America owes Kurt Vonnegut a debt of gratitude for infusing its culture with the brilliant insight found in books like Mother Night, Player Piano and Slaughterhouse-5—and for the mordantly funny writings assembled in this collection. The Nation was one of Vonnegut’s outlets for his political writings. He contributed to the magazine once or twice a year from 1978 to 1998, like a regular donation to the United Way. His politics were consistently on the left, and after fighting in World War II—which, for all its horrors, he considered just—he angrily condemned all of the United States’ subsequent wars of choice. He wrote in a kind of faux-simpleminded style. He avoided the high seriousness demanded by some critics, who dismissed his body of work as a product of the 1960s counterculture, popular only among shaggy-haired youths with callow taste. But his best work, as you’ll see, deals with ultimate questions.
Kurt Vonnegut, Junior was an American novelist, satirist, and most recently, graphic artist. He was recognized as New York State Author for 2001-2003.
He was born in Indianapolis, later the setting for many of his novels. He attended Cornell University from 1941 to 1943, where he wrote a column for the student newspaper, the Cornell Daily Sun. Vonnegut trained as a chemist and worked as a journalist before joining the U.S. Army and serving in World War II.
After the war, he attended University of Chicago as a graduate student in anthropology and also worked as a police reporter at the City News Bureau of Chicago. He left Chicago to work in Schenectady, New York in public relations for General Electric. He attributed his unadorned writing style to his reporting work.
His experiences as an advance scout in the Battle of the Bulge, and in particular his witnessing of the bombing of Dresden, Germany whilst a prisoner of war, would inform much of his work. This event would also form the core of his most famous work, Slaughterhouse-Five, the book which would make him a millionaire. This acerbic 200-page book is what most people mean when they describe a work as "Vonnegutian" in scope.
Vonnegut was a self-proclaimed humanist and socialist (influenced by the style of Indiana's own Eugene V. Debs) and a lifelong supporter of the American Civil Liberties Union.
The novelist is known for works blending satire, black comedy and science fiction, such as Slaughterhouse-Five (1969), Cat's Cradle (1963), and Breakfast of Champions (1973)
This collection of 12 pieces Vonnegut wrote for publication in "The Nation" between 1978 and 1998 (and available only through Kindle) is a worthy addition to the author's bibliography. The topics here run the gamut from an open-ended interview to a proposed inaugural address for Michael Dukakis, and effectively present Vonnegut in his role as avuncular elder of the tribe. Although several of these pieces have been published elsewhere and a few of them are slight, there is enough meat on these bones to satisfy any fans whose hunger for Vonnegut remains insatiable. It is, indeed, a testament to the man's talents that so many of his posthumous works attain such a high level as this one does.
Short and sweet collection. Most of Vonnegut’s central themes are in this book. This guy Kurt LOVES that Eugene V. Debs quote - “While there is a lower class, I am in it; while there is a criminal element, I am of it; while there is a soul in prison; I am not free.” It’s a great quote but it is in literally every non-fiction Vonnegut book. If I made a Vonnegut bingo, that would be on it. Dresden would be the free space.
“God Bless You, Edwin Meese (1986)” was the highlight.
It was a pleasure to revisit Vonnegut after a long hiatus. I had almost forgotten what a unique and original thinker and writer he was. I may have tt re-visit his novels to see if I am still enamoured with his world view as I was in the '70s.