Slaughterhouse Five
Kurt Vonnegut
"There are almost no characters in this story, and almost no dramatic confrontations, because most of the people in it are so sick and so much the listless playthings of enormous forces. One of the main effects of war, after all, is that people are discouraged from being characters," (Vonnegut, 183).
Since the beginning of the book, I had wondered whether or not the speaker was entirely mentally sound. The jumbled organization of the book and its constant jumping around from one event to another led me to believe that the speaker had some sort of mental issue. Realizing that this was a war-based novel, I just assumed that the disorder suffered by the speaker was that of post-traumatic stress disorder. He was unable to emotionally relate to others, suffered from drinking problems, and had the need to come to terms with what had happened to him. It was not until the last section of the book that my suspicions were finally confirmed.
Slaughterhouse Five is written with a humorous tone despite the dark subject matter of the book. Vonnegut inadvertently explains this writing style by saying that "I think you guys are going to have to come up with a lot of wonderful new lies, or people just aren't going to want to go on living," (Vonnegut, 167). These "wonderful new lies" take form in Vonnegut's writing style as humor that downplays the significance of the horror of the Dresden firebombing. In the lives of the characters, however, the lie is the self-imposed forced forgetting of war-time terrors. By failing to remember the war, the veterans are lying to themselves in order "to want to go on living."
Wednesday, April 17, 2013
Slaughterhouse: So It Goes...
Slaughterhouse Five
Kurt Vonnegut
Finally...
Some sort of explanation as to the organization of the novel as well as the infamous phrase "So it goes." Vonnegut, like Billy Pilgrim, looks at time with the Tralfamadorian view; it is all one entity that can be viewed as a whole at any given time. Therefore, “There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we love in our books are the depths of many marvelous moments seen all at one time," (Vonnegut, 186). This quote explains the organization of Slaughterhouse Five better than anything that we have thus far discussed in class. Basically, it is saying that there is no organization to the story; it just is. Thus, the Tralfamadorian view of time is modeled throughout the structure and plot of the book. It explains why Billy is able to transport himself throughout time literally and also why Vonnegut is able to insert brief descriptions of events without introduction or conclusion, almost haphazardly. Also, the revelation of future events takes away from the "suspense" and the "cause" and "effect" of the plot of the story. In essence, the plot of the book just is. It tells a story, but it tells a story in its totality, with all viewed at once, because it is the way it was meant to be viewed.
Kurt Vonnegut
Finally...
Some sort of explanation as to the organization of the novel as well as the infamous phrase "So it goes." Vonnegut, like Billy Pilgrim, looks at time with the Tralfamadorian view; it is all one entity that can be viewed as a whole at any given time. Therefore, “There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we love in our books are the depths of many marvelous moments seen all at one time," (Vonnegut, 186). This quote explains the organization of Slaughterhouse Five better than anything that we have thus far discussed in class. Basically, it is saying that there is no organization to the story; it just is. Thus, the Tralfamadorian view of time is modeled throughout the structure and plot of the book. It explains why Billy is able to transport himself throughout time literally and also why Vonnegut is able to insert brief descriptions of events without introduction or conclusion, almost haphazardly. Also, the revelation of future events takes away from the "suspense" and the "cause" and "effect" of the plot of the story. In essence, the plot of the book just is. It tells a story, but it tells a story in its totality, with all viewed at once, because it is the way it was meant to be viewed.
Wednesday, April 10, 2013
Slaughterhouse: Flashforwards
Slaughterhouse Five
Kurt Vonnegut
Lucas Jacob used a term in one of his blogs that I thought perfectly described the type of foreshadowing used by Vonnegut in this book: flashforward. The term makes sense because all these visions show something that is yet to happen. It is more than foreshadowing because these events are certain to happen; they are not merely hints of what might occur. These flashforwards are part of the crazy organization of Slaughterhouse Five, which is full of random jumps through time. Throughout most of the time describing Billy's involvement in the war, he flashes forward to his optometry career following his return home from the war. Also, Billy uses these flashforwards to describe events that will occur to other characters in the story. This reflects his ability to see time, and the lives of others, as one span as well. "Derby wouldn't [survive the war]. That good body of his would be filled with holes by a firing squad in Dresden in sixty-eight days," (Vonnegut, 83).
