When Kurt Vonnegut wasn’t writing, he was drawing. “The making of pictures is to writing what laughing gas is to the Asian influenza,” he said. The New Yorker has a slideshow of 10 of his cubist sketches. You can find more of his doodles in the new book Kurt Vonnegut Drawings.
The #VonnegutSummer may be over, but The Vonnegut Review is alive and well. We’ve just penned a review of Robert Tally’s marvelous new theoretical take on Vonnegut. Here’s a snippet:
Vonnegut’s “telegraphic schizophrenic novel,” then, offers a resolute defense of the human even as it deconstructs the notion of the self. What Vonnegut returns to, in his exploration of eternal recurrence and Tralfamadorian ethics, is what Nietzsche refers to as amor fati, or the love of fate. Amidst the terror of history and the trauma of war, Vonnegut, yearning to recover a lost wholeness, shores up the ruins of modernity in the fragments of narrative.
“Reading and writing are in themselves subversive acts. What they subvert is the notion that things have to be the way they are, that you are alone, that no one has ever felt the way you have. What occurs to most people when they read Kurt is that things are much more up for grabs than they thought they were. The world is a slightly different place just because they read a damn book. Fancy that.”
—Mark Vonnegut (on Kurt Vonnegut in Armageddon in Retrospect). (via callumcanreadandwrite)
“Do you realize that all great literature- are all about what a bummer it is to be a human being?”
(Isn’t it such a relief to have somebody say that?)
Venus on the Half-Shell
"Kilgore Trout," Dell, 1975.
Actually written by Philip Jose Farmer. Strangely kind of great.