Slaughterhouse-five or the Children's Crusade: A Duty Dance With Death [Library Binding]

Slaughterhouse 5 is every bit as good as it's reputation suggests. It is witty, observant, humane, and clever. Vonnegut writes in a deceptively simple prose, but which must have been difficult to have pulled off: namely, the way the story flits from the present to the past and to the future, very often in a single page, but manages to do it without disturbing the effortless flow of the narrative. No mean trick for a writer. A favourite book of mine. I can also recommend some of his earlier books: The Sirens of Titan; Piano Player; Mother Night, and Player Piano. His later books are not so hot; but Slaughterhouse 5 is his masterpiece. Like Heller's Catch 22, with which it has something in common, it is fun to read.

Taught now in English classes as a post-modern sketch of the absurdity of war, this novel uses a collage of techniques and genres--science fiction, episodic storytelling, Absurdism, memoir--to get its point across.

It's point can still be missed, however. War is fought by children, Vonnegut explains, caught up in something that they often do not understand. Therein lay the absurdity. Vonnegut's own personal history, captured and held in Dresden during the bombing, allowed him firsthand to witness the devastation war can bring. Ideologies are transient, he realizes. And the destruction of one of the most beautiful European cities and the deaths of 24,000 human beings had a profound effect on him. What is the point? Examine the purpose of life. What is it?

The story demands the reader to ask questions of him/herself.

Also, the impact this book has had on literature can't be ignored. In an earlier review, the stylistic similarities to Adams and Irving, both who followed Vonnegut and so were obviously influenced, was mentioned. That's important. You can trace a number of modern satirists to Vonnegut--Palahniuk being my own personal favorite.

Whether you agree with Vonnegut's stance on war as absurd or not, Slaughterhouse-Five is worth a careful reading.

I know this novel fairly well having read it several times (once aloud to my students). It is about all time being always present if only we knew, or could realize it, or had a sense about time in the same way we have senses for light and sound.

It is also about the Allied fire bombings of Dresden which killed about 25,000 people. (And so it goes.) Kurt Vonnegut begins as though writing a memoir and advises us that "All of this happened, more or less..." Of course it did not, and yet, as with all real fiction, it is psychologically true. His protagonist, Billy Pilgrim, an unlikely hero, somewhat in the manner of unlikely heroes to come like Forest Gump and the hero of Jerzy Kosinski's Being There, transcends time and space as he bumbles along. This is a comédie noire--a "black comedy"--not to be confused with "film noir," a cinematic genre in which the bad guys may win or at least they are made sympathetic. In comédie noire the events are horrific but the style is light-hearted. What the genres have in common is a non-heroic protagonist.

This is also a totally original work written in a most relaxing style that fuses the elements of science fiction with realism. It is easy to read (which is one of the reasons it can be found on the high school curriculum in our public schools). It is sharply satirical, lampooning not only our moral superiority, our egocentricity, but our limited understanding of time and space. And of course it is anti-war novel in the tradition of All Quiet on the Western Front and Johnny Got His Gun.

Vonnegut's view of time in this novel is like the stratification of an upcropping of rock: time past and time present are there for us to see, but also there is time future. Billy Pilgrim learns from the Tralfamadorians (who kidnapped him in 1967) that we are actually timeless beings who experience what we call the past, present and future again and again. And so Billy goes back to the war and forward to his marriage, and to Tralfamadore again and again. He learns that the Tralfamadorians see the stars not as bright spots of light but as "rarefied, luminous spaghetti" and human beings as "great millepedes with babies' legs at one end and old people's legs at the other." So time is not a river, nor is it a snake with its tail in its mouth. It is omnipresent, yet some things occur before and some after, and but always they occur again.

And so it goes.

What I admire most about this most admirable novel is how easily and naturally Vonnegut controls the narrative and how effortlessly seems its construction. It is almost as if Vonnegut sat down one day and let his thoughts wander and when he was through, here is this novel.

In a sense, Vonnegut invented a new novelistic genre, combining fantasy with realism, touched by fictionalized memoir, penned in a comedic mode as horror is overtaken by a kind of fatalistic yet humorous view of life. Note here the appearance of Kilgore Trout, Vonnegut's alter-ego, the science fiction writer who is said to have invented Tralfamadore.

Bottom line: read this without preconceptions and read it without regard to the usual constraints. Just let it flow and accept it for what it is, a juxtaposition of several genres, a tale of fiction, that--as fiction should--transcends time and space.

--Dennis Littrell, author of "Novels and other Fictions"