Mother Night, Vonnegut’s third novel, differs from its predecessors in having no emphasis on technology or use of a fictional future. It is the first to be written with a first-person narrator, which deepens the characterization of the protagonist and intensifies the soul-searching, both on his part and the author’s, that goes on in this novel. Mother Night is also the first of his novels to have an autobiographical introduction, added to the 1966 edition, in which Vonnegut ruminates about his own wartime experience and his being of German origin. He notes: “If I’d been born in Germany, I suppose I would have been a Nazi, bopping Jews and gypsies and Poles around, leaving boots sticking out of snowbanks, warming myself with my secretly virtuous insides. So it goes.” That thought illustrates the moral that Vonnegut sees in this novel: “We are what we pretend to be, so we must be careful about what we pretend to be.”
The pretense in this story concerns Howard Campbell, an American playwright living in Germany with a German wife as World War II breaks out. Campbell is persuaded to remain in Germany, cultivate the Nazis, and become an American agent. He becomes increasingly successful as a Nazi propagandist, although his broadcasts contain coded information vital to the Allies. At war’s end he is spirited back to New York because his secret role cannot be revealed and he is generally thought to be a Nazi. He is hunted by vengeful patriots and by admiring neo-Nazis racists—and by the Israelis, to whom he eventually delivers himself.
Campbell’s narrative is written in an Israeli prison as he searches himself for the answers to the question of whether he was really the Nazi he pretended to be or the secret spy, whether he did more to further Nazi crimes than he needed to, and what he would have done if the Germans had won. He had always believed that his propaganda was too ludicrous to believe and that he could remain detached from the horrors around him, yet the fact...
(The entire section is 832 words.)