Breakfast of Champions Analysis

  • Kurt Vonnegut's Breakfast of Champions is notable for its innovative structure and metafictional elements. Vonnegut inserts himself into the novel as both the narrator and a character, using himself as a foil for the less successful Kilgore Trout, a science-fiction writer with no reputable publications to his name.
  • Breakfast of Champions alludes to many of Kilgore Trout's works, none of which exist in the real world. One of Trout's novels, Now It Can Be Told, reappears throughout the novel, it being Trout's sole possession after the mugging in New York City. Trout recounts the narratives of his stories, including one in which a character named Zog communicates by tap dancing and farting.
  • Vonnegut was concerned with the deterioration and the hypocrisy of America culture. He notes that Thomas Jefferson, a man hailed as a great thinker and proponent of freedom, owned slaves. He goes on to criticize American capitalism by describing fast food chains and neon lights with evident disgust.

Analysis

Written after Vonnegut's brief-lived rejection of prose, the novel is a conscious effort to break away from the successful formulas of his earlier writing. Vonnegut openly addresses himself in the role of creator "on a par with the Creator of the Universe," and with a Prospero-like gesture releases the characters from his earlier fiction. He also talks freely of his own personal experiences, including his mother's suicide and his relationship with his psychiatrist.

The result is a colloquial antinovel, a further break from the confines of realistic fiction. Vonnegut undercuts suspense by revealing his plot in the first few chapters. In one of his numerous authorial intrusions, Vonnegut states that his purpose is to bring "chaos to order," to undercut his readers' comfortable expectations. Vonnegut freely ranges in time from 1492 forward into the future, saying that life is like an endless polymer without beginning or end. He stylistically emphasizes this notion of continuity by beginning many of his sentences with the word "And." In another rebellion against the order of realistic fiction, he makes no effort to dish out moral justice; the good and the evil suffer equally.

Other technical experiments in Breakfast for Champions derive from pop art. Vonnegut's felt-tip-pen illustrations reduce experience to its inexorable essence while parodying Americans' tendency to accept simplistic, commercial versions of reality. Their crudeness mocks a culture...

(The entire section is 248 words.)