjeća bol. Metal s lakoćom prodire u tkivo kao da je maslac. Na površini do maloprije nedirnute nadlanice nekoliko trenutaka zjapi prorez sličan onome na štednoj kašici, iz kojega polako počinje navirati s mukom zadržavana krv. Ukupno je napravila četiri reza. To je dovoljno, jer bi inače iskrvarila. Nakon toga britvicu pažljivo briše i sprema. Cijelo to vrijeme svijetlo crvena krv polako škropi i curi iz rana prljajući pod ispod Erike. Njena topla krv kaplje bešumno i nimalo neugodno. Slijeva se niz nadlanicu u gustim potočićima. I ne prestaje. Erikina je krv sve oko sebe obojila lijepom crvenom bojom. Četiri su to reza, iz kojih neumorno lipti krv. Na podu i plahti četiri se potočića slijevaju u veliki potok. Samo slijedi suzu, ovaj potočić je tebi spas. Već se stvorila lokvica krvi. A krv teče i teče. Teče, i teče, i teče, i teče.
Elfriede Jelinek (The Piano Teacher)
I could do anything—be anything. I could be a blackberry farmer. I could worry about phone bills and nipping out to the corner shop for milk and bread of a morning. Little Declan Jr. could learn to walk and talk with his real father, alive and well, and I could teach him how to wear a waistcoat with just the right amount of tragic charm, take him to school in a few years, maybe makehim a little sister to look out for, someone to keep him on his toes. He could play a sport—tennis, maybe, or football. I’d attend parent-teacher meetings and have after-work drinks with the neighbors, talking about how well so-and-so is doing, and why yes, Declan Jr. is learning to play the piano. Top of his class, you know—he has his mother’s grace… I could see all of that, as clear in my mind as sunlight on fresh snow, and so much more. Just living day to day. One morning we could have picnics, my family and I, next to blue glacial lakes. One afternoon my son would be old enough to meet a girl, get in a fight, need to shave. One evening his sister will need help with her homework, and he’ll complain, but he’ll help. And then one day the Elder Gods would descend from a blood-red sky in chariots lashed together from bone and flame and take away all my blackberries.
Joe Ducie (Knight Fall (The Reminiscent Exile, #3))
Naučit će on nju da zavoli i prihvati svoje tijelo, koje je tako dugo nijekala. S puno će je obzira naučiti svemu što se u ljubavi mora znati, a poslije će prijeći na unosnije ciljeve i teže zadaće, kada je riječ o razotkrivanju vječne zagonetke kakva je žena. Pritom će za promjenu on njoj biti učitelj. Ne sviđaju mu se njene tamnoplave plisirane suknje i strogi kroj njenih bluza kakve neprestano nosi da ne bi, valjda, naglasila svoju figuru. Mladenački i šareno, tako bi se trebala oblačiti! Nositi različite boje! On će joj objasniti što razumijeva pod pojmom boje. Pokazat će joj što znači biti mlad i ukusno odjeven i znati se tomu veseliti. A kada shvati koliko je zapravo mlada, ostavit će je zbog mlade žene.
Elfriede Jelinek (The Piano Teacher)
Sve mi se čini da je taj zgodni dečko u tebe zaljubljen, zajedljivo komentira majka dok odlaze s konzervatorija, gdje ju je majka nakon nastave dočekala, kako bi dvije dame, ruku pod ruku i uopće vrlo komplicirano povezane, prošetale središtem grada. Jako je važno i kakvo je vrijeme, jer o tomu ovisi kojim će putem dame krenuti. U izlozima ima puno toga što privlači pozornost prolaznika, a što Erika nikako ne smije vidjeti. Upravo je zato majka dočekuje nakon posla. U izlozima su elegantne cipele, torbice, šeširi i nakit. Majka odvlači Eriku na drugu stranu, opravdavajući duži put lijepim vremenom. Osim toga, u parku se već rascvjetalo cvijeće, ruže i tulipani, a ni oni još nisu odabrali svoje halje. Majka govori Eriki o prirodnoj ljepoti, koja ne treba nikakve dodatne ukra¬se. Pa Erika je prirodno lijepa, ma kakva da je. Sto će joj sve te bezvrijedne krpice?
