2BR02B is a satiric short story that imagines life & death in a future world where aging has been "cured" & population control is mandated and administered by the government.
“A rich, generous book about writing and reading and Kurt Vonnegut as writer, teacher, and friend . . . Every page brings pleasure and insight.”—Gail Godwin, New York Times bestselling author Here is an entirely new side of Kurt Vonnegut, Vonnegut as a teacher of writing. Of course he’s given us glimpses before, with aphorisms and short essays and articles and in his speeches. But never before has an entire book been devoted to Kurt Vonnegut the teacher. Here is pretty much everything Vonnegut ever said or wrote having to do with the writing art and craft, altogether a healing, a nourishing expedition. His former student, Suzanne McConnell, has outfitted us for the journey, and in these 37 chapters covers the waterfront of how one American writer brought himself to the pinnacle of the writing art, and we can all benefit as a result. Kurt Vonnegut was one of the few grandmasters of American literature, whose novels continue to influence new generations about the ways in which our imaginations can help us to live. Few aspects of his contribution have not been plumbed—fourteen novels, collections of his speeches, his essays, his letters, his plays—so this fresh view of him is a bonanza for writers and readers and Vonnegut fans everywhere. “Part homage, part memoir, and a 100% guide to making art with words, Pity the Reader: On Writing with Style is a simply mesmerizing book, and I cannot recommend it highly enough!”—Andre Dubus III, #1 New York Times bestselling author “The blend of memory, fact, keen observation, spellbinding descriptiveness and zany characters that populated Vonnegut’s work is on full display here.”—James McBride, National Book Award-winning author
Everything was perfectly swell. There were no prisons, no slums, no insane asylums, no cripples, no poverty, no wars. All diseases were conquered. So was old age. Death, barring accidents, was an adventure for volunteers. The population of the United States was stabilized at forty-million souls. One bright morning in the Chicago Lying-in Hospital, a man named Edward K. Wehling, Jr., waited for his wife to give birth. He was the only man waiting. Not many people were born a day any more.
NAMED ONE OF THE BEST BOOKS OF THE YEAR BY Newsweek/The Daily Beast • The Huffington Post • Kansas City Star • Time Out New York • Kirkus Reviews This extraordinary collection of personal correspondence has all the hallmarks of Kurt Vonnegut’s fiction. Written over a sixty-year period, these letters, the vast majority of them never before published, are funny, moving, and full of the same uncanny wisdom that has endeared his work to readers worldwide. Included in this comprehensive volume: the letter a twenty-two-year-old Vonnegut wrote home immediately upon being freed from a German POW camp, recounting the ghastly firebombing of Dresden that would be the subject of his masterpiece Slaughterhouse-Five; wry dispatches from Vonnegut’s years as a struggling writer slowly finding an audience and then dealing with sudden international fame in middle age; righteously angry letters of protest to local school boards that tried to ban his work; intimate remembrances penned to high school classmates, fellow veterans, friends, and family; and letters of commiseration and encouragement to such contemporaries as Gail Godwin, Günter Grass, and Bernard Malamud. Vonnegut’s unmediated observations on science, art, and commerce prove to be just as inventive as any found in his novels—from a crackpot scheme for manufacturing “atomic” bow ties to a tongue-in-cheek proposal that publishers be allowed to trade authors like baseball players. (“Knopf, for example, might give John Updike’s contract to Simon and Schuster, and receive Joan Didion’s contract in return.”) Taken together, these letters add considerable depth to our understanding of this one-of-a-kind literary icon, in both his public and private lives. Each letter brims with the mordant humor and openhearted humanism upon which he built his legend. And virtually every page contains a quotable nugget that will make its way into the permanent Vonnegut lexicon. • On a job he had as a young man: “Hell is running an elevator throughout eternity in a building with only six floors.” • To a relative who calls him a “great literary figure”: “I am an American fad—of a slightly higher order than the hula hoop.” • To his daughter Nanny: “Most letters from a parent contain a parent’s own lost dreams disguised as good advice.” • To Norman Mailer: “I am cuter than you are.” Sometimes biting and ironical, sometimes achingly sweet, and always alive with the unique point of view that made him the true cultural heir to Mark Twain, these letters comprise the autobiography Kurt Vonnegut never wrote. Praise for Kurt Vonnegut: Letters “Splendidly assembled . . . familiar, funny, cranky . . . chronicling [Vonnegut’s] life in real time.”—Kurt Andersen, The New York Times Book Review “[This collection is] by turns hilarious, heartbreaking and mundane. . . . Vonnegut himself is a near-perfect example of the same flawed, wonderful humanity that he loved and despaired over his entire life.”—NPR “Congenial, whimsical and often insightful missives . . . one of [Vonnegut’s] very best.”—Newsday “These letters display all the hallmarks of Vonnegut’s fiction—smart, hilarious and heartbreaking.”—The New York Times Book Review
First published on the anniversary of Kurt Vonnegut's death, Armageddon in Retrospect is a collection of twelve new and unpublished writings on war and peace. Imbued with Vonnegut's trademark rueful humour, the pieces range from a visceral nonfiction recollection of the destruction of Dresden during World War II-a piece that is as timely today as it was then-to a painfully funny short story about three privates and their fantasies of the perfect first meal upon returning home from war, to a darker, more poignant story about the impossibility of shielding our children from the temptations of violence. Also included are Vonnegut's last speech as well as an assortment of his artwork, with an introduction by the author's son, Mark Vonnegut. Armageddon in Retrospect says as much about the times in which we live as it does about the genius of the writer.
