Mother came of a superior background, but that was a long time ago. She was a teacher. Then all of a sudden the two halves of the parental couple unexpectedly found themselves fucking on the floor. Anna and Rainer hate their parents, because Youth is often over-hasty and uncompromising. Frequently they behave wickedly towards their detested father, disgustedly aping his every movement, snatching his crutches from him, tripping him (that is, his solitary leg), spitting into his food, and not bringing him the things he wants. Bloody-mindedness! bawls the ageing man. But he can never establish whether they are doing things on purpose. Nonetheless he keeps them at grammar school, so that he can go about saying they go to grammar school. This is how values disintegrate. You can clearly see it happening: the value of authority, the value of paternal rule.
But there's still a wife and mother to take revenge on. By telling her that her body bears an ever-increasing resemblance to a mouldy piece of cheese, or by pinching the housekeeping money from the china mug where it's always kept and accusing her of squandering it on herself. Take today, for instance: Mother seeks solace from her children because he has just maliciously cut up the brand new apron (made of pretty flower-pattern material bought in a sale) which she ran up herself on the hire-purchase sewing machine. She has no talent for sewing, but she did the job with care. Taking pleasure in her own handiwork. Things you make yourself are usually better made and of better quality because you know what's what whereas in the case of bought goods you never do know. Though naturally you suspect that the workmanship is slovenly and substandard, so that the buttons will promptly fall off, and the price is far too high. You can do it cheaper. So Mummy's saved a whole load of money, using her fingers, only to have Papa cut the lot to shreds. Deliberately. Because he was opposed to having a sewing machine in the house. On principle. If Mama runs up a new number for herself, other men, total strangers, might take it into their heads to take a close look at her figure, which is still feminine although she's been losing it. What kind of materials has she been picking, anyway? Right: attractive, bright fabrics, or at least what she finds bright (little mushrooms, bees, beetles, flowers etc.). And what kind of patterns has she been picking? Right: the very ones that emphasise her breasts, hips and ass (insofar as she possesses breasts, hips and an ass). Of all things! Those parts of her anatomy are not supposed to be emphasised. They are there for Daddy alone. And no one else. You're out to pick up a man, eh? Well I may be a cripple but I'm still more of a man than some other fellow with two legs. Want me to prove it? No time like the present. Anywhere will do, the patchwork rug by the bed or the bed itself, which has seen a good deal of suffering and menstrual blood in the past and reeks of it pungently. You can't be busy washing the whole time, you have to relax with a good book now and then. Typical, you buy a sewing machine instead of a washing machine. To think how clean we could all be. But what are we? Dirty. But there you are with your new red apron. Snick-snick go the scissors! All that work, done for, just like that. What a mean thing to do.
Be thankful I'm not doing you bodily harm. I was taught how to. You have to force yourself at first, but then it comes easily, of its own accord. By the way, I've got an idea for a new series of photos, I could make cuts, incisions and little holes in your skin. Or I could use the children's water-colours to get the effect.
I've been baking, I made you an apricot flan, poor Mumsie tells the children ingratiatingly, seeking sympathy and not finding any. She is counting on education, which prepares the way for understanding and sympathy, and on their hearts, but their hearts have long been missing that particular beat. You invest so much in Rainer and Anna, but all you get back is Rainer and Anna, minus the warmth and affection, and nothing more. There is the flan and there are the glass dishes. I'll put it here, with all the books, there's no room for a fresh flan any more, clear this stuff away, can't you!
No. Won't. Those books are worth more than any flan. We're just reading about how this existence of ours is valueless. Get lost, Mama, the twins chorus, sending their mother packing. She's unwelcome everywhere, poor soul. This has catastrophic consequences for her general condition.
Having given their mother a thorough yelling-at, the twins promptly turn to the flan and gobble it all up. This isn't beneath them at all.
Not a single piece is left for Mama, though she would have liked one too.
RAINER BELIEVES IT is tantamount to degradation of a woman if she submits to physical contact. You can see this in the case of Mother, who is frequently to be heard shouting for help in the bedroom. But it is out of the question that abnormal acts are being performed upon her and that that is why she's shouting. Relatives have often noticed that Rainer's look isn't normal, perhaps it is because he has witnessed this bedroom business too many times. But he has never watched. His head has always disappeared instantly under the blanket. You see nothing in there, and all you smell is yourself. On occasion Rainer will only take soup and he'll refuse to eat solid fare in spite of the fact that men usually adore hearty food. Anna sometimes eats nothing whatsoever. This may go on for days. When the siblings get up from table after eating nothing, they lie down together on one of their beds (which have been separated by means of a purpose-built partition wall, he being a boy and she a girl) and screen off the outside world. Rainer writes poems, the better to screen it off. Frequently he sees faces in trees and they inspire him, headcase that he is. He has no friends, only mates, and Rainer, who despises matiness on principle, finds that often they don't behave in maty ways to him. In the case of a writer like Musil, writing is often a graceful act, like a silvery fish leaping; but not with Rainer. In his case it is someone rummaging and then digging his teeth in.
Every moment, Rainer and Anna are aware that thanks to their parents' having moved to the city they were spared places like Ybbsitz, Laa an der Thaya, Laa an der Pielach or sundry St Michaels. They are glad they don't have to live in the kind of wretched provinciality they know from Grandmother's farm. Anything but that. Where screaming alpine choughs, crows and other vermin claw at trees already seared by winter. Where various clouds go whizzing across the dismal sky, deer call, and reeking Volksschule kids and feeble-minded Hauptschule kids pack their flesh into the mail bus. The poverty bacillus is rife amongst them. A steaming mush of woollens handed down by older siblings.
They don't have any fate ahead of them, says Rainer, they're already condemned to death even before they're born, and every one of their heads contains the same picture. The picture inside one head is identical to the picture in the next. And to think that this is in the open country, a free country, though there isn't really the least hint of freedom. Dreary landscape stretches away into the rain, you can't see where it ends but it does end, the limits are in the people's heads. The siblings have discovered narrow-mindedness in the city too. And they rejoice in the discovery, because they themselves went beyond those limits some time ago. They have snatched at the bluish umbilical cord of the places they were meant to stay and bitten it through with their sharp teeth. The trickle of blood is dripping off their chins. A pale pair of tongues, Rainer's tongue and Anna's tongue, are licking at it. Soon there won't be a shred of skin left of the natural bounds of birth. Infinite expanses are revealed, with a cold sun like an unbroken yolk in a bowl of milk.