The 's Never Let Me Go And Kurt Vonnegut 's Short Stories

Beloved, by Toni Morrison, and Frankenstein, by Mary Shelley, are masterpieces of literature that use different components to criticize society and explore the nature of humankind. Some of the main characters in the novels – Sethe and Beloved, and Victor Frankenstein and the Monster – have intricate relationships based on love, hatred, remorse, and mainly vengeance. The gothic thematic of each novel is demonstrated through elements that explore the setting of most scenes, as well as the nature of human behavior. The characters who were unnaturally brought to life, Beloved and the Monster, serve as catalysts for the development of the narrative, and have profound effects in all remaining characters.

Vladimir Nabokov’s novel Lolita and Bret Easton Ellis’s novel American Psycho both show the stories of seemingly regular men based off of how they interact with people in their lives while in public view. The main characters from each novel are not normal functioning men of society. Humbert Humbert from Nabokov’s Lolita is a middle aged man who has an obsession with young girls around the age of twelve. Patrick Bateman from Ellis’s American Psycho is an incredibly narcissistic, egotistic, man who is an investment banker by day and serial killer by night. Both men have had a privileged upbringing.

A known problem in today’s society is the tendency to avoid problems by ignoring them. This has been mocked and satirized by the media, studied by scientists, and become an almost humorous staple in modern culture. However, none of the reactions to this problem have come close to solving it. In Slaughterhouse Five, Kurt Vonnegut tell the story of a war veteran, Billy Pilgrim, who jumps around time and is kidnapped by an alien race called the Tralfamadorians. He delves into themes of war and morality while offering a look into the mind of veterans after they return from war and how it affects them. Vonnegut explores humanity’s destruction of the Earth with a similar morbid yet dryly humorous approach in his poem Requiem. In both texts, Vonnegut

Throughout Slaughterhouse-Five, Vonnegut chooses to use special literary techniques that better explain his own encounters in war as well as help his readers bare the horridness of war. Vonnegut adds black humor in his text to benefit readers as well as “an author-as-character” perspective to set barriers and help protect his own memories in the war. Without adding these two specific devices, Vonnegut could possibly have lost reader’s interests in the book or lost his own interest in writing the book.

In Kurt Vonnegut's Slaughterhouse Five he talks about many different themes. He quotes, makes fun of, and uses many different themes. I would like to talk about one major theme in Slaughterhouse Five, religion. In the book he uses religion to teach important lessons, he used it as inspiration, and he even pokes fun at religion.

The memoir Night by Elie Wiesel and the allegorical novella Animal Farm by George Orwell have both rightfully earned the many reactions and views the readers have towards the descriptions and recollections written within these classics. Least to say, both are deep and invoke strong sentimental reactions towards what you learn from them. Though many differences show themselves in the books, such as how Animal Farm is more about the events leading up to and during the Russian Revolution while Night is leaning more towards the horrendous events that happened during the Second World War, many similarities also make an appearance. For example, the Jews in Sighet were, for the most part, hopeful and were in denial of what was happening around them throughout the range of events. Also, at the end of each story, there were identification issues, for lack of better term, with the characters.

The Most important relationship throughout a male’s life is that of his father. While there is no doubt the relationship of a mother also plays a critical role, the father takes a special meaning in that of a developing male child. This relationship ultimately influences a boy and every single relationship for the rest of his life. The father figure helps a boy mature into a male of strong moral fiber, creating a respectable citizen with a sense of responsibility. A father plays a delicate role of mentor and authoritarian while balancing emotion. Great father’s can cultivate common ground with their son’s, as they are impressionable at an early age. Father figures play a critical role in the development of the main characters in both Richard Wright 's "The Man Who Was Almost a Man" and William Faulkner 's "Barn Burning." Moreover, both stories focus on adolescent males who are running from their past in search of a better life. Wright wrote about an African-American boy who tries to grow up too fast, while Faulkner’s is the story of a white kid growing up with a the moral dilemma of right from wrong.

Slaughterhouse Five by Kurt Vonnegut takes places on two contrasting planets. One is Earth, where war tears apart families and minds, and the other is Tralfamadore, where supernatural alien beings share their extended knowledge of the world. Vonnegut uses the two planets, Earth and Tralfamadore, to show the contrasting ideas of chaos and order, and that human actions have limitations that render them helpless against a meaningless universe.