FATES WORSE THAN DEATH is Kurt Vonnegut's second volume of autobiographical writings, subtitled "A College of the 1980's", covering such diverse subjects as death in the family, suicidal depression, the future of the planet, Ronald Reagan, Salman Rushdie and Andrew Lloyd Webber.
A never-before-seen collection of deeply personal love letters from Kurt Vonnegut to his first wife, Jane, compiled and edited by their daughter “A glimpse into the mind of a writer finding his voice.”—The Washington Post “If ever I do write anything of length—good or bad—it will be written with you in mind.” Kurt Vonnegut’s eldest daughter, Edith, was cleaning out her mother’s attic when she stumbled upon a dusty, aged box. Inside, she discovered an unexpected treasure: more than two hundred love letters written by Kurt to Jane, spanning the early years of their relationship. The letters begin in 1941, after the former schoolmates reunited at age nineteen, sparked a passionate summer romance, and promised to keep in touch when they headed off to their respective colleges. And they did, through Jane’s conscientious studying and Kurt’s struggle to pass chemistry. The letters continue after Kurt dropped out and enlisted in the army in 1943, while Jane in turn graduated and worked for the Office of Strategic Services in Washington, D.C. They also detail Kurt’s deployment to Europe in 1944, where he was taken prisoner of war and declared missing in action, and his eventual safe return home and the couple’s marriage in 1945. Full of the humor and wit that we have come to associate with Kurt Vonnegut, the letters also reveal little-known private corners of his mind. Passionate and tender, they form an illuminating portrait of a young soldier’s life in World War II as he attempts to come to grips with love and mortality. And they bring to light the origins of Vonnegut the writer, when Jane was the only person who believed in and supported him supported him, the young couple having no idea how celebrated he would become. A beautiful full-color collection of handwritten letters, notes, sketches, and comics, interspersed with Edith’s insights and family memories, Love, Kurt is an intimate record of a young man growing into himself, a fascinating account of a writer finding his voice, and a moving testament to the life-altering experience of falling in love.
This short-story collection Welcome to the Monkey House (1968) incorporates almost completely Vonnegut’s 1961 “Canary in a Cathouse,” which appeared within a few months of Slaughterhouse-Five and capitalized upon that breakthrough novel and the enormous attention it suddenly brought.Drawn from both specialized science fiction magazines and the big-circulation general magazines which Vonnegut had been one of the few science writers to sell, the collection includes some of his most accomplished work from 1950 to 1968. The title story may be his most famous—a diabolical government asserts control through compulsory technology removing orgasm from sex—but Vonnegut’s bitterness and wit, not in his earlier work as poisonous or unshielded as it later became, is well demonstrated.
An experimental television play composed of excerpts from his novels and stories, Between Time and Timbuktu features Kurt Vonnegut’s special blend of scientific expertise, wit, and penetrating comment. “Most unusual, ultra imaginative . . . a sort of cross between 2001: A Space Odyssey and Alice in Wonderland.”—Philadelphia Inquirer The basic story line: Young Stony Stevenson wins a jingle contest and, as his prize, is blasted off into the time-space warp. The country’s first poet-astronaut thus experiences both past and future human history simultaneously. His observations on it consist mainly of dramatized selections from the author’s works. The result is a unique Vonnegut sampler cast in the form of “an excellent drama” (Pittsburgh Press).
Before the Golden Age of magazines drew to a close half a century ago, a young PR man at General Electric sold his first short story to one of the doomed publications. By the time he'd sold his third, he decided to quit GE and join the likes of Hemingway
Gleaned from short essays and speeches composed over the last five years and plentifully illustrated with artwork by the author throughout, "Only Kidding" delivers Vonnegut both speaking out with indignation and writing tenderly to his fellow Americans.
