Breakfast of Champions
"Our awareness is all that is alive and maybe sacred in any of us. Everything else about us is dead machinery."(p.221)
Introduction
Breakfast of Champions; or Goodbye Blue Monday is Kurt Vonnegut's seventh novel. He wrote it in 1972, as he himself says, for his fiftieth birthday. It is Vonnegut's own parody of himself and his works. "The various themes and mannerisms that have animated the earlier novels are seen here in a grotesque, cartoon version of themselves," (Todd). It is a confrontation of tragedy of America brought forth by Vonnegut's sensitivity to tragedy (Uphaus), where Vonnegut "seems to rub middle America's nose in the sheer ugliness of life." (Merill)
The story
Breakfast of Champions is a story of "two lonesome, skinny old men on a planet which was dying fast,"(p.???). One of these two men is Dwayne Hoover, a "fabulously well-to-do" Pontiac Dealer, and the other is Kilgore Trout, an "unknown" and unsuccessful science fiction writer. These two characters are destined to meet in Midland City and Kilgore Trout's book Now It Can Be Told is destined to turn Dwayne Hoover into "homicidal maniac".
How the novel is written
The novel attacks many things: slavery, racism, commercial greed, jingoism, ecology, capitalism, imperialism, overpopulation etc., all of these aimed precisely at modern American society. Vonnegut "brings a remarcable air of discovery to these themes, the pretense that no one has quite seen before the stark outlines of our hypocrisy," (Todd). Vonnegut is "impolite" in his writing about these matters. He was taught to this impoliteness when he was a kid (p.2) by Phoebe Hurty -- the person this novel is dedicated to.
The whole book is written in quite familiar style which was used in Vonnegut's previous novel Slaughterhouse Five. The style can be defined by one line from it: "If accident will" (Vonnegut 1969, p.2). Breakfast of Champions also has the vague image of absolute chaos. Vonnegut denounced books that "make people believe that life had leading characters, minor characters, significant details, that it has lessons to be learned, tests to be passed, and a beginning, a middle, and an end," (p.209). But chaos is not only a way in which Vonnegut writes, it is also what Vonnegut writes about.
As I approached my fiftieth birthday, I had become
more and more enraged and mystified by the idiot decisions
made by my countrymen. And then I had come suddenly to pity
"In Slaughterhouse Five, -- Or the Children's Crusade, Vonnegut delivers a complete treatise on the World War II bombing of Dresden. The main character, Billy Pilgrim, is a very young infantry scout* who is captured in the Battle of the Bulge and quartered in a Dresden slaughterhouse where he and other prisoners are employed in the production of a vitamin supplement for pregnant women. During the February 13, 1945, firebombing by Allied aircraft, the prisoners take shelter in an underground meat locker. When they emerge, the city has been levelled and they are forced to dig corpses out of the rubble. The story of Billy Pilgrim is the story of Kurt Vonnegut who was captured and survived the firestorm in which 135,000 German civilians perished, more than the number of deaths in the bombings of Hiroshima and Nagasaki combined. Robert Scholes sums up the theme of Slaughterhouse Five in the New York Times Book Review, writing: 'Be kind. Don't hurt. Death is coming for all of us anyway, and it is better to be Lot's wife looking back through salty eyes than the Deity that destroyed those cities of the plain in order to save them.' The reviewer concludes that 'Slaughterhouse Five is an extraordinary success. It is a book we need to read, and to reread.' "The popularity of Slaughterhouse Five is due, in part, to its timeliness; it deals with many issues that were vital to the late sixties: war, ecology, overpopulation, and consumerism. Klinkowitz, writing in Literary Subversions.New American Fiction and the Practice of Criticism, sees larger reasons for the book's success: 'Kurt Vonnegut's fiction of the 1960s is the popular artifact which may be the fairest example of American cultural change. . . . Shunned as distastefully low-brow . . . and insufficiently commercial to suit the exploitative tastes of high-power publishers, Vonnegut's fiction limped along for years on the genuinely democratic basis of family magazine and pulp paperback circulation. Then in the late 1960s, as the culture as a whole exploded, Vonnegut was able to write and publish a novel, Slaughterhouse Five, which so perfectly caught America's transformative mood that its story and structure became best-selling metaphors for the new age. '"Writing in Critique, Wayne D. McGinnis comments that in Slaughterhouse Five, Vonnegut 'avoids framing his story in linear narration, choosing a circular structure.
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Reed, Peter J. and Marc Leeds eds. The Vonnegut Chronicles: Interviews and Essays. Westport, CT: Greenwood Press, 1996.
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