From
Powerlessness to Power
As is discussed in Chapter One, the author in SF seems powerless
as he lacks the traditional authorial power. However, in this chapter,
through the examinations of Vonnegut's thematic concerns and writing strategies,
I want to argue that the author actually embodies power in his apparent
powerlessness. Among the various subjects presented in the novel, I will
focus on three of Vonnegut's major concerns: destruction and irrationality
of the Second World War, which culminates in the Dresden firebombing, incomprehensibility
of death in life and how these two subjects can be represented in writing.
In this chapter, therefore, through the examination of Vonngut's thematic
concerns and their relationships to the apparent loss of the authorial
control identified in Chapter One, I want to argue that Vonnegut actually
chooses to abandon the traditional authorial power in order to find an
appropriate novelistic form for his subjects of the absurdities of war
and death in life. Structurally, I divide my discussions into three main
parts. To begin with, I will focus on Vonnegut's black humor presentation
in the absurdities in Billy's life. Next, I will discuss the functions
of the writer figure Kilgore Trout and the authorial intrusion in the novel,
through which the author loses his god-like position and power in the act
of fictional writing about the absurdities in life. In addition, I will
examine Vonnegut's strategic arrangement of form which helps him undermine
traditional fictional narratives, such as war movies, legends and fairytales,
though the metafictional elements at the same time take away the author's
power in constructing a coherent structure and chronological plot. Finally,
I aim to discuss how the space travel motif of scientific narrative constructs
the structure of SF and its relationship with the themes of war
and death. Definitely, Vonnegut is not the only one to discuss the subjects
of death and war in fiction; however, only through discarding the traditional
authorial power can Vonnegut bring forth a powerful new perspective to
the absurdity of history and prescribe ''corrective lenses" to the distorted
views projected by the traditional way of story telling, while preventing
these views from being absolute and final.
A Bottle
of Coke-Cola
Billy is a character who helps Vonnegut to present life as absurd. Unlike
traditional realistic representation of a character, readers are never
offered a logical cause and effect explanation of Billy's clownish and
funny behaviors. For one thing, the name ''Billy Pilgrim" does not imply
the character's spiritual journey in a traditional representative way,
but is rather parodic. As Waugh suggests,
The use of names in traditional fiction is usually part of an aim
to disguise the fact that there is no difference between the name and the
thing named: to disguise this purely verbal existence. . . . Names are
used to display the arbitrary control of the writer, and the arbitrary
relationships to language. . . . (93-94)
However, according to Waugh, the name Billy Pilgrim points out ''the problem
of reference." ''The naming process" is ''deployed explicitly to split
open the conventional ties between the real and fictive worlds rather than
to reinforce them by mapping out a moral frame work (93-94). There is thus
an incongruity between the presentation of the character and the symbolic
meaning of his name ''Pilgrim."
In addition, the author does not attempt to offer the inner world of
Billy as authors of ''stream of consciousness" in modernist tradition might
do to reveal all the elements in a character's mind as clues for the analysis
of his personal problems. It is almost impossible to analyze Billy through
the conversations in the novel since he seldom communicates with others.
When he does speak up, he uses as few words as possible. What we are offered
are only glimpses and fragments of his life presented not in chronological
order but through his random travelling between the past and future. The
characterization of Billy is rather a combination of incongruous signs
and ridiculous moments than a realistic character with psychological depth
and spiritual progress, which is, for me, the author's use of black humor
strategies to comment on the absurdity of life. The author refuses to reveal
more about Billy, just as he admits his inability to comprehend life.
Billy is ''a funny-looking child who became a funny-looking youth¡Xtall
and weak, and shaped like a bottle of Coca-Cola" (23). When he serves in
the army, he does not look like a soldier at all; instead, he looks like
'' a filthy flamingo" (33). Ironically, he is presented as a typical American
when a photographer who wants ''a picture of an actual capture" catches
the scene of Billy and Roland Weary's bare feet to show ''how miserably
equipped the American Army often was"(58). After Billy eyewitnesses the
numerous deaths in the war and finally survives the Dresden holocaust,
''he burst into tears" (197) simply because he sees the horse being use
as transportation. Ironically, Billy '' hadn't cried about anything else
in the war" (197). Thus, the ridiculousness of Billy's inability to cry
for anything but the horse is not just the problem of an individual's apathy;
it reflects the lack of meaning of war itself.
In addition to Billy' s awkward physical appearance and ridiculous behavior
reflecting the absurdity of the war he participates in, his other experiences
in life are as terrifying and incomprehensible as his war experiences.
As a child, Billy has the terrible experience of being put in the swimming
pool by his father, which for him is like ''an execution," though his father
only means to train him how to swim (44). When Billy's parents bring him
all the way to the Grand Canyon by ''seven blowouts on the way," Billy
has the feeling that '' he was going to fall in" and he is so scared that
he wets his pants as his mother touches him (89). Ironically, the crucifix
from Billy's mother does not bring any salvation to him, but the ''clinical
fidelity" of the Christ's wounds have made Billy ''contemplated torture
and hideous wounds at the beginning and the end of nearly every day of
his childhood" (38).
Instead of being a pilgrim with a sense of meaning and mission, Billy
drifts from one moment to another in his life, and stays passive to the
events around him. Even as a successful middle-aged optometrist, Billy
dozes off when he examines his patients for the prescription of corrective
lenses. Though Billy has a family, it seems that no one really understands
him. Not even Billy can control or understand himself: ''Every so often,
for no apparent reason, Billy Pilgrim would find himself weeping. Nobody
had ever caught Billy doing it. . . . It was an extremely quiet thing Billy
did, and not very moist" (61). Billy is not only unenthusiastic about his
job, but more tragically he is unenthusiastic about living. Vonnegut points
out Billy's relationship with his mother, which is not based on love, but
rather on hatred, when Billy's mother visits him in the hospital. ''She
[Billy's mother] upset Billy simply by being his mother. She made him feel
embarrassed and ungrateful and weak because she had gone to so much trouble
to give him life, and to keep that life going, and Billy didn't really
like life at all" (102).
Here, Billy's life summarizes Vonnegut's view on human existence as
absurd: life is without reason or logic, but full of the unpredictable
and the grotesque. In this sense, Vonnegut gives up the power of a realist
author to understand and present his characters, just as his characters
are incapable of making sense of life. As the author/narrator points out:
''There are almost no characters in this story, and almost no dramatic
confrontations, because most of the people in it are so sick and so much
the listless playthings of enormous forces" (140).
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