These flashforwards are to the reader what spoilers are to the movie-goer. We are told what is supposed to happen, yet we cannot stop ourselves from continuing to see if it actually happens. Because we are only briefly into the book, we cannot tell whether or not the flashforwards are actually real, but the previous knowledge of the Tralfamadorians leads us to believe that they hold some basis. Oh well, I guess we'll find out!
Kurt Vonnegut
Lucas Jacob used a term in one of his blogs that I thought perfectly described the type of foreshadowing used by Vonnegut in this book: flashforward. The term makes sense because all these visions show something that is yet to happen. It is more than foreshadowing because these events are certain to happen; they are not merely hints of what might occur. These flashforwards are part of the crazy organization of Slaughterhouse Five, which is full of random jumps through time. Throughout most of the time describing Billy's involvement in the war, he flashes forward to his optometry career following his return home from the war. Also, Billy uses these flashforwards to describe events that will occur to other characters in the story. This reflects his ability to see time, and the lives of others, as one span as well. "Derby wouldn't [survive the war]. That good body of his would be filled with holes by a firing squad in Dresden in sixty-eight days," (Vonnegut, 83).
These flashforwards are to the reader what spoilers are to the movie-goer. We are told what is supposed to happen, yet we cannot stop ourselves from continuing to see if it actually happens. Because we are only briefly into the book, we cannot tell whether or not the flashforwards are actually real, but the previous knowledge of the Tralfamadorians leads us to believe that they hold some basis. Oh well, I guess we'll find out!
Slaughterhouse: Juxtaposition
Slaughterhouse Five
Kurt Vonnegut
Throughout the story, there are several instances which are juxtaposed with another occurrence or mirrored by some aspect of another scene. For example, the colors blue and ivory are repeated when describing both Billy's feet in his house and the hook used to prop himself up in the train.
However, one of the major juxtapositions is between Billy Pilgrim's career and his Tralfamadorian view of life. Billy is an optometrist, or a doctor who specializes in the care of sight and eyes. It is slightly ironic, though, that Billy works with sight because his own view of his life is changed as well. Just as he helps his patients to literally see more clearly, the Tralfamadorians helped him to see the truths of life more clearly. At the end of Chapter Five, the two are finally combined to show their relation. "While he examined the boy's eyes, Billy told him matter-of-factly about his adventures on Tralfamadore, assured the fatherless boy that his father was very much alive still in moments the boy would see again and again," (Vonnegut, 135). With this statement, the two types of sights are united: his sight is literally being corrected, but Billy is also correcting his sight of time. The two are one in the same for Billy, and he is unable to separate them.
Kurt Vonnegut
Throughout the story, there are several instances which are juxtaposed with another occurrence or mirrored by some aspect of another scene. For example, the colors blue and ivory are repeated when describing both Billy's feet in his house and the hook used to prop himself up in the train.
However, one of the major juxtapositions is between Billy Pilgrim's career and his Tralfamadorian view of life. Billy is an optometrist, or a doctor who specializes in the care of sight and eyes. It is slightly ironic, though, that Billy works with sight because his own view of his life is changed as well. Just as he helps his patients to literally see more clearly, the Tralfamadorians helped him to see the truths of life more clearly. At the end of Chapter Five, the two are finally combined to show their relation. "While he examined the boy's eyes, Billy told him matter-of-factly about his adventures on Tralfamadore, assured the fatherless boy that his father was very much alive still in moments the boy would see again and again," (Vonnegut, 135). With this statement, the two types of sights are united: his sight is literally being corrected, but Billy is also correcting his sight of time. The two are one in the same for Billy, and he is unable to separate them.
Slaughterhouse: The Understanding of Time and the Concept of Free Will
Slaughterhouse Five
Kurt Vonnegut
"'Take it moment by moment, and you will find that we are all, as I've said before, bugs in amber," (Vonnegut, 86).