Best known as one of our most astonishing and enduring contemporary novelists, Kurt Vonnegut was also a celebrated commencement address giver. He himself never graduated college, so his words to any class of graduating seniors always carried the delight, and gentle irony, of someone savoring an achievement he himself had not had occasion to savor on his own behalf. Selected and introduced by fellow novelist and friend Dan Wakefield, the speeches in If This Isn’t Nice, What Is? capture this side of Kurt Vonnegut for the first time in book form. There are nine speeches, seven given at colleges, one to the Indiana Civil Liberties Union, one on the occasion of Vonnegut receiving the Carl Sandburg Award. In each of these talks Vonnegut takes pains to find the few things worth saying and a conversational voice to say them in that isn’t heavy-handed or pretentious or glib, but funny and serious and joyful even if sometimes without seeming so.
NAMED ONE OF THE BEST BOOKS OF THE YEAR BY Newsweek/The Daily Beast • The Huffington Post • Kansas City Star • Time Out New York • Kirkus Reviews This extraordinary collection of personal correspondence has all the hallmarks of Kurt Vonnegut’s fiction. Written over a sixty-year period, these letters, the vast majority of them never before published, are funny, moving, and full of the same uncanny wisdom that has endeared his work to readers worldwide. Included in this comprehensive volume: the letter a twenty-two-year-old Vonnegut wrote home immediately upon being freed from a German POW camp, recounting the ghastly firebombing of Dresden that would be the subject of his masterpiece Slaughterhouse-Five; wry dispatches from Vonnegut’s years as a struggling writer slowly finding an audience and then dealing with sudden international fame in middle age; righteously angry letters of protest to local school boards that tried to ban his work; intimate remembrances penned to high school classmates, fellow veterans, friends, and family; and letters of commiseration and encouragement to such contemporaries as Gail Godwin, Günter Grass, and Bernard Malamud. Vonnegut’s unmediated observations on science, art, and commerce prove to be just as inventive as any found in his novels—from a crackpot scheme for manufacturing “atomic” bow ties to a tongue-in-cheek proposal that publishers be allowed to trade authors like baseball players. (“Knopf, for example, might give John Updike’s contract to Simon and Schuster, and receive Joan Didion’s contract in return.”) Taken together, these letters add considerable depth to our understanding of this one-of-a-kind literary icon, in both his public and private lives. Each letter brims with the mordant humor and openhearted humanism upon which he built his legend. And virtually every page contains a quotable nugget that will make its way into the permanent Vonnegut lexicon. • On a job he had as a young man: “Hell is running an elevator throughout eternity in a building with only six floors.” • To a relative who calls him a “great literary figure”: “I am an American fad—of a slightly higher order than the hula hoop.” • To his daughter Nanny: “Most letters from a parent contain a parent’s own lost dreams disguised as good advice.” • To Norman Mailer: “I am cuter than you are.” Sometimes biting and ironical, sometimes achingly sweet, and always alive with the unique point of view that made him the true cultural heir to Mark Twain, these letters comprise the autobiography Kurt Vonnegut never wrote. Praise for Kurt Vonnegut: Letters “Splendidly assembled . . . familiar, funny, cranky . . . chronicling [Vonnegut’s] life in real time.”—Kurt Andersen, The New York Times Book Review “[This collection is] by turns hilarious, heartbreaking and mundane. . . . Vonnegut himself is a near-perfect example of the same flawed, wonderful humanity that he loved and despaired over his entire life.”—NPR “Congenial, whimsical and often insightful missives . . . one of [Vonnegut’s] very best.”—Newsday “These letters display all the hallmarks of Vonnegut’s fiction—smart, hilarious and heartbreaking.”—The New York Times Book Review
Harvard, the New Deal, the Holocaust, World War II, Watergate, two prison terms, and a giant conglomerate ... This wry tale follows bumbling bureaucrat Walter F. Starbuck, who tries to live by the Sermon on the Mount, from Harvard to the Nixon White House to the penitentiary as Watergate's least known co-conspirator. Shall the meek inherit the earth? Perhaps on a short-term basis.
