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55 pages 1 hour read

Kurt Vonnegut Jr.

Slaughterhouse-Five

Fiction | Novel | Adult | Published in 1969

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Themes

The Horrors of World War II on Both Sides of the Conflict

Slaughterhouse-Five is an anti-war novel. War is presented as a violent, hellish inevitability which taints everyone involved. The bombing of the city of Dresden in Germany and frequent references to other events in World War II portray the horrific nature of the conflict. The motivations, the military details, and the political background of the war are not explored. Instead, the novel examines the horrific way in which war corrupts every person. Billy Pilgrim is an innocent, passive man. He is thrown into the meat grinder of the war and emerges on the other side as a traumatized, forever-changed person. He is forced to watch people die, starve, and suffer at the hands of his own countrymen. Billy is caught in the midst of the firebombing of Dresden, and he witnesses a pleasant German town filled with civilians turned into a desolate wasteland filled with corpses buried under mountains of ash. While the scale of the atrocities committed by the Axis during the war is incomparable to the violence carried out by the Allied troops, Vonnegut’s portrayal of Dresden shows that the U.S. and British forces were also capable of acts of indiscriminate death and destruction. Many scholars even characterize the Dresden bombing as a war crime. (Furlong, Ray. “Dresden ruins finally restored.” BBC News. 22 Jun. 2004. http://news.bbc.co.uk/2/hi/europe/3830135.stm.)

Later in the novel, Billy listens to Bertram Rumfoord explain the motivations for the bombing. Like the rest of the war, Billy is entirely disengaged from the reasoning behind the bombing. He witnessed the end product and no excuse will ever erase the ruined city of Dresden from his mind. Even the most passive, unremarkable man comes to be defined by his proximity to the horrors of war.

War also provides certain characters with the opportunity to indulge their most violent fantasies. Paul Lazzaro delightedly assembles a list of men he will kill, while Roland Weary invests heavily in his own range of specialist weapons. He happily shows off his knives and equipment to Billy and other soldiers. Roland is a bully who embraces the war because it allows him to enact the most violent fantasies which lurk in his mind. Men like Lazzaro and Weary were horrific, violent men before they entered the military. The war provides them with a stage on which they can perform their violence to an even larger audience. War is so horrific because it unleashes the worst tendencies of already terrible men. The passive, quiet people like Billy and Edgar are traumatized or killed, while the violent bullies like Paul Lazzaro or Roland Weary embrace the opportunity to be as terrible as they can possibly be. The horror of war is that it emphasizes and corrupts the worst part of each person.

The Inevitability of Death and the Loss of Free Will

As Billy Pilgrim becomes dislodged in time, he travels between his past, his present, and his future. He becomes aware of everything that will happen to him, just as he is aware of everything that has already happened to him. This insight means that he knows when and how people will die, raising major questions about the existence of free will. Death is inevitable for every person, but very few people know the exact specifics of their death. Billy knows when he and everyone he knows will pass away. He boards a plane with colleagues and his father-in-law knowing that it will crash and everyone will die. He knows that his wife will die while travelling to meet him in the hospital afterward. Billy knows that their deaths are inevitable and he knows that he can do nothing to stop them.

The experience of travelling through time imbues Billy with the Tralfamadorians’ understanding of how the universe functions. Everything happens because it is predestined, and trying to intervene is as impossible as trying to change the past. Billy is traumatized by the war but also learns that he is powerless to stop people from dying. Death is inevitable for everyone, but Billy is forced to confront this idea in a more pointed way than most. This reflects the attitude felt by soldiers in a war, who are caught up in a cycle of violence that is so big and powerful, it is impossible for any one individual to stop.

This theme is most obvious when Billy is forced to confront the inevitability of his own death. Billy knows that he will be killed by Paul Lazzaro on a specific date as vengeance for the death of Roland Weary. Billy was not responsible for Weary’s, death and Lazzaro is a crazed psychopath who has threatened many people. For most of the novel, Lazzaro’s threats seem to be the empty words of a man driven insane by the war. Billy knows better. He records a message detailing how and when he will die, which he then locks in a bank vault. Understanding that his death is inevitable and absurd, Billy uses the opportunity to his advantage. He explains to the listener of the tape that his death is not a sad event. It is an expected and beneficial opportunity to demonstrate his unique understanding of time. Billy turns the inevitability of his death into a chance to demonstrate his ideas to the world. He predicts his own death and uses it as evidence for his time travelling experiences. Billy justifies his own existence by dying, allowing the world to better understand a difficult and seemingly bizarre interpretation of time. All time exists at once, he learns from the Tralfamadorians, so people should not view the moment of death as some inevitable finality. Billy embraces the inevitability of death and turns it into a positive. 

The Lack of Heroes in a World Defined by Violence and Suffering

Slaughterhouse-Five is a book without heroes. Every person in the book is damaged, traumatized, terrible, or tragic in some measure. A key example is Billy Pilgrim. Though ostensibly the novel’s protagonist, Billy is a quiet, unremarkable man who seems entirely disengaged from society. He struggles to care about anything, is traumatized by the horrors he sees in the war, marries a woman he does not love, and produces children with whom he is not particularly close. Billy is successful in a material sense, but he seems to drift through life without ever having lived. He does not change anything, he does not save anyone, and he does not grow as a character. Everything happens to Billy, rather than him achieving anything on his own merits. By all the traditional criteria by which protagonists are judged, Billy Pilgrim comes up short. The theme of a lack of heroes is demonstrated best by the fact that the protagonist of the novel is the least heroic, least remarkable person possible.

Edgar Derby is almost a hero. He is a soldier in World War II who is much older than his comrades. As a former teacher, he felt compelled to contribute to the war effort and signed up for the army to do his part in the fight against fascism. Derby succeeds despite his age, and he remains a moral person while society’s morality collapses around him. Men like Roland Weary embrace the violence of war in a blood-drenched world, but Derby remains true to his principles. He lambasts an American who chooses to work for the Nazis and is cheered by his fellow soldiers. Derby performs heroic actions in an unheroic world but then dies a miserable, pointless death. Derby is shot by a firing squad for stealing a worthless teapot when the war is already over. His supposed crime pales in comparison to the global scale of the atrocities committed all around him, and his trial is a farce.

Derby’s heroism does nothing to save him. Worse men survive while those who try to cling to their morality meet sudden, tragic deaths. Derby may be the closest the novel has to a hero, but he dies as a forgotten thief, shot by a fascist firing squad for no real reason. The lack of heroes is not only a theme in Slaughterhouse-Five, it is also one of the central premises of the text. Trying to rely on heroic individuals to save the world from horrors is absurd. War corrupts and traumatizes everyone, destroying any possibility of heroic behavior. The book argues that the idea of a hero as a savior is pathetic, unrealistic, and hopeless in the face of war. 

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