When Billy Pilgrim is abducted by the Tralfamadorians, he is introduced to a radically new concept of time. Yet, this new concept cannot be fully explained to him because the Tralfamadorians are not beings who are capable of sufficient explanations. However, this new view of time becomes part of Billy's mentality and affects the organization and the plot of the story in general. For example, the novel jumps from point to point in Billy's life, with the events sometimes being more than a decade apart. There seems to be no transition between these moments which exemplifies the Tralfamadorian idea that time is seen like "a stretch of the Rocky Mountains," without gaps and without a change in view (Vonnegut, 85).
Along with this radical view of time is the radical concept that free will is strictly a human concept. The Tralfamadorians suggest that the idea of free will is something created by the humans to offer an explanation to the inexplicable. The Tralfamadorians believe that everything that is planned to happen, including war, is unavoidable. This helps to justify the phrase "so it goes" which so consistently follows any mention of death, whether literal or figurative. By using such a phrase, the path of time is allowed to continue without question; there was nothing that could have altered the outcome of an event, and, therefore, there is no sense in questioning the cause of the event. This directly affects the character of Billy Pilgrim and gives him his lessez-faire attitude about death and the war.
Kurt Vonnegut
"'Take it moment by moment, and you will find that we are all, as I've said before, bugs in amber," (Vonnegut, 86).
When Billy Pilgrim is abducted by the Tralfamadorians, he is introduced to a radically new concept of time. Yet, this new concept cannot be fully explained to him because the Tralfamadorians are not beings who are capable of sufficient explanations. However, this new view of time becomes part of Billy's mentality and affects the organization and the plot of the story in general. For example, the novel jumps from point to point in Billy's life, with the events sometimes being more than a decade apart. There seems to be no transition between these moments which exemplifies the Tralfamadorian idea that time is seen like "a stretch of the Rocky Mountains," without gaps and without a change in view (Vonnegut, 85).
Along with this radical view of time is the radical concept that free will is strictly a human concept. The Tralfamadorians suggest that the idea of free will is something created by the humans to offer an explanation to the inexplicable. The Tralfamadorians believe that everything that is planned to happen, including war, is unavoidable. This helps to justify the phrase "so it goes" which so consistently follows any mention of death, whether literal or figurative. By using such a phrase, the path of time is allowed to continue without question; there was nothing that could have altered the outcome of an event, and, therefore, there is no sense in questioning the cause of the event. This directly affects the character of Billy Pilgrim and gives him his lessez-faire attitude about death and the war.
Slaughterhouse: Organization
Slaughterhouse Five
Kurt Vonnegut
"Now Billy was starting to get worried about it, about his mind in general. He tried to remember how old he was, couldn't. He tried to remember what year it was. He couldn't remember that either," (Vonnegut, 58).
Continuing with the organization of the first section, the second section is likewise jumbled, choppy, and repetitive. The speaker seems to be recalling memories without regard for how to properly organize these thoughts into a manner appropriate for a book. However, it is important to remember that Billy Pilgrim is not the narrator of his own story. There is an omniscient narrator who is simply telling the life of the man from an outside perspective.
However, it adds to the overall meaning of the work because it allows the reader to experience the journey through the creative process of the author. By writing the novel as it comes to mind, the author is creating a work that is an honest and bare-bones piece of literature. Along with the rawness off the book, too, is the ability for the reader to relate to the struggle of the author to recall the details included in the book. By struggling to even follow along at some points, the reader is able to understand the mentality of the author. With this mentality, the reader gains an insight into a mind that has been ravaged by the terrors of war. The seeming lack of organization purposely causes the reader to associate the mindset of the author with one of a soldier returned from war. It makes the story much more believable and relatable, and it helps to convey the overall tone of the novel.
Kurt Vonnegut
"Now Billy was starting to get worried about it, about his mind in general. He tried to remember how old he was, couldn't. He tried to remember what year it was. He couldn't remember that either," (Vonnegut, 58).
Continuing with the organization of the first section, the second section is likewise jumbled, choppy, and repetitive. The speaker seems to be recalling memories without regard for how to properly organize these thoughts into a manner appropriate for a book. However, it is important to remember that Billy Pilgrim is not the narrator of his own story. There is an omniscient narrator who is simply telling the life of the man from an outside perspective.
