Swimming in a Sea of Death is David Rieff's loving tribute to his mother, the writer Susan Sontag, and her final battle with cancer. Rieff's brave, passionate and unsparing witness of the last nine months of her life is both an intensely personal portrait of the relationship between a mother and a son, and a reflection on what it means to confront death in our culture. David Rieff confronts his feelings in relation to his motherandmdash;the guilt, the self-questioning, the sense of not having done enough. And he tries to understand what it means to desire so desperately, as his mother did to the end of her life, and to try almost anything in order to go on living.
This is the second volume of Vonnegutâe(tm)s autobiographical writings âe" a collage of his own life story, snipped up and stuck down alongside his views on everything from suicidal depression to the future of the planet and Andrew Lloyd Webber. Honest, dark, rambling, funny; this rare glimpse of Vonnegut's soul is a dagger to the heart of Western complacency.
NAMED ONE OF THE BEST BOOKS OF THE YEAR BY Newsweek/The Daily Beast • The Huffington Post • Kansas City Star • Time Out New York • Kirkus Reviews This extraordinary collection of personal correspondence has all the hallmarks of Kurt Vonnegut’s fiction. Written over a sixty-year period, these letters, the vast majority of them never before published, are funny, moving, and full of the same uncanny wisdom that has endeared his work to readers worldwide. Included in this comprehensive volume: the letter a twenty-two-year-old Vonnegut wrote home immediately upon being freed from a German POW camp, recounting the ghastly firebombing of Dresden that would be the subject of his masterpiece Slaughterhouse-Five; wry dispatches from Vonnegut’s years as a struggling writer slowly finding an audience and then dealing with sudden international fame in middle age; righteously angry letters of protest to local school boards that tried to ban his work; intimate remembrances penned to high school classmates, fellow veterans, friends, and family; and letters of commiseration and encouragement to such contemporaries as Gail Godwin, Günter Grass, and Bernard Malamud. Vonnegut’s unmediated observations on science, art, and commerce prove to be just as inventive as any found in his novels—from a crackpot scheme for manufacturing “atomic” bow ties to a tongue-in-cheek proposal that publishers be allowed to trade authors like baseball players. (“Knopf, for example, might give John Updike’s contract to Simon and Schuster, and receive Joan Didion’s contract in return.”) Taken together, these letters add considerable depth to our understanding of this one-of-a-kind literary icon, in both his public and private lives. Each letter brims with the mordant humor and openhearted humanism upon which he built his legend. And virtually every page contains a quotable nugget that will make its way into the permanent Vonnegut lexicon. • On a job he had as a young man: “Hell is running an elevator throughout eternity in a building with only six floors.” • To a relative who calls him a “great literary figure”: “I am an American fad—of a slightly higher order than the hula hoop.” • To his daughter Nanny: “Most letters from a parent contain a parent’s own lost dreams disguised as good advice.” • To Norman Mailer: “I am cuter than you are.” Sometimes biting and ironical, sometimes achingly sweet, and always alive with the unique point of view that made him the true cultural heir to Mark Twain, these letters comprise the autobiography Kurt Vonnegut never wrote. Praise for Kurt Vonnegut: Letters “Splendidly assembled . . . familiar, funny, cranky . . . chronicling [Vonnegut’s] life in real time.”—Kurt Andersen, The New York Times Book Review “[This collection is] by turns hilarious, heartbreaking and mundane. . . . Vonnegut himself is a near-perfect example of the same flawed, wonderful humanity that he loved and despaired over his entire life.”—NPR “Congenial, whimsical and often insightful missives . . . one of [Vonnegut’s] very best.”—Newsday “These letters display all the hallmarks of Vonnegut’s fiction—smart, hilarious and heartbreaking.”—The New York Times Book Review
Look at the Birdie is a collection of fourteen previously unpublished short stories from one of the most original writers in all of American fiction. In this series of perfectly rendered vignettes, written just as he was starting to find his comic voice, Kurt Vonnegut paints a warm, wise, and often funny portrait of life in post–World War II America—a world where squabbling couples, high school geniuses, misfit office workers, and small-town lotharios struggle to adapt to changing technology, moral ambiguity, and unprecedented affluence. How do you plan the perfect murder? Belly up to the bar with Vonnegut's narrator and listen as a self-proclaimed "murder counselor" outlines his fool-proof program for getting rid of your enemies—and assuring yourself a guaranteed annuity income for life. Look at the Birdie and the thirteen other never-before-published pieces that comprise Look at the Birdie serve as an unexpected gift for devoted readers who thought that Kurt Vonnegut's unique voice had been stilled forever—and provide a terrific introduction to his short fiction for anyone who has yet to experience his genius.
