Postmodernist Features in Vonnegut's Cat's Cradle

Satire, "the use of irony, sarcasm, or ridicule in exposing, denouncing, or deriding vice or folly" (Webster 1193), is very prevalent in Cat's Cradle. Vonnegut hits on many aspects of human life with this satire. Government, religion, medicine, and business are just a few of these aspects. In focusing on government, Vonnegut shows us a leader ("Papa" Monzano), who attempts to create a utopia, but just like in

Most of the book was set on the island of San Lorenzo. Kurt Vonnegut did this so that he could create a new religion, Bokononism. Bokononism is a ridiculous religion, yet all the people of San Lorenzo put faith in it. It is not the truth of a religion that matters; it is the hope that you draw forth from it. A woman says, "I just have trouble understanding how truth, all by itself, could be enough for a person.

while he was a kid (Bastin, J.D.). He eventually ended up in the Bay Area California alone and spent his first two years there homeless (unknown author, no title, n.p., letter code D). He grew up with only his mom and loved her very much. He even wrote a song called Dear Mama to his mom and thanked her for how she tried her best at raising him.

Kurt Vonnegut wrote during the postmodern literary period which breaks free from many ideas created in the modern period and describes the literature that follows World War two. This period is characterised with the technology becoming part of life,paradox,and fragmentation. Authors also hold true the idea that all stories have already been told and works of this era are new methods of telling them.(Klages np) These techniques are used throughout the short stories of Vonnegut’s “Welcome to the Monkey House” and influence can be seen due to his past in the military which may be seen through his storytelling.

Cormac McCarthy’s brain child “The Road” is a postapocalyptic novel that illustrates the harsh reality of the world. This story serves as a truth that humans, when stripped of their humanity will take desperate measures in order to survive. The reader learns; however even when it seems all hope is lost good can still be found in the world. The son character of this story illuminates this philosophy. He is a foil of his father and shows how even a person never accustomed to the luxury of a normal life can still see goodness.

The love between the protagonists in the times of hardship is the most profound relationship in the book and the strength of it raises the standard of the novel. The relation of the father and the son is very strong and symbolizes protection to the child. They take the initiative to struggle and live in an apocalyptic place which has been completely destroyed. The father is like the soul of his son and the very last hope for the son to survive .The son finds support in his son when he goes through the stages of loneliness and despair. It is a natural way for people to rely on others for support and by survival instincts; it is deeper when there is such a close relationship between a father and a son. McCarthy in terms of characterization makes the buy very innocent as he does not know how to differentiate between the “good guys” and “bad guys”. He wants to help everyone and on the other hand the father is very strong and is wise. He lives each and every day as a normal day so that he can keep his son strong as well. The father is very intelligent as he responds to his son questions thoughtfully to keep his son’s hope up. The father is very optimistic even when they are facing a hard time moving forward. To quote, “The lay listening, Can you do it? When the time comes? When the time comes there will be no time. Now is the time. Curse God and die. What if it doesn’t fire? It has to fire. What if it doesn’t fire? Could you crush that beloved

In the novel the father and son’s relationship is emphasized, centralizing love is critical. One night the boy dreams of a penguin that “nobody had wound . . . up”, the penguin symbolizes man’s creations taking over and getting out of control which caused the catastrophic apocalypse (36). It critiques American capitalism; creation as an uncontrollable force. This road novel is unique in a sense that a boy is presented as young and naive, a hope for a better future. In an apocalyptic world, father and son stumble upon the coke dispenser, the father pried the machine and “sat looking at a Coca Cola” (23). This event is surreal to the father because it is a remnant of the world before the apocalypse, by the same token, it is a romanticized view of capitalism. Obtaining the Coca Cola is presented as a surreal event where the father had to sit down, to preserve this ideal dreamlike event. The irony is clear that technological advancement caused the fall of mankind yet, the man still admires capitalism and technology. It exposes America's weakness of consumerism, wanting to acquire things, but overlooking the adverse effects that we have on our environment. Accordingly, it critiques American society, that we are blinded by consumerism and choose to overlook the ramifications. It reveals our flaws and American ideals that are rooted in

It is expected for arguments to arise when writing about controversial topics. Many times the meaning of a book is not as obvious as the author intended, which may lead to problems. Other times, books are challenged because they contain sexual or inappropriate material. When Kurt Vonnegut released Slaughterhouse-Five critics were quick to judge his peculiar way of writing. Although Kurt Vonnegut’s book Slaughterhouse-Five was oftentimes misunderstood, interpreted as inappropriate, and judged for the peculiar point of view, critics seem to appreciate and accept one aspect of it: the structure of the book.