However, it adds to the overall meaning of the work because it allows the reader to experience the journey through the creative process of the author. By writing the novel as it comes to mind, the author is creating a work that is an honest and bare-bones piece of literature. Along with the rawness off the book, too, is the ability for the reader to relate to the struggle of the author to recall the details included in the book. By struggling to even follow along at some points, the reader is able to understand the mentality of the author. With this mentality, the reader gains an insight into a mind that has been ravaged by the terrors of war. The seeming lack of organization purposely causes the reader to associate the mindset of the author with one of a soldier returned from war. It makes the story much more believable and relatable, and it helps to convey the overall tone of the novel.
Thursday, March 28, 2013
Dover Beach
"Dover Beach"
Matthew Arnold
p892
"Dover Beach" by Matthew Arnold presents three different bodies of water, each with their own respective meaning. In the first stanza, the English Channel is referenced. The second stanza alludes to the Aegean Sea. The third, the Sea of Faith.
The reference to the English Channel establishes the setting of the poem. Dover beach is located in an area which has a view of both the "French coast" and the "cliffs of England," (Arnold, 892). Through this literal body of water, the reader is able to understand where the thought process of the speaker is taking place.
The next referenced body of water, the Aegean Sea, serves a slightly different purpose. It is introduced following an allusion to the Greek philosopher Sophocles who "long ago heard [the eternal note of sadness] on the Aegean," (Arnold, 892). By alluding to such a well-known intellectual, the speaker is able to show the universality of what he is experiencing. If a normal man can experience the same emotions that a man as wise as Sophocles can, then the reader is able to conclude that this downtrodden feeling is common among humans. Therefore, the poem expresses a universal emotion to which the reader can also connect.
The last body of water that is mentioned is the only figurative image out of the three: the Sea of Faith. There is no literal Sea of Faith, but it does represent the feelings of the speaker. The Sea of Faith represents the speaker's personal level of faith which used to "lay like the folds of a bright girdle furled," (Arnold, 892). But now, the faith has dwindled, drained by a world that is not as it portrayed. The speaker sees no hope in trying to refill the Sea but instead finds comfort in his lover.
Matthew Arnold
p892
"Dover Beach" by Matthew Arnold presents three different bodies of water, each with their own respective meaning. In the first stanza, the English Channel is referenced. The second stanza alludes to the Aegean Sea. The third, the Sea of Faith.
The reference to the English Channel establishes the setting of the poem. Dover beach is located in an area which has a view of both the "French coast" and the "cliffs of England," (Arnold, 892). Through this literal body of water, the reader is able to understand where the thought process of the speaker is taking place.
The next referenced body of water, the Aegean Sea, serves a slightly different purpose. It is introduced following an allusion to the Greek philosopher Sophocles who "long ago heard [the eternal note of sadness] on the Aegean," (Arnold, 892). By alluding to such a well-known intellectual, the speaker is able to show the universality of what he is experiencing. If a normal man can experience the same emotions that a man as wise as Sophocles can, then the reader is able to conclude that this downtrodden feeling is common among humans. Therefore, the poem expresses a universal emotion to which the reader can also connect.
The last body of water that is mentioned is the only figurative image out of the three: the Sea of Faith. There is no literal Sea of Faith, but it does represent the feelings of the speaker. The Sea of Faith represents the speaker's personal level of faith which used to "lay like the folds of a bright girdle furled," (Arnold, 892). But now, the faith has dwindled, drained by a world that is not as it portrayed. The speaker sees no hope in trying to refill the Sea but instead finds comfort in his lover.
Sorting Laundry
"Sorting Laundry"
Elisavietta Ritchie
p841
"Sorting Laundry" by Elisavietta Ritchie presents an extended metaphor used to describe the relationship between the speaker and her lover. The reader is able to decipher that the speaker is a female because she describes her own articles of clothing, "blouses, panties, stockings, bras," which are all feminine articles of clothing (Ritchie, 842). Each item being sorted represents a different aspect of the couple's relationship. For example, the pillowcases and the bedsheets represent the time spent in bed with each other, both conversing and expressing their love. The gaudy towels suggest the quirkiness that exists within the relationship; their reluctance to fade, the couple's resistance to conform. Furthermore, the descriptions of the various articles of clothing serve to describe the relationship even more. The wrinkles in the clothing offer an insight into the "wrinkles" of the affair, some chosen to be smoothed out while others are overlooked. "[W]hat's shrunk" suggests that the love is not all that it was at its inception, yet it is still hard to discard (Ritchie, 842).
