Kurt Vonnegut’s "Slaughterhouse-Five: Or, The Children’s Crusade, A Duty Dance with Death" presents a unique blend of historical memory, satire, and science fiction to explore the horrors of war. Through the experiences of Billy Pilgrim, a time-traveling optometrist, Vonnegut crafts a narrative that challenges the glorification of conflict and examines the trauma left in its wake. Celebrated upon release for its innovative structure and poignant commentary, "Slaughterhouse-Five" remains a critical examination of war's impact on the human spirit.

The Work

"Slaughterhouse-Five" unfolds through the disjointed life of Billy Pilgrim, a protagonist mirroring Vonnegut's own wartime experiences. Billy, a survivor of the catastrophic firebombing of Dresden during World War II, is depicted as "unstuck in time," shifting between different periods of his life. He grapples with the emotional scars left by war as he transitions from his wartime memories to his civilian life as an optometrist in Ilium, New York, and even to an imagined existence on the alien planet Tralfamadore.

On Tralfamadore, Billy finds himself in a zoo display, paired with Montana Wildhack, an Earthling and former pornographic star. Unlike his marriage to his real-life wife, Billy’s relationship with Montana allows him to share his deepest traumas, including his memories of Dresden. The novel also introduces characters such as Roland Weary, a delusional soldier who finds glory in war’s brutality, and Edgar Derby, an idealistic teacher who meets a tragic end after volunteering for service. Through these characters, Vonnegut paints a bleak picture of war as a force of dehumanization and senseless destruction.

Impact

Vonnegut's dramatization of the Dresden firebombing resonated with a nation embroiled in the Vietnam War, reflecting the zeitgeist of the 1960s and early 1970s. The novel's publication coincided with growing public discontent over Vietnam, and Vonnegut, through his narrative voice in chapters 1 and 10, parallels the protest sentiments of the era. He forcefully argues that war yields neither enlightenment nor redemption, only futility and devastation.

The success of "Slaughterhouse-Five" was immediate, earning praise from major publications like The New York Times and Time magazine. It prompted a reevaluation of Vonnegut’s earlier works and catapulted him into broader cultural discussions about the absurdities of war. The novel's depiction of a passionless protagonist, stripped of life's joys and sorrows, served as a powerful metaphor for the human cost of conflict, echoing the fears and frustrations surrounding Vietnam.

Related Work

In 1972, "Slaughterhouse-Five" was adapted into a film by Stephen Geller and directed by George Roy Hill, with Michael Sacks starring as Billy Pilgrim. The movie brought Vonnegut’s complex narrative to a wider audience, although it necessarily simplified some of the novel’s intricate themes for cinematic expression.

Bibliography

The bibliography of "Slaughterhouse-Five" offers insights into Vonnegut's narrative techniques and thematic concerns. Richard Giannone's Vonnegut: A Preface to His Novels delves into the biblical references and personal elements within the work, while Jerome Klinkowitz's studies, including Kurt Vonnegut and Slaughterhouse-Five: Reforming the Novel and the World, provide comprehensive critiques of Vonnegut’s methods and philosophy.

Clark Mayo’s Kurt Vonnegut: The Gospel from Outer Space and Stanley Schatt’s Kurt Vonnegut, Jr. explore the author's unique style and the novel's contribution to science fiction. These works dissect the construction and narrative techniques of "Slaughterhouse-Five," examining Vonnegut’s ability to distance himself aesthetically while still delivering a profound critique of war.

The Firebombing of Dresden

A pivotal historical event that significantly influences Slaughterhouse-Five occurred almost twenty-five years before the novel's release. On February 13 and 14, 1945, Allied aircraft dropped incendiary bombs on Dresden, Germany—a city with no significant military targets, known as an "open city." The resulting firestorm obliterated the city and claimed approximately 135,000 lives, nearly all civilians. This death toll was almost double that of the Hiroshima atomic bombing. The Dresden bombing remains the most intense air strike in military history and is still a subject of debate, with many historians arguing that it had no meaningful military objective and did not accelerate Germany's defeat. Among those in Dresden during the bombing were around one hundred American prisoners of war captured in the Battle of the Bulge, including Vonnegut.