What is religion? There is no one correct answer, however, one definition that seems to cover every aspect of most established religions is, "…the most comprehensive and intensive manner of valuing known to human beings" (Pecorino). In Kurt Vonnegut's Cat's Cradle, Vonnegut takes this definition and creates his own religion in order to satirize all others. Bokononism, Vonnegut's contrived religion, is built on foma, or harmless untruths. Bokononists believe that good societies can only be built by keeping a high tension between good and evil at all times, and that there is no such thing as absolute evil (Schatt 64). They have created their own language with words such as karass, a group of people

Cat's Cradle by Kurt Vonnegut is a satire on the state of world affairs in the 1960's. Vonnegut made a commentary in this book on the tendency of humans to be warlike, belligerent, and shortsighted. The main character of the book, the narrator, is certainly not a protagonist, although the modern reader craves a hero in every story and the narrator in this one is the most likely candidate. Through the narrator's eyes, Vonnegut created a story of black humor ending in the destruction of the earth.

    Cat's Cradle is, "Vonnegut's most highly praised novel. Filled with humor and unforgettable characters, this apocalyptic story tells of Earth's ultimate end, and presents a vision of the future that is both darkly fantastic and funny, as Vonnegut weaves a satirical commentary on modern man and his madness" (Barnes and Noble n.pag).  In Cat's Cradle, Kurt Vonnegut uses satire as a vehicle for threatened self-destruction when he designs the government of San Lorenzo.  In addition, the Bokonists practice of Boko-maru, and if the world is going to end in total self destruction and ruin, then people will die, no matter how good people are and what religion people believe.

Sex is another element Vonnegut satirizes. Perhaps not to caution, but to reveal the twisted ways in which our current society treats sex. No doubt seen in every form of media and in every war, this theme can be found in Slaughterhouse-five and

Kurt Vonnegut regularly uses “winners” versus “losers” to get his themes and main ideas across. Vonnegut writes about the horrors of war, of which has a winner and loser, and of the truths of the world, always including someone who comes out ahead and someone who gets left behind in his essays. Neuroscientist, Michael Gazzaniga, said “When you get up in the morning, you do not think about triangles and squares and these similes that psychologists have been using for the past 100 years. You think about status. You think about where you are in relation to your peers,” (Waytz). Money, power, and social standing are among the most common traits utilized in Vonnegut’s work to portray someone’s “status”. Through essays in Armageddon in

What makes Cormac McCarthy’s post-apocalyptic novel The Road stick out from most dystopian works is that The Road takes place not before or during but after the end. The novel follows a man and his son as they survive the dangers of what once was the United States after an unspecified calamitous event. There is not much left of the world: no food, no animals, and no hope. Many readers will ponder how someone could still be motivated to keep moving forward under such circumstances. If we were living in the same conditions as the man and the boy, this question might seem more imperative. But arguably it is a question that can be applied to today: what, if anything, makes human life valuable or worthwhile? Through the dialogue between the characters, the novel provides two conflicting arguments that serve as potential answers for this question. The first argument is hope, which is associated with the Christian religion, while the other argument is futility, which has a nihilistic outlook of the ravaged world. This paper will examine the Christian imagery and nihilistic arguments contained in the novel and how the moral systems of the two conflict. While at first The Road might present itself as a powerful challenge to both Christian and nihilistic views of the world, in the end, the novel never explicitly reject either worldview.

In Knausgaard’s My Struggle Volume 1, Knausgaard breaks down his own life story to its elementary particles, reliving memories, reopening wounds, and examining with candor the turbulence and the epiphanies that emerge from his own experience of fatherhood, the fallout in the wake of his father’s death, and his visceral connection to music, art, and literature. Volume 1 begins with a perspective on death, moves into a 100-page account of underage Karl and a pal sneaking beer for New Year's Eve, and builds to the burial of his father. He tells you a story of his life - as a small boy and a married father of four children. His fear and hatred of his dominating father. Knausgaard is able to capture events of his life- even after thirty years later. He captures the feelings of objects, humans, and situations that makes up a life. Knausgaard effectively