Lastly, the "strangely tailored shirt" and its consequential memory tell the reader that the speaker is uncomfortable with the thought of being alone (Ritchie, 842). Although she holds on to mementos from her past, she cannot see herself with another man, and thus she folds the laundry and folds her lover "into [her] life," (Ritchie, 841).
Elisavietta Ritchie
p841
"Sorting Laundry" by Elisavietta Ritchie presents an extended metaphor used to describe the relationship between the speaker and her lover. The reader is able to decipher that the speaker is a female because she describes her own articles of clothing, "blouses, panties, stockings, bras," which are all feminine articles of clothing (Ritchie, 842). Each item being sorted represents a different aspect of the couple's relationship. For example, the pillowcases and the bedsheets represent the time spent in bed with each other, both conversing and expressing their love. The gaudy towels suggest the quirkiness that exists within the relationship; their reluctance to fade, the couple's resistance to conform. Furthermore, the descriptions of the various articles of clothing serve to describe the relationship even more. The wrinkles in the clothing offer an insight into the "wrinkles" of the affair, some chosen to be smoothed out while others are overlooked. "[W]hat's shrunk" suggests that the love is not all that it was at its inception, yet it is still hard to discard (Ritchie, 842).
Lastly, the "strangely tailored shirt" and its consequential memory tell the reader that the speaker is uncomfortable with the thought of being alone (Ritchie, 842). Although she holds on to mementos from her past, she cannot see herself with another man, and thus she folds the laundry and folds her lover "into [her] life," (Ritchie, 841).
I taste a liquor never brewed
"I taste a liquor never brewed"
Emily Dickinson
p797
The Convergence of the Twain
"The Convergence of the Twain"
Thomas Hardy
p778
"The Convergence of the Twain" by Thomas Hardy seemed to offer to conflicting ideas to the reader: one is the contrasting of human vanity and the brute force of nature and the other is the inevitable matrimony of the two. Throughout the poem, the "jewels in joy designed," the "gilded gear," and the "opulent" nature of the Titanic create the image of human vanity (Hardy, 778). This quality is personified by the ship, and the fated meeting of the ship and the iceberg creates a feeling that the speaker looks down upon vanity; it is almost as if the quality of vanity can lead to no end other than ruin. This is where the idea of the "star-crossed lovers" comes into play. The diction towards the end of the poem creates a tone of a fated love with the use of marital, almost sexual, word choice. For example, "mate," "intimate welding," and "consummation" all add to this technique used by the speaker to describe the relationship between the ship and its downfall (Hardy, 778). This marital diction seems to be slightly ironic; it is unusual that words used to typically describe lovers would be used to describe such a tragic event. However, it does seem to reinforce the tragic Shakespearean idea of "star crossed lovers" by which two fated hearts fulfill their destiny only to discover that it is also their downfall.
Thomas Hardy
p778
"The Convergence of the Twain" by Thomas Hardy seemed to offer to conflicting ideas to the reader: one is the contrasting of human vanity and the brute force of nature and the other is the inevitable matrimony of the two. Throughout the poem, the "jewels in joy designed," the "gilded gear," and the "opulent" nature of the Titanic create the image of human vanity (Hardy, 778). This quality is personified by the ship, and the fated meeting of the ship and the iceberg creates a feeling that the speaker looks down upon vanity; it is almost as if the quality of vanity can lead to no end other than ruin. This is where the idea of the "star-crossed lovers" comes into play. The diction towards the end of the poem creates a tone of a fated love with the use of marital, almost sexual, word choice. For example, "mate," "intimate welding," and "consummation" all add to this technique used by the speaker to describe the relationship between the ship and its downfall (Hardy, 778). This marital diction seems to be slightly ironic; it is unusual that words used to typically describe lovers would be used to describe such a tragic event. However, it does seem to reinforce the tragic Shakespearean idea of "star crossed lovers" by which two fated hearts fulfill their destiny only to discover that it is also their downfall.
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