The Critically and commercially successful novel Slaughterhouse-Five presents itself, ironically, as a “failure” – as evidence of the inability of the narrator/author to compose a coherent narrative or text, to “make sense” of experience or interpret history intelligibly.
>>9594155
Yeah what's it to ya
>>9594155
How is SLV incoherent?
>>9594155
You could argue that the narrative is broken because the protagonist's mind (and the author's mind, to some extent) was broken by the war. But even then, it's fairly easy to read and understand.
>>9594155
Failure to comprehend a novel's intention is not a failure of the novel itself. Not every writing necessarily needs to "make sense" of history as much as it needs to facilitate and properly translate the feelings and insights of the narrator and author himself, to the reader. Vonnegut writes in a largely absurdist style and, at face-value, it can seem meaninglessly deductive and cynical. It's not something that you will ever enjoy if you don't know how to open your heart to the constant madness of what goes on around us - which pretty much sums up Vonnegut's main themes. And in slaughter-house five specifically, it's a literal show of what is possible in the most dire of times.
Are we really supposed to make sense of depravity? Or are you looking at this in a positivist bias?
>>9595595
Impressive numbers friend
vonnegut a shit
>>9595793
you ain't seen nothing yet
check these
>>9595804
quality posts here on lit.
>>9595857
u r dumb
>>9594155
Does that critique apply to Faulkner, Woolf, Pynchon, Joyce, Heller, or anyone else who employs fractured and nonlinear narratives?
If you need plots to "make sense" you're in for a bad time