Elfriede Jelinek (The Piano Teacher)
The important parts of my story, I was realizing, lay less in the surface value of my accomplishments and more in what undergirded them—the many small ways I’d been buttressed over the years, and the people who’d helped build my confidence over time. I remembered them all, every person who’d ever waved me forward, doing his or her best to inoculate me against the slights and indignities I was certain to encounter in the places I was headed—all those environments built primarily for and by people who were neither black nor female. I thought of my great-aunt Robbie and her exacting piano standards, how she’d taught me to lift my chin and play my heart out on a baby grand even if all I’d ever known was an upright with broken keys. I thought of my father, who showed me how to box and throw a football, same as Craig. There were Mr. Martinez and Mr. Bennett, my teachers at Bryn Mawr, who never dismissed my opinions. There was my mom, my staunchest support, whose vigilance had saved me from languishing in a dreary second-grade classroom. At Princeton, I’d had Czerny Brasuell, who encouraged me and fed my intellect in new ways. And as a young professional, I’d had, among others, Susan Sher and Valerie Jarrett—still good friends and colleagues many years later—who showed me what it looked like to be a working mother and consistently opened doors for me, certain I had something to offer. These were people who mostly didn’t know one another and would never have occasion to meet, many of whom I’d fallen out of touch with myself. But for me, they formed a meaningful constellation. These were my boosters, my believers, my own personal gospel choir, singing, Yes, kid, you got this! all the way through. I’d never forgotten it. I’d tried, even as a junior lawyer, to pay it forward, encouraging curiosity when I saw it, drawing younger people into important conversations.
Michelle Obama (Becoming)
U srednjem sloju nikada nema neugodnih iznenađenja i strahova. Stišću se jedno uz drugo u iluziji da će im tako biti toplije. U osrednjosti nikada nisi sam, a ponajmanje sam sa sobom. Kako li su samo zadovoljni takvim stanjem stvari! Ne moraju si predbacivati ni zbog čega u životu niti im itko išta može predbaciti zbog njihova života. I Erikino predbacivanje da im je neka izvedba neuspjela odbija se o mekan zid njihove strpljive osrednjosti. Ona, Erika, sama je s druge strane zida i umjesto da se ponosni time, ona im se zbog toga osvećuje. Tako da ih svaka tri mjeseca tjera kroz drvena vratašca obora, što ih mora širom držati otvorena da bi te budale uopće mogle ući. S izrazom samozadovoljstva i dosade na licu, mekećući i gurkajući se, ulaze u obor, a glupana koji je zastao da dohvati kaput u zadnjem redu garderobe, jednostavno pregaze. Najprije žele ući, a zatim što prije izići. I to svi zajedno. Misle: dođu li brže na pašnjak glazbe, moći će prije otići.
Elfriede Jelinek (The Piano Teacher)
Majka jastreb i baka škanjac zabranjuju njima povjerenom djetetu da napusti gnijezdo. NJEN je mladi život poput velike torte od koje majka i baka režu debele kriške, a i susjede cupkaju komadićke oduzimajući Eriki i posljednje dostojanstvo. Probudi li se u bilo kojem dijelu njena tijela život, taj se dio proglašava trulim i mora se smjesta odsjeći. Previše besposlena švrljanja djevojci koja se posvetila glazbi može samo štetiti. Znaju stare Kohutice kamo nju vuče: onamo dolje k staroj brani, gdje se igraju dečki i cure prskajući se u plićaku. Glasno se smiju i nestaju pod vodom, ERIKA bi medu tim provincijalkama mogla zasjati poput zvijezde. Ona je ionako dresirana da uvijek bude prva i najbolja. Od malih je nogu uče da je sunce oko kojega se sve okreće. Jedino što mora činiti mirno je stajati, a svi će se, gledajući je s obožavanjem, vrtjeti oko nje. Ona to pouzdano zna. Uvijek su joj govorili da je bolja od drugih. A Erika to naravno radije ne želi provjeravati,
Elfriede Jelinek (The Piano Teacher)
Ti ljupko oblikovani primjerci ljudske vrste u ovom prigradskom kmu rade svoj posao ne pokazujući nikakve znakove boli, čak ni bilo kakve naznake da bi mogli osjetiti bol. Kao da su od gume. Bol je samo posljedica volje za užitkom, za razaranjem, uništavanjem i napokon, u svojem najsavršenijem obliku, neka vrsta užitka. Erika bi rado prekoračila granicu vlastitog uništenja. U nespretnim ševama prigradskih kina ima puno više nade da će glumci osjetiti bol, da će njihova lica ukrasiti izraz boli. Ti jadni, otrcani naturščici s puno se više ljubavi unose u svoj posao jer su puno zahvalniji da mogu nastupiti u pra¬vom filmu. Puni su nedostataka, na koži im se vide mrlje, prištevi, ožiljci, bore, kraste, celulit i naslage sala. Kosa im je loše obojena. Znojni su. Prljavih nogu. U estetski zahtjevnim filmovima u tapeciranim kinima u središtu grada može se vidjeti samo površina muškaraca i žena. I jedni i drugi kao da su presvučeni najlonskom opnom otpornom na prljavštinu.
