Click here for the Slaughterhouse 5: The Children's Crusade - A Dirty-dance with Death reading guide. The guide includes sections on Slaughterhouse 5, an interview with author Kurt Vonnegut, a list of other works by Kurt Vonnegut and suggestions for further reading.
Slaughterhouse 5, or The Children's Crusade - A Duty-dance with Death Paperback – 21 Mar 1991
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It took Vonnegut more than 20 years to put his Dresden experiences into words. He explained, "there is nothing intelligent to say about a massacre. Everybody is supposed to be dead, to never say anything or want anything ever again." Slaughterhouse Five is a powerful novel incorporating a number of genres. Only those who have fought in wars can say whether it represents the experience well. However, what the novel does do is invite the reader to look at the absurdity of war. Human versus human, hedonist politicians pressing buttons and ordering millions to their deaths all for ideologies many cannot even comprehend. Flicking between the US, 1940's Germany and Tralfamadore, Vonnegut's semi- autobiographical protagonist Billy Pilgrim finds himself very lost. One minute he is being viewed as a specimen in a Tralfamadorian Zoo, the next he is wandering a post-apocalyptic city looking for corpses. Slaughterhouse Five-Or The Children's Crusade A Duty-Dance with Death is a remarkable blend of black humour, irony, the truth and the absurd. The author regards his work a "failure", millions of readers do not. Released the same time bombs were falling on South East Asia, this title caused controversy and awakening. Essential reading for all. So it goes. --Jon Smith
"Marvellous...the writing is pungent, the antics uproarious, the wit as sharp as a hypodermic needle" (Daily Telegraph)
"Mr Vonnegut knows a great deal about what is probably the largest massacre in modern history - the fire-bombing of Dresden in 1945. Slaughterhouse Five is a reaction to the event by one of our most gifted and incisive novelists. A work of keen literary artistry" (Joseph Heller, author of 'Catch-22')
"The individuality of Vonnegut's style is a curious yet perfect match for the pain of the emotional content. A humane, human book that always remains a work of art rather than biography, no matter how apparent the author's presence" (Kate Atkinson)
"A laughing prophet of doom" (New York Times)
"Unique...one of the writers who map our landscapes for us, who give names to the places we know best" (Doris Lessing)
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Billy Pilgrim is not your average character in a work of fiction.
This is one of those books that has eluded me for some time. Every time I’ve thought of getting round to reading it, something else has cropped up to take priority or I’ve developed a guilt complex over reading too many male authors. But this time, I was determined to get round to getting stuck into what is a relatively short work. If, like me, you like to know a tiny bit about a book before reading it, you will know that Slaughterhouse 5 is an anti-war book.
Upon reading the first chapter, I was rather wrong-footed. It is the first chapter and doesn’t come with a heading of ‘introduction’ or ‘foreword’ yet it is written wholly in the first person, who is evidently the author, talking about the book that is to follow. In it, he states that while the names have been changed, vignettes of the book remain true to his own experience. In particular focus is the fire bombing of Dresden during the Second World War. I had to wonder then if this really was a semi-biographical work or whether the introduction itself was a work of fiction, much like the introductions of “found footage” films like The Blair Witch Project.
Billy Pilgrim is our central character, around whom the entire narrative is devoted and around whom all the characters come and go like waves on a beach. He is what the author describes as being ‘dislocated in time’. He doesn’t have a vessel in which to travel back and forth, he just closes his eyes in one period and wakes up in another, entirely out of his control. It removes the sense of ‘now’ from the novel, as in all times he speaks in the present tense. At one time he is a soldier, a prisoner of war, a veteran and a man about to die. He is also a person who has been abducted by aliens (called Trafalmadorians) who sit outside of time.
The main thought that went through my head as I read was the similarity in style and aim to that of Catch 22; a book that I have long hated as it’s a fantastic idea but very poorly executed. Here, there isn’t anything quite as strong in the ideas department but while Heller is a decidedly mediocre writer with an over-inflated reputation, Konnegut is a much better writer.
The other thought was “where is Dresden?” Not in the geographical sense, but in the fact that the book only makes a few references to it and it is not until right at the end that Billy finds himself in that city during the firebombing, as a prisoner of war who survives, unlike the many thousands of civilians who were murdered in what was probably the worst war crime the United Kingdom ever committed, yet like later war crimes, such as the war against Iraq, the United Kingdom was never prosecuted.
The whole sideline of the aliens I found a little distracting. They were never properly fleshed out and just drifted in and out of the story, which would have progressed (if that is the right word for a book with a non-linear timeline) just fine without them. What we are left with is a book that seems to be intentionally fractured. There are moments of sharp cynicism interspersed with periods of mundaneness, but even these are interesting and well-written. Do I regret having put off reading it for so long? I can’t say it blew me away like Love In The Time Cholera did, but I’m certainly glad I did read it and would recommend it to you if you’ve not read it already.
Oh yes, I almost forgot to mention; the work ends with an onomatopoeic bird song: Poo-tee-weet.
The novel that he writes turns out to be about Billy Pilgrim, a war vet like himself, but Dresden becomes just an episode within his narrative about his experiences as a time-traveller. The shift of focus suggests that the brutality of the war experience is too harsh and horrific to be addressed head-on and that it needs to be looked at sideways, mediated by a layered narrative.
Seemingly farcical, born-loser Billy is something of a joke in the army, and his position is non-combat and perfunctory. Death recurs in the novel, and as a way of cushioning the blow, the narrator always appends any mention of it with "and so it goes".
Vonnegut has a distinctive style of writing that is disjointed and episodic, which is filmic in quality, akin to the way a scene fades out to the next. Perhaps this style is also in keeping with the story of a man who becomes "unstuck in time" and begins to view life not as a continuum, and death not as an end, but rather as moments which, when chronology is taken away, causes the finality of circumstances to lose their significance, which also takes away the sting of hopeless events in one's life.
Humorous despite the gravity of the issues dealt with in the novel, Vonnegut manages to adopt an authorial perspective that is neither prescriptive nor heavy-handed, allowing him to speak truthfully about the pain of human suffering without the melodrama.
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