The Piano Teacher: A Novel Read Free

height of fashion. It will never sink from that height by even a hair’s breadth. This argument is wasted on her mother. Mama should do some careful soul-searching. Didn’t she wear a similar dress when she was young? But she denies it on principle. Nonetheless, Erika concludes that this purchase makes sense. The dress will never be out of date; Erika will still be able to wear it in twenty years.
    Fashions change quickly. The dress remains unworn, although in perfect shape. But no one asks to see it. Its prime ispast, ignored, and it will never come again—or at best in twenty years.

    Some students rebel against their piano teacher. But their parents force them to practice art, and so Professor Kohut can likewise use force. Most of the keyboard pounders, however, are well-behaved and interested in the art they are supposedly mastering. They care about it even when it is performed by others, whether at a music society or in a concert hall. The students compare, weigh, measure, count. Many foreigners come to Erika, more and more each year. Vienna, the city of music! Only the things that have proven their worth will continue to do so in this city. Its buttons are bursting from the fat white paunch of culture, which, like any drowned corpse that is not fished from the water, bloats up more and more.
    The closet receives the new dress. One more! Mother doesn’t like seeing Erika leave the apartment. Her dress is too flashy, it doesn’t suit the child. Mother says there has to be a limit. Erika doesn’t know what she means. There’s a time and a place for everything, that’s what Mother means.
    Mother points out that Erika is not just a face in the crowd: She’s one in a million. Mother never stops making that point. Erika says that she, Erika, is an individualist. She claims she cannot submit to anyone or anything. She has a hard time just fitting in. Someone like Erika comes along only once, and then never again. If something is especially irreplaceable, it is called Erika. If there’s one thing she hates, it’s standardization in any shape, for example a school reform that ignores individual qualities. Erika will not be lumped with other people, no matter how congenial they may be. She would instantly stick out. She is simply who she is. She is herself, and there’s nothing she can do about it. If Mother can’t see bad influences, she can atleast sense them. More than anything, she wants to prevent Erika from being thoroughly reshaped by a man. For Erika is an individual, although full of contradictions. These contradictions force Erika to protest vigorously against any kind of standardization. Erika is a sharply defined individual, a personality. She stands alone against the broad mass of her students, one against all, and she turns the wheel of the ship of art. No thumbnail sketch could do her justice. When a student asks her what her goal is, she says, “Humanity,” thus summing up Beethoven’s
Heiligenstadt Testament
for her pupils—and squeezing in next to the hero of music, on his pedestal.
    Erika gets to the heart of artistic and individual considerations: She could never submit to a man after submitting to her mother for so many years. Mother is against Erika’s marrying later on, because “my daughter could never fit in or submit anywhere.” That’s the way she is. She’s no sapling anymore. She’s unyielding. So she shouldn’t marry. If neither spouse can yield, then a marriage is doomed. Just be yourself, Mother tells Erika. After all, Mother made Erika what she is. You still aren’t married, Fräulein Erika? the dairy woman asks, and so does the butcher. You know I can never find a man I like, Erika replies.
    Erika comes from a family of signposts that stand all alone in the countryside. There are few of them. The members of her family breed sparingly and sluggishly, which is how they deal with life in general. Erika did not see the light of day until the twentieth year of her parents’