Vienna, New Year’s Eve, 2015

Vienna, New Year’s Eve, 2015

The Westbahn train from Linz was crowded but I easily found the hotel after getting the U-Bahn to Alser Strasse. Three young Italians were taking a long time to check in but, when these other guests around reception cleared off, I ended up talking to the man behind the counter, comparing the death tolls of the Irish and Ukrainian famines. He didn’t want to pin the latter on Stalin, just “die Moskau Regierung” (the Moscow government), and I wasn’t going to argue with him about the 1930s. Not on New Year’s Eve. He must have asked me something about Ireland for us to jump on to that topic but in fairness he was curious about Irish dancing as well. He imitated the arms held down by the dancers’ sides, a style I explained was ordained by our puritanical priesthood. Das war ein Befehl von den Priestern. Sonst, zu sexy.

Anyway, I dropped the bag in the room and set off to find Berggasse and Freud’s apartment, even though I presumed it would be closed. It wasn’t. It was packed. A mixed French group pushed the street door ahead of me. Upstairs a stubbly Frenchman with a woolly cap didn’t bother going in. His wife turned to him. Tu restes au café en face? He chuckled and nodded. Il y a un sex shop en face.

A little video of a couple of Freud’s hats in a glass case and the preserved waiting room beside them was a good memento to come away with but, before leaving Berggasse, I also took a photo from the street of the lit windows on the first floor. The people jumping the ‘queue’ to swarm around the entrance desk had been more of an illustration of Alinsky’s key psychological principle – that people only push to get on a bus which they think has limited seating – than anything Freudian. Schlange means both queue and snake in German but there, one couldn’t dream of either.

The temperature had dropped below zero and my legs froze as I kept walking, having passed a locked-up Irish pub I’d looked up, on Landesgerichtstrasse. Ending up in the Museumsquartier, I said I’d keep going and get something to eat in Flanagan’s. A hot whiskey prepared by the manager thawed me out and I didn’t ask him about food, having already stopped for a final Bosner. Though the single sausage had looked more like a Käsekrainer, it was just as well I’d had it, as there was no sign of anyone eating in the pub. After a beer to follow the whiskey, I slipped away. A place like that is too much like home and only alright for one or two at most, if you want to keep it country. Another country.

The hotel room window, even if it had been double glazed, which it wasn’t, couldn’t compete with the fireworks and bangers. I got back around ten, having wandered through the crowds in the lit-up Innere Stadt. They were enjoying the amenities (food, drink, music). Before turning into the hotel I strolled to the far end of Theresiengasse just for a look and to kill more time. Ganz Wien was blaring from some open third-floor windows on Kreuzgasse, as I passed that junction. A Falco moment. Once more my legs were feeling the cold so I called it a night.

Talking again to the man at the desk, I found out he was from Kiev. My impression that he missed the USSR was reinforced. He was proud of Nikita Khruschev and Ukrainian generals and a nearby monument to the soldiers of the First Ukrainian Front. I’d have guessed he didn’t care much for Jews either, though all he did was express sympathy for the Palestinians. Woher kamen diese Juden? (‘Where did those Jews come from?’) He told me his two sons were soccer players but I didn’t want to peer too hard at his name tag to get the surname. Something ending in -ov, I thought. It was raining firework debris on the roofs and the racket was quite intense. There were sirens too, now and then. The curtains were closed. He didn’t look at all Slavonic. He was swarthy and reminded me of some actor, such as Lee J. Cobb (smile, voice, moustache) or Pernell Roberts or a combination of both. A group he said were from Odessa then emerged from the lift and when one of them came over to talk to him I said goodnight.

Though he’d claimed Rokossovsky was Ukrainian, that invited a later check. The Marshal was of Polish origin and spent almost three years as a prisoner of the state from 1937 until his release without explanation in 1940, during which time he somehow never signed any false statement. He later told his daughter that he always carried a revolver so they would not take him alive if they ever came for him again.

Up at half past eight on New Year’s Day, I opened the curtains. That revealed some snow on the windowsill. It was still snowing at the airport. The plane needed de-icing. Before leaving the hotel I’d asked a different chap at reception if the Christian name of the man from Kiev was what I’d thought it was. He found it amusing when I added that we’d had a long conversation, like it was nothing new.