Elfriede Jelinek (The Piano Teacher)
Erikin je životni prostor mala soba u kojoj može raditi što želi. Nitko je u tomu ne sprečava, njena je soba isključivo njena. Sve ostale prostorije u stanu majčino su carstvo, budući da kućanica, koja o svemu vodi brigu, mora raditi po kući, dok Erika uživa plodove njena rada. Erika kod kuće nikada nije morala rintati, jer bi sredstva za čišćenje mogla nagristi njene prste pijanistice. Ono što majci ponekad zadaje brige jest to da ne može u svakom trenutku znati gdje se nalazi njena svojina. Pa ne možeš uvijek točno znati gdje ti je svaka stvar! Gdje li je opet onaj moj zvrk? Kuda li sada jurca i je li sama ili s nekim? Erika, to živo srebro, ta njena neuhvatljiva životinjica, začas nestane iza ugla u potrazi za nekom psinom. No kći se svaki dan u sekundu točno pojavi ondje gdje joj je mjesto: kod kuće. Majku često obuzima nemir, jer svatko tko nešto posjeduje najprije nauči jednu stvar, i to na bolan način: povjerenje je dobro, ali kontrola je još bolja. Glavni je majčin problem što svoje vlasništvo pokušava vezati za jedno mjesto kako joj ne bi pobjeglo.
Elfriede Jelinek (The Piano Teacher)
Svi u Beču, pa čak i mala djeca, znaju da nije uputno po mraku se približavati ovom mjestu; oni koji ovamo zalaze, dolaze odvojeno: lijevo dečki, desno cure. Ovdje ćete naići na starije gospode na kraju svoga poziva i života. Još se češće mogu naći njihovi izrešetani posmrtni ostaci koje je netko izbacio iz auta u punoj brzini. Policijske su istrage besmislene, jer je počinitelj došao iz savršene tišine i u njoj opet nestao. Ili je to bio svodnik koji uvijek ima alibi. Ovdje je izumljen i prvi put iskorišten pokretni madrac. Onaj tko za one stvari nema stan, sobu, novac za hotelsku sobu ili jeftino svratiše, tko nema auto, mora barem imati prenosivu podlogu koja će ga grijati i ublažiti mu pad kada ga užitak obori na tlo. Ovdje možete upoznati najljepše cvjetove beskrajnog bečkog zla: spretnog Jugoslavena ili brzog bravara iz Funfhausena što juri parkom, a za njim uz najstrašnije psovke trči profesionalka koju su prevarili za njenu nadnicu. Ali bravar iz Funfhausena ništa ne želi toliko koliko nove prozorske kapke na prozorima svoga i zaručničina stana, iza kojih će moći sakriti svinjarije svog privatnog života. Ondje mogu daleko od radoznalih promatrača na sigurnom pohraniti knjige, stereouredaje s pločama i zvučnicima, televizor, radio, zbirku leptira, akvarij, alat za hobi itd. Promatrač vidi jedino prozorske kapke od palisan-dera, ali ne i zbrku koja iza njih vlada. Ponekad može vidjeti — i poželjno je da to vidi — kućni mini bar sa šarenim bocama likera i čaše prikladnih boja, toliko izglancane da bliješte gotovo luđačkim sjajem. Barem prvih godina braka. Kasnije ih razbiju djeca ili ih žena više ne želi glancati jer muž sve češće loče vani i vraća se kući sve kasnije.