The Vietnam War

The conflict between communist North Vietnam and non-communist South Vietnam began in 1954 and concluded in 1975 with North Vietnam's victory and the reunification of the country under communist rule. This period also spanned much of the Cold War between the United States and the Soviet Union, leading to U.S. involvement in Vietnam on behalf of South Vietnam. By 1968, the year before Vonnegut's novel was published, American troop presence in Vietnam had peaked at 543,000. As U.S. involvement grew, so did domestic opposition to the war. By 1969, President Lyndon Johnson decided not to seek reelection due to his role in the war. Additionally, antiwar sentiment manifested in mass protests and the emigration of thousands of young American men to countries like Canada and Sweden to evade the draft.

Although Vonnegut's novel centers on events from World War II in the 1940s, it is deeply influenced by the Vietnam era. Vonnegut directly references Vietnam in Chapter Three, where Billy Pilgrim, in 1967, listens to a Marine advocate for increased bombing of North Vietnam. In Chapter Ten, Vonnegut mentions the 1968 assassinations of Martin Luther King, Jr., and Robert Kennedy, noting, "every day my Government gives me a count of corpses created by military science in Vietnam." It's perhaps unsurprising that a novel confronting the horrors of war, including American culpability, resonated with readers at a time when many Americans were beginning to question their country's actions.

The UFO Phenomenon

A significant aspect of Slaughterhouse-Five is Billy Pilgrim's kidnapping by extraterrestrials from the planet Tralfamadore. During the 1990s, "alien abduction" became a widely recognized cultural myth, with numerous people claiming to have been taken by aliens from outer space. Public curiosity about UFOs (Unidentified Flying Objects) and the existence of extraterrestrial life has reached an unprecedented level, driven by popular media (television series like Star Trek and The X-Files, films such as E.T. and Independence Day), scientific breakthroughs (discovery of planets beyond our solar system), and notable news events (the Heaven's Gate mass suicides in 1997).

Although Vonnegut's novel was published before the recent surge in UFO awareness, the phenomenon was already well-documented by the time Slaughterhouse-Five was released in 1969. Starting in 1947, UFO reports emerged in waves globally. From 1965 to 1967, the U.S. Air Force received nearly three thousand UFO sighting reports. In 1966, a congressional hearing was held on the topic, and the Air Force tasked scientist Edward U. Condon with investigating. Condon's conclusion—that there was "no direct evidence whatever" that UFOs were indeed extraterrestrial spacecraft—sparked significant controversy.

Science Fiction

Slaughterhouse-Five is, among other genres, a science fiction novel, and it demonstrates a deep awareness of the history of science fiction. Vonnegut started his writing career branded as a science fiction author, a label he didn't fully shake off until the 1960s. Through its depiction of the alien Tralfamadorians, the novel displays a clear understanding of the conventions of both the "pulp" science fiction of the 1930s and 1940s and the popular sci-fi movies of the 1950s. The character Kilgore Trout is particularly notable in this context. Some critics view Trout—a visionary writer trapped in poverty and obscurity because he works in a genre deemed inferior to "real" literature—as a reflection of Vonnegut's own anxieties about his potential fate had he not transcended the "science fiction" label. Others believe Trout is inspired by real science fiction writers from the 1950s, especially Philip K. Dick and Theodore Sturgeon.

Kurt Vonnegut’s Slaughterhouse-Five masterfully blends the mundane with the extraordinary, creating a narrative that transcends traditional storytelling confines. The novel defies linear time, employing a fragmented structure that mirrors the chaos and dislocation of modern warfare. Through the protagonist Billy Pilgrim's journey, readers traverse a spectrum of settings—from the grim realities of World War II to the peculiarities of an alien zoo—each offering a commentary on the human condition and the relentless march of technological progress.

The Interplay of the Ordinary and Otherworldly

Vonnegut, often pigeonholed as a science fiction writer, expertly weaves together familiar and fantastical elements. This fusion is evident in the novel's setting, which oscillates between the terrestrial and the extraterrestrial, reflecting the schizophrenic nature of its narrative style. The tale unfolds in the "telegraphic schizophrenic manner" of the fictional planet Tralfamadore, a method that allows for abrupt shifts in time and space. These disjointed sequences underscore a central theme: the numbing impact of modern warfare and the alienating advance of technology, which often leaves humanity grasping for understanding.

