Slaughterhouse V -2

1. Slaughterhouse V -2 The War vs. Postmodern World

2. What did we learn last time? • Metafiction (overplotting & underplotting) as a postmodern response to the lack of sensible history. • SH-V – • The meaninglessness of the war  dark comedy, • Chapter 1 as the novelistic frame(s) of the author’s writing and multiple histories. • Multiple interpretation of “So it goes”: minimalist style, ineffable trauma, or simple acceptance of death

3. Today – War and the Postmodern World • The novel as a dark comic response to the war. • War and the Postmodern World next Time • Parodies of authorial figure— • Two Alternative Perspectives beside the Dark Comic one. Trauma  fragmentation ( reconstruction)

4. V’s and Billy’s Responses • Is “Vonnegut” traumatized? • How about Billy? Why is he unstuck in time? And captured by the Tralfamadorian? (e.g. "simultaneously on foot in Germany in 1944 and riding his Cadillac in 1967" (58); (pp. 75-77). • What are the various responses towards war in the novel?

5. “Vonnegut’s” Responses • Wordlessness -- “I know, I know, I know” p. 10; lack of memories p. 14; • Randomness and inconsequentiality in his life p. 7; “telephoners” 11 • Loss of control over time -- p. 18 • Pre-occupied by books re. death and destruction. “pillar of salt” • "So it goes“-- 1) passive and emotionless reaction to tragedy and death? 2)Emphasis of both their sadness and meaninglessness.

6. “Vonnegut’s” Responses (2) • (Next Time) • Two constructive responses: • Tralfamadore -- "trying to re-invent themselves and their universe" (101) • “Poo-tee-weet”

7. Billy’s Immediate Response • committed to a mental hospital 3 years afterwards p. 100

8. Billy’s Wordlessness • Re. his son in Vietnam “I am [proud of him]. I certainly am.” (61)

9. Billy’s Obsession • Sounds and smells which trigger his past experience • a siren (57) -- It "scared the hell out of him" (57) and "he was expecting World War Three at any time" (57).  "back in World War Two again" (58). • Cripples (63) – as salespersons  cripples and their boss  the war

10. Billy’s Obsession (2) • the neighborhood  towns in the war p. 59 • Likes to watch war movies; plays the movies forwards and backwards p. 75

11. Billy’s “time-travel” = obsession Billy has gone to sleep a senile widower and awakened on his wedding day. He has walked through a door in 1955 and come out another one in 1941. He has gone back through that door to find himself in 1963. He has seen his birth and death many times, he says, and pays random visits to all the events in between. He says. Billy is spastic(痙攣的) in time, has no control over where he is going next, and the trips aren't necessarily fun. (23)

12. The “Past” Remembered by Billy • All related to deaths • Sink-or-swim p. 43 • Aging mother 44 • Marathon runner 45  Deserter

13. The War (vs. the Postmodern World) A) cruelty and irrationality • *Roland Weary—and Iron Maiden 35; his equipment 39-40; his narrow vision 41-42 (vs the real version 50-); revengeful 79  Lazzaro's revenge 84; 139 • Children‘s Crusade; e.g. Billy as the college boy p.33 • the trip to Dresden • -- river of humiliation 64 • -- the boxcarts that carry the POW 67-69; 70; • -- delousing 83

14. The War (vs. the Postmodern World) B) heroism, myth vs. reality --the Three Musketeers-- --Wild Bob's heroism (66-67) -- momentary relief through fantasies – • the commander and his golden boots,53 • in the prison and as a baby 84-85 • (later--Cinderella myth)

15. Billy in the Postmodern World • Loss of religion pp. 38-39 (crucifix as gifts) and sense of direction p. 46-47 • Ownership and investment 61 • Later: Marries Valencia without loving her (107); V “eating a Three Musketeers Candy Bar” • Makes a lot of money, president of the Lion’s Club • Helpless p. 60 his motto •  (later) prescribing corrective lenses for Earthling souls p. 29

16. “Vonnegut” • “I was there.”