Elfriede Jelinek (The Piano Teacher)
Jedan kraj pokrivača zadignut je i tvori oblik istostraničnog trokuta. Lanena je plahta zategnuta poput kose na ženi koja nosi visoko podignutu pundu. Na Erikinu jastuku leži čokoladica u staniolu u obliku potkovice, preostala od Nove godine. Malo slatko iznenađenje majka miče s jastuka jer nekako mora kazniti Eriku. Na noćnom ormariću, pored svjetiljke, knjiga je koju Erika upravo čita. Iz knjige viri znak kojim obilježava mjesto gdje je stala i koji je kao dijete ukrasila svojim crtežima. Pored knjige je čaša s vodom za slučaj da Erika noću ožedni, jer majka ipak ne želi pretjerivati u kažnjavanju. Dobroćudna majka mijenja vodu u čaši kako bi voda bila što hladnija i svježija, bez mjehurića kao znaka da je ustajala i bljutava. Na svojoj strani bračnog kreveta majka ne poduzima tolike mjere opreza. Ipak je dovoljno obzirna da umjetno zubalo radi čišćenja vadi tek rano ujutro. I odmah ga stavlja natrag! Padne li noću Eriki na pamet bilo kakva želja, ona će biti ispunjena, ukoliko to ovisi o vanjskim okolnostima. No najskrivenije želje neka radije zadrži za sebe, ta zar joj nije u majčinu domu i toplo i ugodno?! Za svaki slučaj majka pored knjige stavlja veliku zelenu jabuku pa je izbor hrane pokraj jastuka doista velik. Razrezanu haljinu kao mačka mlade nosi čas ovamo, čas onamo. Na kraju je stavlja na posve novo mjesto, gdje se blistavi komad odjeće najboije vidi. Djelo majčina razaranja, koje je na kraju krajeva osobno skrivila, kći treba ugledati čim kroči kroz vrata. Sve skupa ipak ne smije biti preupadljivo. Gospođa Kohut naposljetku rasprostire ostatke haljine na ležaljku iz koje Erika obično gleda televiziju, pažljivo, kao da će Erika haljinu odmah odjenuti za koncertni nastup. Mora pripaziti da haljina zadrži kakav-takav oblik. Komadiće koji su ostali od rukava različito je posložila. Djelo svog nekažnjenog razaranja želi svima jasno pokazan.
Elfriede Jelinek (The Piano Teacher)
Voli li nekada divlja, a sada dresirana cirkuska životinja svoga krotitelja? Možda da, a možda i ne. Činjenica je da su jedno drugom potrebni. Krotitelj treba životinju da bi se, dok pod snažnim svjetlom reflektora i bježeći od kreštava tuša životinja izvodi svoje umjetničke točke, napuhnuo poput goleme kreketuše, a životinja treba krotitelja da bi u općem kaosu, koji je uvijek nanovo zasljepljuje, vidjela pred sobom neku čvrstu točku. Životinja mora znati što je gore, a što dolje, inače bi joj se svijet začas okrenuo naglavce. Bez trenera bi u slobodnom padu tresnula s visokog postolja i počela bezglavo trčati arenom te, ne pogledavši rekvizite koje joj pokazuju, nastavila gristi, grepsti i jesti sve što joj se nade na putu. Ovako je uvijek prisutan netko tko će joj reći što je uopće jestivo. Ponekad, prije negoli je daju životinji, hranu ižvaču ili je razrežu na komadiće. Tako životinja ne zna što je to iscrpljujuća potraga za hranom. A i avantura u džungli. Ali leopard iz džungle zna što je za njega dobro i što može pojesti: antilopu ili bijelog lovca koji nije pazio. Danju životinja vodi spokojan život, prisjećajući se točaka koje navečer mora izvesti, kada skače kroz plamene obruče, penje se na taburete, raljama nježno obuhvaća nečiji vrat, pleše sama ili s drugim životinjama, onima koje bi u slobodnom lovištu za svaki slučaj vodili na lancu ili onima pred kojima bi se, kada bi imala dovoljno vremena, odmah povukla. Na glavi i na leđima nosi nekakav majmunski komad odjeće, kakav možete vidjeti gdje jaše na konjima koje ukrašavaju kožnatim prekrivačima! A njen gospodar, krotitelj, pucketa bičem! Hvali je i kažnjava, ovisno o okolnostima. I ovisno o tomu što je životinja zaslužila. Ni najlukavijem krotitelju dosada ipak još nije palo na pamet da leopardu ili lavici gurne violinu u ruke. Najperverznije što je ljudsko biće dosada smislilo, ali i vidjelo, medo je na biciklu.
