| Slaughter House Five Essay, Research Paper
Thesis- To be ?unstuck in time? and fight or to be against war and not fight.
I. How Kurt Vonnegut uses Fragmentation.
A. Keeping Dresden fresh in the readers mind .
1. Billy goes back to Dresden reader goes with him.
2. First hand account of the massacre.
a. Live through the horrors of war
b. The reader is able to reflect on the horrors of war.
II. Time there is no past,present or future in Slaughterhouse-five.
A. Billy learns this view of all time existing from a group of aliens called
Tralfamadorians.
1. There way of looking at time is comparable to a human?s way of looking at
?a stretch of the Rocky Mountains.?
2. All things are destined to happen.
B. Constantly seeing things through Billy?s eyes.
1. Reader is with Billy wherever he goes.
2. ?so it goes?
III. Vonnegut presents the war experience as one that still goes on.
A. Billy never leaves the war .
1. The reader does not leave the war
2. Reader is not able to experience the war.
B. Horrific details
1. Saves the actual account of the bombing until the reader entrenched in the
narrative.
2. Reader is denied the luxury of saying that he or she has seen worse.
IV. Billy steps out of time.
A. Planet Trafalmadore
1. ?Heavenly?
2. Billy is only allowed to have peace here
B. Aliens teach Billy.
1. View his own line as a long line rather than concentrating on one point in
particular.
2. View the novel as a whole rather than pieces of events.
V. Verge of Billy breaking up.
A. Pressures of the outside worlds.
1. Finds himself in different events.
2. ?a constant state of stage fright?
B. Splitting himself into different parts.
1. Husband,soldier and employer
2. Seems to be spread a little too thin to handle all of these roles.
VI. Billy ages
A. Becomes separated from himself
1. Play a role at each stage of his life.
2. Even when he steps out of time he is still performing.
B. Billy is always on stage
1. The dangers of role playing surfaces with the example of Billy Pilgrim.
2. Billy is a person who must pretend in order to be. .
|