Chronological and Geographical Fluidity

Vonnegut constructs a non-linear story that defies traditional chronology. The narrative leaps across time and place, from the lush suburbs of Ilium, inspired by Schenectady, to the bomb-scarred landscapes of Dresden and the bizarre confines of a Tralfamadorian zoo. This constant movement reflects the protagonist, Billy Pilgrim's, existential predicament of being "unstuck in time," a condition that allows him to experience past, present, and future simultaneously. This temporal fluidity not only challenges conventional storytelling but also serves as a metaphor for the fractured human psyche in the wake of cataclysmic events.

The Tralfamadorian Perspective

Central to the novel’s exploration of time and existence is the Tralfamadorian philosophy. According to these aliens, all moments in time coexist eternally, providing a unique lens through which to view life's events. For Billy Pilgrim, this perspective offers solace amidst the chaos, suggesting that while individual moments might be painful, they are merely one part of a larger, immutable tapestry. This notion challenges the reader to reconsider perceptions of time and fate, offering a form of existential comfort in an otherwise unpredictable world.

Symbolism of Settings

The varied settings in Slaughterhouse-Five are rich with symbolism. Dresden, with its horrific bombing, epitomizes the senseless destruction of war, leaving a legacy of trauma that permeates Billy's life. In contrast, Ilium represents the banality of post-war suburban life, where the comforts of routine mask deeper existential dread. Meanwhile, the Tralfamadorian zoo, with its alien spectators, highlights human vulnerability and the absurdity of trying to find meaning in an indifferent universe.

The Impact of Modern Warfare

Through these diverse settings, Vonnegut critiques the dehumanizing effects of contemporary conflicts. The disordered timeline mirrors the disruption caused by war, while the juxtaposition of different worlds emphasizes how technological advancements often lead to alienation rather than progress. Billy’s experiences in Dresden, in particular, serve as a stark reminder of the devastating toll that modern warfare exacts on both the individual and collective human psyche.

A Narrative of Resilience and Redemption

Despite its grim subject matter, Slaughterhouse-Five ultimately conveys a message of resilience. Billy Pilgrim’s ability to navigate through different epochs and realms suggests an enduring human capacity to adapt and find meaning amidst chaos. By embracing the Tralfamadorian view of time, Billy learns to appreciate life’s fleeting moments, accepting them as part of a complex, interconnected existence. In doing so, Vonnegut offers readers a glimmer of hope, illustrating that even in the face of overwhelming adversity, there remains a possibility for understanding and redemption.

Structure

One of the most remarkable elements of Slaughterhouse-Five is its unconventional structure. The protagonist, Billy Pilgrim, experiences being "unstuck in time," which means he can abruptly find himself at different moments in his past or future. This time travel starts during a pivotal period in his life—his capture by German soldiers in World War II and witnessing the Allied firebombing of Dresden, Germany. The structure of the novel reflects the significance of this event and its deeply disorienting impact on Billy's life. While his experiences as a prisoner of war are presented in a somewhat chronological sequence, these narratives are frequently interrupted by Billy's jumps to various other times in his life, both past and future. This structural approach emphasizes the importance of Billy's wartime experiences and the severe dislocation and alienation he endures after the war.

Point of View

Slaughterhouse-Five also stands out for its unique point of view. Instead of using a traditional third-person narrator, the story is told by the author himself. The first chapter features Vonnegut discussing the challenges he faced while writing the novel, and he appears as a character several times throughout the story. By making the autobiographical aspects of the novel explicit, Vonnegut refrains from presenting it as a self-contained work of fiction. Instead, he portrays it as an imperfect and incomplete attempt to understand an overwhelming event. Addressing his publisher, Vonnegut explains, "It is so short and jumbled and jangled, Sam, because there is nothing intelligent to say about a massacre."

Symbolism

Slaughterhouse-Five is also a science fiction novel. Billy Pilgrim's time travel and his abduction by aliens are depicted as actual events. However, these literal occurrences carry symbolic meaning, as is common in the best science fiction. Billy's experience of being "unstuck in time" symbolizes the profound dislocation and alienation felt by war survivors. Additionally, the aliens from Tralfamadore serve as a means for Vonnegut to explore themes of fate and free will.