“A rich, generous book about writing and reading and Kurt Vonnegut as writer, teacher, and friend . . . Every page brings pleasure and insight.”—Gail Godwin, New York Times bestselling author Here is an entirely new side of Kurt Vonnegut, Vonnegut as a teacher of writing. Of course he’s given us glimpses before, with aphorisms and short essays and articles and in his speeches. But never before has an entire book been devoted to Kurt Vonnegut the teacher. Here is pretty much everything Vonnegut ever said or wrote having to do with the writing art and craft, altogether a healing, a nourishing expedition. His former student, Suzanne McConnell, has outfitted us for the journey, and in these 37 chapters covers the waterfront of how one American writer brought himself to the pinnacle of the writing art, and we can all benefit as a result. Kurt Vonnegut was one of the few grandmasters of American literature, whose novels continue to influence new generations about the ways in which our imaginations can help us to live. Few aspects of his contribution have not been plumbed—fourteen novels, collections of his speeches, his essays, his letters, his plays—so this fresh view of him is a bonanza for writers and readers and Vonnegut fans everywhere. “Part homage, part memoir, and a 100% guide to making art with words, Pity the Reader: On Writing with Style is a simply mesmerizing book, and I cannot recommend it highly enough!”—Andre Dubus III, #1 New York Times bestselling author “The blend of memory, fact, keen observation, spellbinding descriptiveness and zany characters that populated Vonnegut’s work is on full display here.”—James McBride, National Book Award-winning author
“[Kurt Vonnegut] is either the funniest serious writer around or the most serious funny writer.”—Los Angeles Times Book Review In this self-portrait by an American genius, Kurt Vonnegut writes with beguiling wit and poignant wisdom about his favorite comedians, country music, a dead friend, a dead marriage, and various cockamamie aspects of his all-too-human journey through life. This is a work that resonates with Vonnegut’s singular voice: the magic sound of a born storyteller mesmerizing us with truth. “Vonnegut is at the top of his form, and it is wonderful.”—Newsday
Wampeters, Foma & Granfalloons (Opinions) is a rare opportunity to experience Kurt Vonnegut speaking in his own voice about his own life, his views of the world, his writing, and the writing of others. An indignant, outrageous, always witty, and deeply felt collection of reviews, essays, and speeches, this work is a window not only into Vonnegut' s mind...but also into his heart. " A great cosmic comedian and a rattler of human skeletons, an idealist disguised as a pessimist... has written a book filled with madness and truth and absurdity and self-revelation." -- " St. Louis Post-Dispatch"" He is our strongest writer... the most stubbornly imaginative." -- John Irving" "*" The New York Times
The New York Times bestseller from the author of Slaughterhouse-Five—a “gripping” posthumous collection of Kurt Vonnegut’s previously unpublished work on the subject of war and peace. A fitting tribute to a literary legend and a profoundly humane humorist, Armageddon in Retrospect is a collection of twelve previously unpublished writings. Imbued with Vonnegut's trademark rueful humor and outraged moral sense, the pieces range from a letter written by Vonnegut to his family in 1945, informing them that he'd been taken prisoner by the Germans, to his last speech, delivered after his death by his son Mark, who provides a warmly personal introduction to the collection. Taken together, these pieces provide fresh insight into Vonnegut's enduring literary genius and reinforce his ongoing moral relevance in today’s world. Includes an Introduction by Mark Vonnegut
“Richly and often pertinently funny [with] a sure instinct for the carefully considered irrelevance . . . a great deal of incidental hilarity [and] inspired idiocy.”—The New York Times Happy Birthday Wanda June was Kurt Vonnegut’s first play, which premiered in New York in 1970 and was then adapted into a film in 1971. It is a darkly humorous and searing examination of the excesses of capitalism, patriotism, toxic masculinity, and American culture in the post-Vietnam War era. Featuring behind-the-scenes photographs from the original stage production, this play captures Vonnegut’s brilliantly distinct perspective unlike we have ever seen it before. “A great artist.”—The Cincinnati Enquirer
A New York Times Notable Book from the acclaimed author of Slaughterhouse-Five, Breakfast of Champions, and Cat's Cradle. At 2:27pm on February 13th of the year 2001, the Universe suffered a crisis in self-confidence. Should it go on expanding indefinitely? What was the point? There's been a timequake. And everyone—even you—must live the decade between February 17, 1991 and February 17, 2001 over again. The trick is that we all have to do exactly the same things as we did the first time—minute by minute, hour by hour, year by year, betting on the wrong horse again, marrying the wrong person again. Why? You'll have to ask the old science fiction writer, Kilgore Trout. This was all his idea.
“[Kurt Vonnegut] is either the funniest serious writer around or the most serious funny writer.”—Los Angeles Times Book Review In this self-portrait by an American genius, Kurt Vonnegut writes with beguiling wit and poignant wisdom about his favorite comedians, country music, a dead friend, a dead marriage, and various cockamamie aspects of his all-too-human journey through life. This is a work that resonates with Vonnegut’s singular voice: the magic sound of a born storyteller mesmerizing us with truth. “Vonnegut is at the top of his form, and it is wonderful.”—Newsday
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