Slaughterhouse-Five is a satirical novel by Kurt Vonnegut based on the fictional character Billy Pilgrim and his experience and journeys during the Second World War. Slaughterhouse-Five is regarded as Vonnegut’s most popular novel. The story’s focus on the Dresden bombings is what gives the work its semi-autobiographical genre, as Kurt Vonnegut experienced these events first-hand. It is not entirely an autobiographical book however, as whilst it does feature aspects of the author’s life in the book, the most-part of Slaughterhouse-Five is centered on the fictional character, Billy Pilgrim. Simultaneously, the plot of the novel is also driven by Kurt Vonnegut’s own experiences in Dresden, Germany, which, as mentioned earlier is what gives the book a semi-autobiographical genre.
Wilfred Owen vividly and acutely portrays the harsh reality of war straight up from a firsthand experience. ‘Dulce et Decorum Est’ the title, literally translates into ‘It is sweet and noble’, but this title brings out the ironic aspect of the poem, as the readers are aware that the poem is anything but ‘sweet and noble’. Owen seeks to convince the readers that the horrors of war far outweigh the efforts by the patriots to glamorize war. His main goal is to completely destroy the lies instilled by propaganda and to make sure the readers are aware of what ‘war’ really is about. Through the topics of the poem, his dialect decisions, and differentiating the charming title going before the aggravating substance of the poem, he conveys regard for his perspectives on war while amid in the middle of one himself.
Tone is a very powerful and moving tool for both Heller and Hemingway in their novels. In Catch-22, comedy through absurdity is the overwhelming tone. Heller uses the comedic tone to explain that “[w]ar is irrational”, and leave the reader with a “catharsis in which the grimness of war provides the dominant memory”. Heller does so by creating absurd situations that may begin as funny, however leave one with a “bitter pessimism” (Hasley). An example of this is the tale of Captain Half-Oat, whose family had been Native Americans who, whenever they settled, would happen to settle directly over an oil deposit and be evicted by oil companies.
Robert Graves, Siegfried Sassoon, Edmund Blunden, Isaac Rosenberg, and Wilfred Owen—who all fought in the trenches and, in the last two cases, died there—remained tied to the conventions of the nineteenth century while trying to convey the unprecedented horror of industrial warfare, a condition of existence so murderous and absurd that a romantic or heroic attitude became impossible. The essence of modern understanding is irony, Fussell argued, and it was born on the Western Front. Fussell wasn’t wrong about the Great War, but, in his insistence on its newness, he underestimated the staying power of military myths for each generation. Fussell cited a newspaper story about a London man who killed himself out of concern that he might not be accepted for service in the Great War, and noted, “How can we forbear condescending to the eager lines at the recruiting stations or smiling at
Intruder in the dust contains a distinct and ever changing plot that shifts throughout the story. This is prevalent, especially, when the band of justice-promoting civilians find Crawford Gowrie’s grave switched by his murderous brother. The novel also contains important morals that can empower the movie’s emotion and sentiment with the depiction of racial equality. Call of the Wild, differently, gives minuscule background, about two pages at the start of the book, to Buck, the main character, and it is hard to understand the situation in which he came from. Intruder in the Dust makes a great movie with it’s constant sense of mystery.
Lawrence 's “Nightmare”). D. H. Lawrence had born the burden of the First World War in the same way as his “thinly disguised autobiographical narrator Richard Lovat Somers” (Reading Modernist Fiction as War Testimony: The Case of D.H. Lawrence 's “Nightmare”). The writer described Cornwall, “a place that had been isolated from encroaches of modern life and the evidence of its heritage – stretching back into pre-history – was still clearly displayed in its landscape”, so vividly because it had been his refuge during the war (Costin). For D. H. Lawrence the period of war was an onerous time: he “had been most directly affected by the war in having his work banned, and suffering persecution by the authorities as a suspected spy” (Creating a History: The Case for Lawrence as a Civilian War Writer). The bitterness of his memories of the First World War D. H. Lawrence vivivdly demonstrates on the pages of
He commits himself to the long journey that it will take to travel back to Heaven and hopefully gain revenge against God, who outcast him down to the depths of Hell. Many critics downplay the simple fact that Satan decided to set out on this epic journey, and discussions often arise about “when readers are so conscious of Satan’s absurdities that they forget his cunning and his power” (Steadman 253). Readers are so caught up in their past teaching and beliefs that Satan is inherently evil that they forget all of the basic traits of an epic hero that he legitimately
In 1964, two motion pictures released that are founded along the aforementioned subject matter, Sydney Lumet’s “Fail Safe” and Stanley Kubrick “Dr. Strangelove”. Although, aesthetically completely different from one another (Fail Safe is a serious suspense drama while Dr. Strangelove is a satirical comedy) both movies are regarded to be a masterpiece. However, Kubrick’s Dr. Strangelove is far more relevant in current times than Lumet’s Fail Safe. As the latter motion picture blame the nuclear holocaust on malfunctioning of a machine, the former place the blame squarely where it belong—on
Slaughterhouse-5: A tale of human war and Suffering Eternity of life is just an equivocal concept. Can a being live perpetually, even if not alive at this moment? This is just one philosophical point made by Kurt Vonnegut Jr. in his book “ Slaughterhouse-5”. Vonnegut, having experienced the calamity of the Dresden bombing wrote this book to concede suffering, and not to publicize or propagandize any kind of fallacy that this is an anti-war book. This being said, Vonnegut scrutinizes the philosophical aspects of time, and memories that restore a being.
Kurt Vonnegut employs metafiction in writing Slaughterhouse Five, the novel was a fuse of both fact and fiction. Billy, the protagonist, was an unexpected war survivor in the bombing of Dresden and had illusory fantasies to cope with his unspeakable trauma. I am interested in examining how history is represented in metafiction and how mnemonic symbols of traumatic experiences can be redefined in metafiction. Carl Jung’s The Concept of the Collective Conscious leaves me with questions that I would like to examine in the course. One of which is the question of whether a post-war trauma archetype pre-exists and the relationship between remembered memories and collective