Slaughterhouse-five: Smashing the Enemy
There is no chance of arguing about the quality of the writing. The author mixed science fiction and war matters in this book.
In his introductory speech, Kurt Vonnegut clarified that there is no individual character in this novel. There is a bit scope of smiling. It is not an anti-war book too. But the whole production has been fantastic.
Publishing writing like Slaughterhouse-five is undoubtedly courageous in that perspective. The dramatic situation of the book does not give much emphasis. The background story of the book has been built up with a nice flow. The style of Kurt Vonnegut deserves admiration.
When there is any chance of telling a science fiction, alien abduction is an inseparable part. The plot of Slaughterhouse-five takes from the after effect of the Second World War. There was a significant side effect among the people about the war at that time.
People could not sleep properly for being terrified by the sound of bombing, this drove them frenzy and created such a miserable personal problem, To get rid of that, there was a lot of change needed in life.
Slaughterhouse gave them the twist and adventure in life. The description of the happening is undoubtedly a great deliverance by Kurt Vonnegut.
Freedom from Slavery
At the end of the novel, a new beginning has been brought up. Billy Pilgrim could not find any way out of the psychological problem.
The planet Tralfamadore became his new home in the galaxy. He could not cry or scream in there. The feelings of the person have been reflected successfully by the writer. Slaughterhouse-five will always be excellent writing by Kurt Vonnegut.
When reading Kurt Vonnegut, one can not help but avoid the idea that the best characters of his novels are a pure transcript of the writer himself. That average man, with a monotonous life and a more than ordinary aspect that, suddenly one day, begins to behave strangely and to say the most fantastic barbarities.
The rest of the world takes him for crazy, but the feeling that behind every one of his nonsense hides a tremendous and terrible truth becomes apparent after each paragraph.
This voice represents the novelist Vonnegut, more or less, like that of Billy Pilgrim, the protagonist of Slaughterhouse: Five, the novel in which the author reformulates the central themes and obsessions of the whole of his previous work.
Because Slaughterhouse: Five, besides a hilarious science fiction story, besides a brilliant satire, is also an exorcism novel through which the author, not only tries to settle the accounts with his demons but also with the creative ones, the fictional.
Indeed, for Vonnegut, it was for years a necessity to capture his experience of the allied bombing of Dresden in a book.
But it was not easy for him, inevitably, because he tried to portray it in a serious, supposedly transcendent way, and he found that he could never take that project to right port.
Only when he realized that even from such a slaughter, even from the very phenomenon of war itself, a spirit like his could not produce but a cynical satire, the thing started, and at last Slaughterhouse: Five, Vonnegut’s long-awaited book on Dresden was published in 1969.
Billy Pilgrim is an ordinary man in the broadest sense, physically weak to the point of pathos; mediocrity seems to surround and transfer him, although that is, of course, out of doors, because in reality.
Pilgrim can travel at the time, in your time, that is, to witness future moments of your life as well as to relive the past ones.
It is, however, an involuntary and uncontrollable power; he does not choose where or when he travels or how long it takes to return to the present, and, curiously, he assumes this extraordinary phenomenon with resigned naturalness.
But the fantastic events in his life do not end there, because he was also kidnapped by the aliens of the planet Trafalmadore to expose him in his particular zoo as an example of the human race that inhabits the planet Earth.
From this character and similar narrative premise Vonnegut parades before the reader many characters, endearing in their pathos, some of which had already walked through the author’s previous books.
And of course, Kilgore Trout, the science fiction writer that has been appearing in previous and later novels of Vonnegut and that he uses both to pay homage to the genre and to laugh at his various servitudes and nonsense.
And all these characters are immersed in the most comical and hilarious situations that, through their absurdity, reflect more than disturbing possibilities.
And one of the possibilities, probably the main one, that Vonnegut wants to translate into Slaughterhouse: Five is that our way of approaching existence is wrong, that time does not pass, but only that everything happens simultaneously, and that everything happened to us, is already written.
Because it happens that being nothing, living, growing, dying, and becoming part of the primal nothingness, occurs at the same time, but slowly shells along the scale of space-time.
Vonnegut expresses it magnificently in the pages of the novel; Among the things that Billy Pilgrim could not change were the past, the present and the future; Nothing changes or need warning or explanation. It simply is.
Vonnegut also uses these statements very often throughout the book to crown a multitude of events that have occurred in the present, the past and the future of the characters.
That’s right, That’s right, That’s right, wanting to confirm that everything in the universe is already predefined and nothing can be done to change it.
In summary, at the same time that we read these lines, we grow, we love, we grow old, we die, and we are born, we come from nothing, and we return to it.
It is that simple, and consequently, all our arbitrary palimpsest of beliefs and concepts (religion, free will, immortality, etc.) built around our inability to assume this truth, is in itself a true entelechy.
In this way, the author seems to express, if life is as it is and nothing we can do so that it ceases to be that way, and above all, we can do nothing to find out that it is indeed that way.
We do not take it too seriously because after all, nothing has the meaning and importance that we attribute to it; neither death, nor life, nor love, nor war because everything is part of an absurd and ubiquitous, but attractive, cosmic farce.
Far from debating the logic of this point of view, of this approach, of this cosmogony, what cannot deny is that it gives you something to think about, and also expresses itself intelligently, which is more than enough to see.
Slaughterhouse: Five is a great work of literature and science fiction, as well as the paradigm of a particular narrative universe of its author, through which to start in the rest of his work.