Style and Technique (Masterplots II: Short Story Series, Revised Edition)
Since writing his earliest stories, Vonnegut has been called a science fiction writer, a term, he says, that for many people is another word for a bathroom receptacle. Although there are elements of science fiction in his stories, he is more clearly a fantasist—one who creates a believable but purely imaginary world such as one finds in Lewis Carroll’s Alice’s Adventures in Wonderland (1865). He frequently resorts to dystopias (negative views of the future) to comment on modern society.
His style here is straightforward and matter-of-fact, as if he were sharing a story with his fishing buddies. Vonnegut does not interfere with the narration of this story to wink at the reader, implying that it is all a joke. Here, as in other stories and novels, Vonnegut appears to be a serious writer who uses the trappings of a futuristic science fiction world to entertain readers while he “poisons our minds with humanity.”
The story’s narrator never passes judgment on the words or deeds of the characters. Instead, his description of those actions becomes increasingly unbelievable. For example, as Harrison Bergeron and his dance partner dance and leap into the air, they finally manage to kiss the ceiling. Thus Vonnegut shows that Harrison represents someone so alien to his society that he can even defy the laws of gravity by seeming to float as easily as he was able to toss aside his shackles and handicaps.
Vonnegut’s outstanding stylistic trait is his use of black humor—humor that relies on the use of darker, more pessimistic, even depressing views of the absurdities of life. In a century when science and technology have been used to harm rather than help humankind, Vonnegut’s bitter antimachine, antitechnology images clearly reinforce the themes of the story. Instead of improving machines to make life easier, Harrison’s society—and thus ours—relies on outdated, nineteenth century tools to encumber the superior members of his culture to prevent either growth or experimentation. This is Vonnegut’s effort to make readers rethink their comfortable complacency and imagine instead what life would be like in such a world. The irony is that humans already inhabit such a world.
Compare and Contrast
Topics for Discussion
Ideas for Reports and Papers
Topics for Further Study
What Do I Read Next?
For Further Reference
Bibliography and Further Reading
Bibliography (Masterplots II: Short Story Series, Revised Edition)
Bloom, Harold, ed. Kurt Vonnegut. Philadelphia: Chelsea House, 2000.
Boon, Kevin Alexander, ed. At Millennium’s End: New Essays on the Work of Kurt Vonnegut. Albany: State University of New York Press, 2001.
Broer, Lawrence. Sanity Plea: Schizophrenia in the Novels of Kurt Vonnegut. Ann Arbor: University of Michigan Press, 1989.
Giannone, Richard. Vonnegut: A Preface to His Novels. Port Washington, N.Y.: Kennikat Press, 1977.
Klinkowitz, Jerome. Kurt Vonnegut. London: Methuen, 1982.
(The entire section is 216 words.)