Here for the first time is the complete short fiction of one of the twentieth century's foremost imaginative geniuses. More than half of Vonnegut's output was short fiction, and never before has the world had occasion to wrestle with it all together. Organized thematically—"War," "Women," "Science," "Romance," "Work Ethic versus Fame and Fortune," "Behavior," "The Band Director" (those stories featuring Lincoln High's band director and nice guy George Hemholtz), and "Futuristic"—these ninety-eight stories were written from 1941 to 2007, and include those Vonnegut published in magazines and collected in Welcome to the Monkey House, Bagombo Snuff Box, and other books; here for the first time five previously unpublished stories; as well as a handful of others that were published online and read by few. During his lifetime Vonnegut published fewer than half of the stories he wrote, his agent telling him in 1958 upon the rejection of a particularly strong story, "Save it for the collection of your works which will be published someday when you become famous. Which may take a little time." Selected and introduced by longtime Vonnegut friends and scholars Dan Wakefield and Jerome Klinkowitz, Complete Stories puts Vonnegut's great wit, humor, humanity, and artistry on full display. An extraordinary literary feast for new readers, Vonnegut fans, and scholars alike.
A never-before-seen collection of deeply personal love letters from Kurt Vonnegut to his first wife, Jane, compiled and edited by their daughter “A glimpse into the mind of a writer finding his voice.”—The Washington Post “If ever I do write anything of length—good or bad—it will be written with you in mind.” Kurt Vonnegut’s eldest daughter, Edith, was cleaning out her mother’s attic when she stumbled upon a dusty, aged box. Inside, she discovered an unexpected treasure: more than two hundred love letters written by Kurt to Jane, spanning the early years of their relationship. The letters begin in 1941, after the former schoolmates reunited at age nineteen, sparked a passionate summer romance, and promised to keep in touch when they headed off to their respective colleges. And they did, through Jane’s conscientious studying and Kurt’s struggle to pass chemistry. The letters continue after Kurt dropped out and enlisted in the army in 1943, while Jane in turn graduated and worked for the Office of Strategic Services in Washington, D.C. They also detail Kurt’s deployment to Europe in 1944, where he was taken prisoner of war and declared missing in action, and his eventual safe return home and the couple’s marriage in 1945. Full of the humor and wit that we have come to associate with Kurt Vonnegut, the letters also reveal little-known private corners of his mind. Passionate and tender, they form an illuminating portrait of a young soldier’s life in World War II as he attempts to come to grips with love and mortality. And they bring to light the origins of Vonnegut the writer, when Jane was the only person who believed in and supported him supported him, the young couple having no idea how celebrated he would become. A beautiful full-color collection of handwritten letters, notes, sketches, and comics, interspersed with Edith’s insights and family memories, Love, Kurt is an intimate record of a young man growing into himself, a fascinating account of a writer finding his voice, and a moving testament to the life-altering experience of falling in love.
From Slapstick's "Turkey Farm" to Slaughterhouse-Five's eternity in a Tralfamadorean zoo cage with Montana Wildhack, the question of the afterlife never left Kurt Vonnegut's mind. In God Bless You, Dr. Kevorkian, Vonnegut skips back and forth between life and the Afterlife as if the difference between them were rather slight. In thirty odd "interviews," Vonnegut trips down "the blue tunnel to the pearly gates" in the guise of a roving reporter for public radio, conducting interviews: with Salvatore Biagini, a retired construction worker who died of a heart attack while rescuing his schnauzer from a pit bull, with John Brown, still smoldering 140 years after his death by hanging, with William Shakespeare, who rubs Vonnegut the wrong way, and with socialist and labor leader Eugene Victor Debs, one of Vonnegut's personal heroes. What began as a series of ninety-second radio interludes for WNYC, New York City's public radio station, evolved into this provocative collection of musings about who and what we live for, and how much it all matters in the end. From the original portrait by his friend Jules Feiffer that graces the cover, to a final entry from Kilgore Trout, God Bless You, Dr. Kevorkian remains a joy.