Austria, a notebook #4

Austria, a notebook #4

 

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Photo sources (above): montazsmagazin.hu and kino.de

In 2008 an Austrian-German co-production of a TV film version of Dürrenmatt’s Der Besuch der alten Dame shifted the setting from Switzerland to Austria. The filming took place in Styria. Most importantly they picked a very good Claire Zachanassian in Christiane Hörbiger, niece of the porter in The Third Man and aunt of Falco’s manager in Verdammt wir leben noch. At the climax in the original play, though, the richest woman in the world does not waver from her initial goal: to return and exact deadly vengeance on the man and the town that ruined her life. Otherwise, given that Ill is still killed, it’s a good version of the classic play that Hollywood castrated in The Visit (Ingrid Bergman, Anthony Quinn, 1964) and watching it is an excellent way for students to improve their German. I don’t know why the old critic Marcel Reich-Ranicki dismissed the second half (“wird immer schlechter”). The acting is consistently good, as he conceded. The music by Matthias Weber is suitably sinister. It is a horror film after all. Ich liebte dich. Du hast mich verraten (‘I loved you. You betrayed me’).

Shifting from Medea to Oedipus, it was the German sociologist Marianne Krüll who analysed Freud’s handling of the Oedipus story in the light of his own family history. In her view it was a creative compromise of the kind sometimes used by children with parental conflicts. Instead of seeking the real source of hostility toward his father, Freud made the Oedipus myth one of the most pervasive parables of intellectual life. Thus, she claimed, he may have stood Oedipus on his ear and a ‘Laius complex’ would have been more accurate.

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In other words, it was Laius, the father, who, because of a prophecy that he would one day be murdered by his son, left the infant Oedipus on a mountaintop. Freud chose to believe that the power of Sophocles’ drama lay in the tragic destiny of the son who, not knowing his real parentage, unwittingly murders his father and marries his mother. Krüll claims it was only Freud’s bias that prevented him from recognizing the guilt of Laius. Nevertheless there remain convincing reasons behind Freud’s interpretation and one of these ironically comes not from The Interpretation of Dreams but from The Psychopathology of Everyday Life.

The strange fact that the [Oedipus] legend finds nothing objectionable in Queen Jocasta’s age seemed to me to fit in well with the conclusion that in being in love with one’s mother one is never concerned with her as she is in the present but with her youthful… image carried over from childhood.”

The Psychopathology of Everyday Life deals mainly with the type of error (parapraxis) which has become the everyday concept of the Freudian slip. Apart from the many vivid examples of slips of the tongue and pen, and of forgetting and bungling, we should be interested too in a comment he makes on the losing of objects of value. He says it may be the offering of a sacrifice to the obscure powers of destiny to which homage is still paid today. This is one explanation of karma: despite logically ridiculing superstitions, often we are unconsciously superstitious and will attract misfortune because we believe deep down we deserve it, for something we have done. Another lies in the fact that bad behaviour that earns an advantage in one situation often rebounds in another.

Later in the book he unsurprisingly states that superstition is in large part the expectation of trouble. In this light, Oedipus is trouble. He too is a sacrifice to the obscure powers of destiny; a lost object of value. A Greek tragedy reflects that life is a tragedy. Is it any surprise then that Freud’s favourite cynical joke concerned a brandy drinker who was ordered by his doctor to give it up on the chance that might save his failing hearing? As soon as he did, his hearing improved, but when his doctor hailed him to no effect on the street, months later, he knew he’d gone back on it. In a loud voice, he asked the man why. Solange ich nicht getrunken hab’, hab’ ich gehört; aber alles, was ich gehört, war nicht so gut wie der Branntwein (‘When I didn’t drink, I heard, but nothing I heard was as good as the brandy’).

The Psychopathology of Everyday Life shows us that many absurdities in human interaction are almost miraculously capable of rational explanation but moreover his work also carries the implication that the surreal aspects of existence evoked by slips and superstitions are part of the eternal order of human affairs and therefore comprehensible, at least to a figure like Freud. Given his field of interest, he doubled up for a twentieth-century casting out of spirits.