Cold War
Sarah Phillips Kurt Vonnegut was the most popular American writer in the Soviet Union in the 1970s,1 and it will not surprise Vonnegut fans to learn that he predicted his own success. In Mother Night (1961), the protagonist Howard W. Campbell, Jr. provides a fictional account of one Stepan Bodovskov’s (plagiaristic) literary success in Russia, in particular the success …
Jonathan Elmer Howard W. Campbell Jr. is a playwright and a spy. What is the relation between the two? At the level of narrative, the relation is as intimate as can be. When Frank Wirtanen approaches Campbell about spying for the Americans, he indicates that he fixed on Campbell because of the “medieval romances” he writes: “you love pure …
Ed Comentale Apparently, Kurt Vonnegut—beloved hippie hero of postmodern literature—almost became a Nazi. That’s what we learn, at least, in the first few surprising pages of Mother Night. Vonnegut opens his 1961 novel by describing the wealthy German Hoosier clan into which he was born. He recalls “the vile and lively native American fascists” he grew up with in …
Cooper Harriss Mother Night finds Vonnegut back on terra firma, inhabiting the near past and present tense for the first time as he works out the vagaries of postwar life, coming to terms with virtue’s erosion and the illusion of innocence. Still, something is amiss. “We are what we pretend to be, so we must be very careful about …
Sandy Shapshay Vonnegut’s first novel takes us into an automated, dystopian future; his second carries us deep into outer space; but Mother Night (1961), his third novel, brings us back to Earth and to the not-so-distant past. From the introduction we learn that Mother Night deals to some extent with what must have been the author’s own traumatic involvement …
