Dresden
During World War II, at the age of 23, Kurt Vonnegut was captured by the Germans and ended up imprisoned in the city of Dresden, “the Florence of the Elbe.” He was there when the Allies firebombed Dresden in a massive air attack that killed 130,000 people. Vonnegut survived with other prisoners holed up in a meat locker deep beneath …
Billy Pilgrim can’t stay in one place. Like Winston Niles Rumfoord before him, Pilgrim has become unstuck. But while Rumfoord bounces around in space, appearing in his sitting room on Earth for only a few minutes at regularly scheduled intervals, Pilgrim is smeared across time, living many moments and timelines at once. He is a baby, a middle-aged optometrist in …
Greetings, Mr. and Mrs. America, from Earth to Titan and past to present, and all the ships in space. Let’s go to Dresden Slaughterhouse, Building Five. <***> Nice to see Kilgore Trout, Eliot Rosewater, Howard W. Campbell, Prof. Rumfoord (of the Rhode Island Rumfoords), and all of the others who’ve joined us from Kurt Vonnegut’s earlier stories. Here’s Kurt himself, …
We know that Slaughterhouse-Five took a long time to write because Vonnegut tells us so: “I would hate to tell you what this lousy little book cost me in money and anxiety and time” (2). The first approach was documentary: “I thought it would be easy for me to write about the destruction of Dresden, since all I would have …
Jonathan Elmer Although it takes him six novels—until Slaughterhouse-Five (1969)—to directly confront his personal trauma of surviving the firebombing of Dresden, Germany, all of Vonnegut’s early work seems simultaneously to approach, and retreat from, the cataclysm of the Second World War. Maybe “directly” is not the right word, even for the apparently autobiographical Slaughterhouse; but certainly before Slaughterhouse, Vonnegut …
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 …