Kurt Vonnegut’s masterpiece, Slaughterhouse-Five is “a desperate, painfully honest attempt to confront the monstrous crimes of the twentieth century” (Time). Selected by the Modern Library as one of the 100 best novels of all time • One of The Atlantic’s Great American Novels of the Past 100 Years Slaughterhouse-Five, an American classic, is one of the world’s great antiwar books. Centering on the infamous World War II firebombing of Dresden, the novel is the result of what Kurt Vonnegut described as a twenty-three-year struggle to write a book about what he had witnessed as an American prisoner of war. It combines historical fiction, science fiction, autobiography, and satire in an account of the life of Billy Pilgrim, a barber’s son turned draftee turned optometrist turned alien abductee. As Vonnegut had, Billy experiences the destruction of Dresden as a POW. Unlike Vonnegut, he experiences time travel, or coming “unstuck in time.” An instant bestseller, Slaughterhouse-Five made Kurt Vonnegut a cult hero in American literature, a reputation that only strengthened over time, despite his being banned and censored by some libraries and schools for content and language. But it was precisely those elements of Vonnegut’s writing—the political edginess, the genre-bending inventiveness, the frank violence, the transgressive wit—that have inspired generations of readers not just to look differently at the world around them but to find the confidence to say something about it. Authors as wide-ranging as Norman Mailer, John Irving, Michael Crichton, Tim O’Brien, Margaret Atwood, Elizabeth Strout, David Sedaris, Jennifer Egan, and J. K. Rowling have all found inspiration in Vonnegut’s words. Jonathan Safran Foer has described Vonnegut as “the kind of writer who made people—young people especially—want to write.” George Saunders has declared Vonnegut to be “the great, urgent, passionate American writer of our century, who offers us . . . a model of the kind of compassionate thinking that might yet save us from ourselves.” More than fifty years after its initial publication at the height of the Vietnam War, Vonnegut’s portrayal of political disillusionment, PTSD, and postwar anxiety feels as relevant, darkly humorous, and profoundly affecting as ever, an enduring beacon through our own era’s uncertainties.
“A rich, generous book about writing and reading and Kurt Vonnegut as writer, teacher, and friend . . . Every page brings pleasure and insight.”—Gail Godwin, New York Times bestselling author Here is an entirely new side of Kurt Vonnegut, Vonnegut as a teacher of writing. Of course he’s given us glimpses before, with aphorisms and short essays and articles and in his speeches. But never before has an entire book been devoted to Kurt Vonnegut the teacher. Here is pretty much everything Vonnegut ever said or wrote having to do with the writing art and craft, altogether a healing, a nourishing expedition. His former student, Suzanne McConnell, has outfitted us for the journey, and in these 37 chapters covers the waterfront of how one American writer brought himself to the pinnacle of the writing art, and we can all benefit as a result. Kurt Vonnegut was one of the few grandmasters of American literature, whose novels continue to influence new generations about the ways in which our imaginations can help us to live. Few aspects of his contribution have not been plumbed—fourteen novels, collections of his speeches, his essays, his letters, his plays—so this fresh view of him is a bonanza for writers and readers and Vonnegut fans everywhere. “Part homage, part memoir, and a 100% guide to making art with words, Pity the Reader: On Writing with Style is a simply mesmerizing book, and I cannot recommend it highly enough!”—Andre Dubus III, #1 New York Times bestselling author “The blend of memory, fact, keen observation, spellbinding descriptiveness and zany characters that populated Vonnegut’s work is on full display here.”—James McBride, National Book Award-winning author