Kurt Vonnegut was a man of disjointed ideas, as is expressed through the eccentric protagonists that dominate his works. Part cynic and part genius, Kurt Vonnegut’s brilliance as a satirist derives from the deranged nature of the atrocities he had witnessed in his life. The reason Vonnegut’s satire is so popular and works so well is because Vonnegut had personal ties to all the elements that he lambasted in his works. Vonnegut’s experience as a soldier in WWII during firebombing of Dresden corrupted his mind and enabled him to express the chaotic reality of war, violence, obsession, sex and government in a raw and personal manner. Through three works specifically, “Welcome to the Monkey House,” “Harrison Bergeron,” and Slaughterhouse-five,

A comparative literary study of the effect of mental illness on the central characters is the semi-autobiographical novels The Bell Jar by Sylvia Plath and Girl, Interrupted by Susanna Kaysen. Comparing two women trying to deal with mental illness and are trying to cope with the mental pressures they put on themselves and by other people. Although the differences between these two novels are The Bell Jar shows Esther’s life before she descends into mental illness whereas Susanna’s story is about her time in a mental institution and experiencing other patients who are in similar situations.

The story of Slaughterhouse Five is about a man named Billy Pilgrim who goes through a series of strange events throughout his life time. And it all starts when he is in a war in Germany. Billy is resentful towards the war and he makes it clear that he does not want to be there. During the war, he becomes captured by Germans. Before Billy is captured, he meets Roland Weary. When captured, the Germans took everything from Weary, including his shoes so they gave him clogs as a substitute. Eventually, he dies from gangrene caused by the clogs. Right before Weary dies, he manages to convince another soldier; Paul Lazzaro that it was Billy’s fault that he was dying so Lazzaro vows to avenge the death of Weary by killing Billy.

The novels, “Beloved” written by Toni Morrison and “The Color Purple” written by Alice Walker both represent two women, the protagonist of both books, are able to accept their past and be able to find fulfillment and move on with their lives to be something better than were they were left off. Comparing acts of love and the moral support from the community to be the strong independent women they originally are. Toni Morrison and Alice Walker represent these two women, Celie and Sethe, in ways that they have the potential to help others but, when it comes to themselves they back down, which is what is not realized by these women.

Slaughterhouse-Five by Kurt Vonnegut and Catch-22 by Joseph Heller both have a striking resemblance in the themes of anti-war and of free will. Both don’t come into full force right in the beginning but eventually become more evident. Both novels focus on one character throughout the entire novel, and each protagonist is affected by all the events around them. It changes their perspective and how they view life as a whole. Both Billy in Slaughterhouse Five and Yossarian in Catch -22, dislike war and are known as anti-war heroes. They also believe in the idea that they have free will and that their actions can be controlled. What makes these two novels so different from other war novels is that both protagonists don’t die for their

Slaughterhouse-five strives to remember the tragedy of the bombing of Dresden. Kurt Vonnegut constructs his novel around a main character who becomes “unstuck in time” (23). Billy Pilgrim’s life is told out of order, which gives him a different perspective than the rest of the world. Billy lives through his memories, and revisits events in his life at random times and without warning. Vonnegut introduces Billy Pilgrim to the Tralfamadorian way of thinking about memory and time so that he can cope with being unstuck in time. The Tralfamadorian ideology is set up as an alternative to the human ideology of life. In the novel Slaughterhouse-five, Kurt Vonnegut constructs a reality where memory is unproductive through the Tralfamadorian

“You’re a blank, a cipher… a zero.” (Albee, 1962, p.18). With these words, Martha the main character in “Who’s Afraid of Virginia Woolf?” showed her husband, George, that he was nothing. Edward Albee, the writer of “Who’s Afraid of Virginia Woolf?” talked mainly about Martha and George who pretend to have different identities just in order not to face reality. Moreover, Arthur Miller, the author of “A View from the Bridge” presented the idea of identity in a different way. Miller used the character Eddie to show how people’s identities are constantly changing due to some changes in their lives. Modern playwrights question the idea of a definite identity.