Style

Style, which refers to the way an author arranges words, sentences, and paragraphs into prose, is one of the most challenging aspects of literature to analyze. Nevertheless, it is important to note that Slaughterhouse-Five is written in a very distinctive style. When describing overwhelming, horrific, and often inexplicable events, Vonnegut employs a simple, straightforward prose style. He frequently uses language that one might use to explain things to a child, as demonstrated in this description of Billy Pilgrim being marched to a German prison camp:

A motion-picture camera was set up at the border to capture the remarkable victory. Two civilians in bearskin coats leaned on the camera as Billy and Weary passed by. The film had run out hours earlier.

One of the civilians briefly focused on Billy's face before turning the camera to the horizon. In the distance, a small plume of smoke was visible. A battle was raging there. People were dying. So it goes.

By writing in this manner, Vonnegut compels the reader to confront the stark horror and absurdity of war directly, without any embellishment, as if they were witnessing it with fresh eyes.

Black Humor

Black humor involves the intentional use of humor to describe situations that are typically too violent, grim, or tragic to laugh about. By doing so, the author not only highlights the tragedy but also the absurdity of the event. Throughout Slaughterhouse-Five, Vonnegut employs black humor both in minor details (describing the half-mad Billy Pilgrim after the Battle of the Bulge as a "filthy flamingo") and in major plot points (Billy's attempts to share his experiences with the Tralfamadorians), emphasizing that the horrors of war are not only tragic but also inexplicable and absurd.

Vonnegut's declaration on the title page that Slaughterhouse-Five is written in a "telegraphic schizophrenic manner" accurately captures the novel's stylistic approach. Utilizing literary techniques such as "flashback" and "flash-forward," Vonnegut breaks free from the constraints of linear time and fixed space. This allows him to create a novel that, despite its occasional extraterrestrial settings, aligns more closely with psychological drama than traditional science fiction. The writer-narrator, Vonnegut, navigates through narrative time fluidly, blending descriptions of historical Dresden and his personal wartime experiences with Tralfamadorian fantasy and characters from his previous works. By juxtaposing Tralfamadorian time with sequential Earth time, Vonnegut highlights the psychological turmoil of both Billy and the society that produced him.

Despite Vonnegut's denial of being a science fiction author, some critics argue that Slaughterhouse-Five is more a work of "science reality" than science fiction. Vonnegut portrays a world where technology has made the destruction of 135,000 people not only feasible but also nearly unremarkable. Although the novel defies easy genre classification, it carves out a place in the literary canon through a blend of striking originality and thought-provoking literary allusions. Billy Pilgrim's name suggests a connection to John Bunyan's seventeenth-century allegory, Pilgrim's Progress. Like Bunyan's Christian explorer, Billy encounters the world's evils, but unlike Bunyan's pilgrim, Billy lacks the vision of a Celestial City at his journey's end. Instead, he foresees his own death. Vonnegut's adaptation of this renowned Christian allegory, coupled with his ironic references to the doomed Children's Crusade, underscores his belief that modern religion has failed humanity. Regarding the novel's protagonist, it remains ambiguous whether Billy has truly become "unstuck in time," or if, like many literary madmen before him, he has merely rejected reality, liberating himself from the horrors of his world.

The 1960s saw the emergence of numerous absurdist novels reflecting the era's bleakness, especially as boundless optimism was dampened by the tragic assassinations of President John F. Kennedy in 1963, and Robert Kennedy and Martin Luther King, Jr., in 1968. By the close of the decade, the Vietnam War had intensified, plunging the national mood into deep pessimism. Many people felt that society had spiraled out of control, with a few world leaders dictating the fate of millions. In "Slaughterhouse-Five," Vonnegut explores the insanity of war, using the senseless bombing of Dresden as a poignant symbol of this madness. He has openly stated that his aim in writing the novel was to heighten American awareness of the absurdity of the Vietnam War. Vonnegut deliberately avoided glorifying the brutality of war, instead portraying it, as the subtitle suggests, through the eyes of young and naive soldiers.

Although Slaughterhouse-Five remains a highly popular novel even two decades after its release, it has faced its share of criticism. Some readers take offense at the book's black humor and irreverent tone, arguing that Vonnegut's personal experiences skew his perspective, making him an unreliable social critic. While Vonnegut employs vulgar slang, parents and teachers should understand that this language serves a stylistic purpose, injecting humor and flippancy into the discussion of grim topics, rather than dismissing it outright.

• 1940s: World War II resulted in a decisive victory for the United States and its allies, enjoying widespread support from Americans. Information about the war was obtained through delayed reports in newspapers, radio broadcasts, and newsreels shown in movie theaters. By the war's end, the United States emerged as the leading military and economic power globally.

