In “Harrison Bergeron,” Kurt Vonnegut presents a society in which equality is valued above all else and attained at the cost of individuality. The oppressive and often absurd ways in which the characters are equalized through physical and cognitive handicaps implicitly argue for the importance of individuality.

Although the story is critical of an equalizing society, it does not merely satirize the aim of equality among citizens in heavy-handed terms. Indeed, Vonnegut’s characters express coherent reasons to strive for a level playing field. Chief among these are the eradication of jealousy and competition. When Hazel suggests that George remove some of the lead balls from the weighted bag hung from his neck, he replies by citing the underlying logic of his handicaps. He argues that if citizens began removing their handicaps, “pretty soon we’d be right back to the dark ages again, with everyone competing against everyone else.” Hazel agrees, noting that society would “fall apart.” It is ironic that the very handicaps George and Hazel are condoning prevent their conversation from advancing any further. George’s reply—“What would?”—illustrates the stupefying effects of his cognitive handicap.

The story argues for individuality by showing the repressive effects of equalization. This repression occurs in small, quotidian ways, such as in George’s artificial handicaps: the bag of birdshot he wears and the earpiece that emits thought-shattering sounds at twenty-second intervals. The story suggests that many citizens share George’s experiences of daily suffering in the name of broader equality. 

But perhaps more importantly, this repression occurs on larger stages, preventing humans from achieving excellence of any kind. This diminishment of excellence can be seen in the televised dance program George and Hazel are watching. Because the dancers are all handicapped for their physical gifts—weighed down and masked—their performance is poor. As George remarks, the ballerinas are “no better than anybody else would have been.” The same is true of the accompanying musicians, whose benchmark for “normal” playing is “cheap, silly, false.” Indeed, a world that criminalizes individual gifts and talents is shown to be a world without virtuosity or beauty. Harrison Bergeron represents the apotheosis of this kind of repression. He is the most gifted citizen of all—and thus the most diminished. Because he refuses to quell his individual excellence in the name of collective uniformity, he loses his life.