Elfriede Jelinek (The Piano Teacher)
Samo da nije te taštine. Te vražje taštine. Erikina taština za¬daje majci brige i pravi joj je trn u oku. Jedino što bi Erika postupno morala naučiti jest ne biti tašta. Bolje sada nego poslije, jer je u dobi koja već kuca na vrata taština poseban teret. A starost je dovoljan teret sam po sebi. Ah, ta Erika! Zar su velikani glazbene povijesti možda bili tašti? Nisu. Je¬dino čega se Erika mora odreći jest taština. U slučaju nužde majka će Eriku lijepo istesati, tako da se za nju ne može uh¬vatiti ništa suvišno. Mama pokušava djetetu istrgnuti haljinu koju ono grčevito drži prstima, dobro uvježbanim za takve borbe. Pusti, viče majka, daj to ovamo! Treba te kazniti zbog požude za ispraz¬nim stvarima! Dosada te život kažnjavao tako što nije obra¬ćao pozornost na tebe, a sada će te dodatno kazniti i tvoja majka tako što ni ona neće obraćati pozornost na tebe, iako se kinduriš i lickaš poput klauna. Daj tu haljinu ovamo! Odjednom se Erika okrenula i odjurila do svojeg ormara s odjećom. Obuzela ju je nejasna slutnja, koja se već više puta obistinila. Danas opet nešto nedostaje, ovaj put tamnosivi jesenski komplet. Sto se dogodilo? Čim je primijetila da nešto nedostaje, Erika je odmah znala tko je za to odgovoran. Samo jedna osoba dolazi u obzir. Ti, gaduro, gaduro jedna, urla Erika na sebi nadređenu instanciju i poput pandži zabija nok¬te u majčinu tamnoplavo obojenu kosu s prst izraslim sjedi-nama. Frizer je naime skup pa zato majka njemu i ne odlazi. Jednom mjesečno Erika majci boji kosu kistom i Polycolo~ rom. Sada čerupa majčinu glavu, koju je vlastoručno uljepšala. Bijesno majku vuče za kosu. Majka jauče. Kada je prestala vući, Eriki su ruke pune pramenova, koje nijemo i u čudu promatra. Kemija je već ionako slomila svaki otpor u majčinoj kosi, ali ni priroda tu nije izvela majstorsko djelo. Erika u prvi tren ne zna kamo s vlasima. Napokon odlazi u kuhinju i u kantu za smeće baca tamnoplave pramenove prošarane sjedinama.
Elfriede Jelinek (The Piano Teacher)
Sada kada je Erika silnim zahvatima konačno oblikovana u nešto nježno, mora još samo sje¬sti u kolica što se kotrljaju putovima umjetnosti i postati umjetnica. Takva djevojčica nije za grube poslove, npr. za težak ručni rad ili kućanske poslove. Ona je rođenjem predodređena za finese klasičnog plesa i klasične glazbe. Da po¬stane svjetski poznata pijanistica, to bi, eto, bio majčin ideal! Kako bi se dijete moglo u svijetu intriga probijati na svom putu, majka na svakom uglu zabija putokaze, a s njima i Eriku, ako Erika dovoljno ne vježba. Majka upozorava Eriku na za¬vidnu hordu, koja će uvijek pokušavati razoriti ono što netko postigne i koja je gotovo uvijek muškog roda. Ne daj se sme¬sti na svojem putu! Ni na jednoj stubi na koju se popne Eriki nije dopušteno odmoriti se. Ne smije se, onako zadihana, nasloniti na cepin, jer mora nastaviti dalje. Na sljedeću stubu. Životinje iz šume opasno su joj se približile i prijete joj da će i nju pretvoriti u životinju. Na tom putu suparnici Eriku po¬kušavaju navući na hridi pod izgovorom da joj žele pokazati kakav se pogled pruža odatle. Ali kako se samo lako možeš survati s takvih stijena! Majka joj tu provaliju vrlo zorno opi¬suje, kako bi se dijete što bolje čuvalo pada. Svjetska je slava, koju većina neće moći postići, samo gore, na vrhu. Gore puše hladan vjetar koji kao da šumi kako'je umjetnik uvijek sam. Dok je god Erikina majka živa i može određivati njenu bu¬dućnost, za dijete dolazi u obzir samo jedna stvar: svjetski vrhovi. Majka gura odozdo, jer ona čvrsto stoji objema nogama na zemlji. Uskoro Erika više neće imati uporište na majčinim ramenima, već će stajati na leđima nekog drugog, koga su svojim intrigama uklonili s Erikina puta. Ali klimavo je to uporište! Erika stoji na vrhovima prstiju na majčinim leđima i zarila je uvježbane prste u vrh brijega, za koji će se vrlo brzo ispostaviti da je obična mala izbočina u strmoj stijeni i da samo stvara privid vrha. Propinje se tako Erika, isteže mišiće nadlaktica i s mukom se uspinje prema gore. Vrškom je nosa već provirila preko ruba stijene, ali jedino što je ugledala nova je litica, još strmija od prethodne. Tvornica leda u kojoj se proizvodi slava ovdje je već otvorila svoju podružnicu i proiz¬vode slaže u blokovima jedne na druge jer se tako smanjuju troškovi skladištenja. Ispred jednog od tih blokova slave, oblizujući se od sreće, Erika nastupa na srednjoškolskom natjecanju za Chopinovu nagradu. Uvjerena je da joj nedostaje još milimetar do vrha!
Elfriede Jelinek (The Piano Teacher)