  1960s: American involvement in the Vietnam War gradually lost the backing of most citizens, likely due to extensive television news coverage that brought the harsh realities of the conflict into American homes. The war ended in 1975 with the United States withdrawing from Vietnam, marking the only war America has ever lost. Despite remaining the "leader of the free world," the Vietnam War significantly damaged American prestige internationally.

  Today: The United States' most recent military conflict, the Persian Gulf War against Iraq, ended in a decisive victory, partly driven by the American desire to avoid "another Vietnam." The war received broad support from Americans, although media coverage was tightly controlled by the military. Despite the collapse of the Soviet Union leaving America as the sole "superpower," its economic dominance faces challenges from countries like Japan, China, and Germany. There is a notable reluctance within the U.S. government and the public to commit U.S. troops to overseas military engagements.

• 1940s: Prior to the first wave of UFO sightings in 1947, the concept of "aliens from outer space" was primarily limited to readers of pulp science fiction magazines.

  1960s: The U.S. Air Force documented nearly three thousand UFO sightings between 1965 and 1967, leading to congressional hearings on the matter in 1966. Science fiction movies from the 1950s and 1960s, along with television shows like Star Trek and The Invaders, and the American space program significantly heightened public awareness of the potential for extraterrestrial life.

  Today: Claims of "alien abductions" have become almost routine. Popular television series and movies, such as The X-Files and Independence Day, as well as notable events like the Heaven's Gate mass suicide in 1997, have brought public awareness of the UFO phenomenon to unprecedented levels. The discovery of the first planets outside the solar system and serious scientific speculation about extraterrestrial life, led by astronomers like the late Carl Sagan, have further fueled interest in the possibility of life on other planets.

Just as Vonnegut blends history with fantasy in Slaughterhouse-Five, he also merges new content with characters and references from his previous works. The fictional city of Ilium serves as the setting for Player Piano; the Tralfamadorians are central in The Sirens of Titan; Howard Campbell is the main character in Mother Night; and Eliot Rosewater and Kilgore Trout reappear from God Bless You, Mr. Rosewater.

The apocalyptic theme in Slaughterhouse-Five resonates throughout many of Vonnegut's other novels. In Mother Night, Howard Campbell justifies the Holocaust; in Cat's Cradle, the Earth is annihilated by a substance called "icenine"; in Deadeye Dick, the residents of Midland City are unintentionally killed by a neutron bomb; and in Galapagos, the story unfolds in the distant future, long after humanity has been eradicated by a virus.

The film adaptation of Slaughterhouse-Five, with a screenplay by Stephen Geller, was directed by George Roy Hill and featured Valerie Perrine, Michael Sacks, and Ron Leibman. Released by Universal Pictures in 1972, the movie won a special jury prize at the 1972 Cannes Film Festival.

• Slaughterhouse-Five was turned into a movie in 1972, with Stephen Geller writing the screenplay and George Roy Hill directing. The film features Michael Sacks as Billy Pilgrim, Ron Leibman as Paul Lazzaro, and Valerie Perrine as Montana Wildhack. You can find it on MCA/Universal Home Video.

• An abridged audio version of the novel, narrated by the author, is available from Harper Audio, released in 1994.

Giannone, Richard. Vonnegut: A Preface to His Novels. Port Washington, NY: Kennikat Press, 1977. This work analyzes Vonnegut's novels, focusing on his growth as an artist.
Goldsmith, David H. Kurt Vonnegut: Fantasies of Fire and Ice. Bowling Green, OH: Bowling Green University Popular Press, 1972. This book explores apocalyptic visions in Vonnegut's writing.

Klinkowitz, Jerome. "The Literary Character of Kurt Vonnegut, Jr." Modern Fiction Studies (Spring 1973): 57-67. This article examines incidents and characters in Slaughterhouse-Five, showing how they are inspired by events from Vonnegut's life.

Vonnegut. London: Methuen, 1982. This book surveys nine of Vonnegut's novels, highlighting their connection to American culture.

Klinkowitz, Jerome, and John Somer, eds. The Vonnegut Statement. New York: Delacorte, 1973. A collection of essays analyzing Vonnegut's popularity.

Lundquist, James. Kurt Vonnegut. New York: Frederick Ungar, 1977. This book argues for the quintessential Midwestern quality of Vonnegut's work.

