Trope In Slaughterhouse Five

The central conflict of this book is Billy coming to terms with the unfortunate events happening around him, and facing this character versus world scenario of everything and everyone always being against him in some way or another. Billy sees so much suffering and so much death. He is blamed for the death of Ronald Weary, which is not his fault. He witnesses the Dresden Firebombing, and has an overall uneventful blain life to begin with. Billy needs to find a way to cope with this unbearable pressure, and whether or not the Tralmalfadorians are real, their message is real to Billy. The philosophy they present is the excuse Billy needs to justify all the wrong he sees around him. The Tralmalfadorian belief being that there is no free will, and that you timeline is fact, and that you simply experience death, but continue “existing” afterwards. Essentially, you always exist and what happens to you is predetermined fate. This allows Billy to pass on all of the death and misery around him as meant to be. He can rest assured knowing that there is nothing he could about anything in the past, present, or future. There was nothing he could have done or can do to stop the death and torture, weather it is the death of his wife, the firebombing in Dresden, or even his own death. This motivation-less philosophy is his resolution to his devastating conflict, and is directly responsible for his lack of action throughout the story.

It is a perfect example because the story takes place in an environment of integral conformity and describes a scene of pure deviance where Vonnegut’s disseminated strong messages. By analyzing Vonnegut’s short story with the help of both “The social animal” by Eliott Aronson and “Wayward Puritans” by Kai T. Erikson we will point all the wrong aspects of perfect conformity in a first paragraph. And, in a second paragraph, we will discuss more about the importance of deviance by analyzing the last scene.

The Tralfamadorians, who explain this nature of time and existence to Billy, are shown as enlightened creatures while the humans back on earth are seen as backwards -- to such an extent that they believe in free will. Billy towards the end of his life becomes a preacher of these virtues of existence taught to him by his zookeepers on Tralfamadore, going around and speaking about his experiences and his acquired knowledge. This is ironic, because he is attempting to reverse the steady path of life, even time itself.

Moments in Billy's life change instantaneously, not giving Billy a clue to where he will end up next. In one moment, he is sitting in his home typing a letter to the local newspaper about his experience with the Tralfamadorians, and in the next he is a lost soldier of World War II running around behind German lines aimlessly without a coat or proper shoes. He then became a child being thrown into a pool by his father and afterwards a forty-one year old man visiting his mother in an old people's home. In the novel, changes in time are made through transitional statements such as, "Billy traveled in time, opened his eyes, found himself staring into the glass eyes of a jade green mechanical owl." p.56 In the movie there is no such thing and different moments in Billy's life happen instantaneously. Because scenes are continuous as times change, the movie better displays the author's attempt to capture in the notion of being "unstuck in time." On the other hand, the novel does help the audience follow these time changes better by setting it up for the next scene, offering a background of Billy's experiences before they begin through these transitional statements.

More of the time travels Billy has take him to his time on the planet Tralfamadore. Billy says that the aliens abducted him on his daughter's wedding night and returned him a few milliseconds later, but actually spend many months on Tralfamadore because the Tralfamadorians can also see in the fourth dimension, time, which allowed them to keep Billy for what seemed like longer than what he was actually there. While on Tralfamadore, Billy learns to accept his life as it is dealt to him because nothing that happens to you damages you forever. Since time is relative, and your life is like a mountain range, your death ,birth, and all the events in between are nothing more than peaks in a range of mountains, irremovable and able to be visited numerous times.

Billy Pilgrim's life is far from normal. Throughout most of his adult life he has been moving backwards and forwards through time, from one event to another, in a non-sequential order. At least, this schizophrenic life is hard to understand. Because Vonnegut wants the reader to relate to Billy

Since the first time Billy claimed to have come unstuck in time while in the forest leaning against a tree, he has depended on an alternate reality in which he has created a new life for himself to avoid thoughts of the horrific events he witnessed while in Dresden. Although Billy claims that he was abducted by the Tralfamadorians, in reality, he was captured by the Germans. The reason that the Tralfamadorians exist is so that Billy can escape from the harsh reality of being a prisoner of war. Although separate in Billy’s conscience, the Nazis and the Tralfamadorians are interchangeable. Billy’s adventures on Tralfamadore all have significant and undeniable connections to his life:

One of the greatest impacts caused by disasters is one’s motivation for living. In Slaughterhouse-Five, many characters display twisted minds after experiencing wars. Billy and Rosewater find life meaningless, because they witness too many dead bodies in war; Lazzaro finds the sweetest thing to be revenge. As wars bring distorted senses to people, Vonnegut presents two opposing coping methods in Slaughterhouse-Five: One is the Tralfamadorians’ passive idea and the other is the narrator’s humane notion. The overall concept of the Tralfamadorians is to “ignore the awful times, and concentrate on the good ones” (Vonnegut 150). They do not look back, not even forward; they focus on the scattering patch of good moments regardless of time. A similar idea is how they have come to regard death: “in bad condition in that particular moment, and that the person is just fine in plenty of other moments.” The thought – it is more important that a person has lived a brilliant life – is comforting; however, it disregards the possibilities a person has as long as he or she lives. In an interview, Vonnegut points out that he “resents” the promising ideas, the Utopianism, in science fiction (qtd in Simpson 261). This is disclosed in Breakfast of Champions, when Kilgore Trout indirectly

This is the Tralfamadorian faith to the point where the is no reason of trying to change anything makes Billy feel like everything he has gone through, no matter how awful, could not have gone any other way. "Little Billy was terrified, because his father had said Billy was going to learn to swim by the method of sink-or-swim. His father was going to throw Billy into the deep end, and Billy was going to damn well swim. It was like an execution. . . . [Billy] dimly sensed that somebody was rescuing him. Billy resented that."

Vonnegut's writing style throughout the novel is very flip, light, and sarcastic. The narrator's observations and the events occurring during the novel reflect a dark view

The anti-war message is upheld further with the ironies that Vonnegut provides in the book. One example is "when one of the soldiers, a POW, survives the fire-bombing, but dies afterward from the dry heaves because he has to bury dead bodies" (Vit). When Billy and one of his comrades join to other scouts the Vonnegut portrays as well trained, Vonnegut displays irony by killing the skillful scouts and allows the less competent Pilgrim and Roland to survive. Roland does eventually die because he is forced to walk around in wooden clogs that turn his feet to pudding. The greatest example of irony is seen in what Vonnegut claims to be the climax of the story. He explains the situation before the story even begins. He is referring to the:

With this description, Vonnegut vastly distances Billy from the ideal, strong and mighty image of a soldier, yet Billy is a soldier nonetheless. Not only is this weak and ungracious character fighting and representing the honour of his country but also he is one of the few soldiers who survive the war; he outlives many of the other soldiers that could be considered better suited for war. Furthermore, Vonnegut compares Billy to a filthy flamingo, highlighting the distance that exists between society's soldier ideal, graceful and admirable, and the soldiers' reality, harsh and rampageous. In short, Billy is so far from what is expected that he “shouldn't even be in the Army” (51). However, Billy is not the only soldier in this ludicrous predicament. Vonnegut describes the entire Army as chaotic, confused and ludicrous:

But ignoring death and its suffering is exactly what Billy should not be doing, Vonnegut suggests. To do so makes him, like the Tralfamadorians, alien and inhuman. He has no sense of his own mortality, an awareness he needs in order to understand that, as Stephen Marten has observed, "life is valuable not because it is infinite but because it is so scarce" (11).

This kind-of off the wall opinion can be interpreted as people being physically stuck in this world, that people don't have any choice over what mankind as a whole, do and what people head for. The only thing one can do is think about everything, but it won't affect anything. This idea appears many times throughout the novel. This is one of the examples, when Billy proposes marriage to Valencia:

Once Billy becomes capable of time travel and comes into contact with the Tralfamadorians, he simply goes through the motions of life but avoids falling into a defeatist attitude. Under the tutelage of the Tralfamadorians, Billy fashions a brand new perspective towards society and enhances his natural persona, “When Billy accepts the Tralfamadorian philosophy, the passivity that he has displayed his entire life—from wanting to drift quietly at the bottom of the YMCA pool after his father throws him in, to begging Roland Weary to leave him behind—is justified. If the future cannot be changed anyway, why even try?” (Farrell 9). Though the interaction with the Tralfamadorians seems to allow Billy an outlet to construct his own ideals upon the universe, he nonetheless continues along the same path as before. Billy becomes an extremist towards passivity in life rather than utilizing the experience to impart a strong impression