Reed, Peter J. Kurt Vonnegut, Jr. New York: Warner Paperback Library, 1972. A biography and analysis of Vonnegut's novels up to Slaughterhouse-Five.

Schatt, Stanley. Kurt Vonnegut, Jr. Boston: Twayne, 1976. This book outlines the parallel development of Vonnegut's style and language.

Tanner, Tony. "The Uncertain Messenger." In City of Words. New York: Harper & Row, 1971. This essay analyzes the themes and examines the ambiguity of communication in Vonnegut's first five novels.

Sources

Allen, William Rodney. Understanding Kurt Vonnegut. Columbia: University of South Carolina Press, 1991.

Aldiss, Brian, with David Wingrove. Trillion Year Spree: The History of Science Fiction. Victor Gollancz, 1986.

Broer, Lawrence R. Sanity Plea: Schizophrenia in the Novels of Kurt Vonnegut. Tuscaloosa: University of Alabama Press, 1994 (1989).

Clareson, Thomas D. Understanding Contemporary American Science Fiction: The Formative Period (1926-1970). University of South Carolina Press, 1990.

Crichton, J. Michael. Review of Slaughterhouse-Five, in New Republic, April 26, 1969.

Giannone, Richard. Vonnegut: A Preface to His Novels. Kennikat Press, 1977, pp. 82-97.

Hicks, Granville. ‘‘Literary Horizons,’’ in Saturday Review, March 29, 1969, p. 25.

Klinkowitz, Jerome. Kurt Vonnegut. Methuen, 1982, pp. 63-69.

---. ‘‘Slaughterhouse-Five: Reforming the Novel and the World.’’ Twayne, 1990.

Klinkowitz, Jerome, and John Somer, eds. The Vonnegut Statement. New York: Delacorte Press/Seymour Lawrence, 1973.

Klinkowitz, Jerome, and Donald L. Lawler, eds. Vonnegut in America: An Introduction to the Life and Work of Kurt Vonnegut. Delacorte Press/Seymour Lawrence, 1977.

Loeb, Monica. Vonnegut’s Duty-Dance with Death: Theme and Structure in ‘‘Slaughterhouse-Five’’. Sweden: Umea Universitets bibliotek, 1979.

Lundquist, James. Kurt Vonnegut. Frederick Ungar, 1977, pp. 69-84.

Merrill, Robert, ed. Critical Essays on Kurt Vonnegut. Boston: G.K. Hall, 1989.

Mustazza, Leonard, ed. The Critical Response to Kurt Vonnegut. Westport: Greenwood Press, 1994.

Schatt, Stanley. Kurt Vonnegut, Jr. Boston: Twayne, 1976.

Scholes, Robert. Review of Slaughterhouse-Five, in New York Times Book Review, April 6, 1969, pp. 1, 23.

Tanner, Tony. City of Words. Harper & Row, 1971, pp. 194-201.

Vonnegut, Kurt. Slaughterhouse-Five. New York: Delacorte Press/Seymour Lawrence, 1969.

Further Reading

Mayo, Clark. Kurt Vonnegut: The Gospel from Outer Space; or, Yes We Have No Nirvanas. Borgo Press, 1977, pp. 45-52. Discusses Slaughterhouse-Five as a response to ‘‘the horror and absurdity of war’’ with emphasis on the novel’s unconventional structure.

Mustazza, Leonard. Forever Pursuing Genesis: The Myth of Eden in the Novels of Kurt Vonnegut. Bucknell University Press, 1990, pp. 102-15. Discusses Slaughterhouse-Five in terms of Billy Pilgrim’s attempts ‘‘to construct for himself an Edenic experience’’ and the ‘‘linkage between Eden and Tralfamadore.’’

Reed, Peter J. Kurt Vonnegut, Jr. Crowell, 1972, pp. 172-203. Discusses Slaughterhouse-Five as ‘‘an effort to bring together all that Vonnegut has been saying about the human condition and contemporary American society.’’ Reed calls the novel ‘‘remarkably successful’’ and ‘‘one of Vonnegut's best.’’

Schatt, Stanley. Kurt Vonnegut, Jr. G. K. Hall, 1976, pp. 81-96. A detailed summary and critique of the novel. The book also contains an extensive bibliography of critical works on Vonnegut.