verbava (vonnegut) все записи автора иллюстрация к рассказу Little Drops of Water из журнала Harpers (june 2009)

verbava (vonnegut) все записи автора Kurt Vonnegut
Little Drops of Water

Now Larry’s gone.

We bachelors are lonely people. If I weren’t damn lonely from time to time, I wouldn’t have been a friend of Larry Whiteman, the baritone. Not friend, but companion, meaning I spent time with him, whether I liked him particularly or not. As bachelors get older, I find, they get less and less selective about where they get their companionship—and, like everything else in their lives, friends become a habit, and probably a part of a routine. For instance, while Larry’s monstrous conceit and vanity turned my stomach, I’d been dropping in to see him off and on for years. And when I come to analyze what off and on means, I realize that I saw Larry every Tuesday between five and six in the afternoon. If, on the witness stand, someone were to ask me where I was on the evening of Friday, such and such a date, I would only have to figure out where I would be on the coming Friday to tell him where I had probably been on the Friday he was talking about.

Let me add quickly that I like women, but am a bachelor by choice. While bachelors are lonely people, I’m convinced that married men are lonely people with dependents.

When I say I like women, I can name names, and perhaps, along with the plea of habit, account for my association with Larry in terms of them. There was Edith Vranken, the Schenectady brewer’s daughter who wanted to sing; Janice Gurnee, the Indianapolis hardware merchant’s daughter who wanted to sing; Beatrix Werner, the Milwaukee consulting engineer’s daughter who wanted to sing; and Ellen Sparks, the Buffalo wholesale grocer’s daughter who wanted to sing.

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verbava (vonnegut) все записи автора Курт Воннегут
Капли воды
via KeryA

Вот и нет больше Ларри.
Мы, холостяки, одинокие люди. Не будь я иногда чертовски одинок, не стал бы дружить с Ларри Уайтменом, баритоном. Вернее, приятельствовать - мы просто проводили вместе время, и не важно даже, нравился он мне особо или нет. Я думаю, по мере того, как холостяки стареют, они все меньше выбирают, с кем им общаться - и, как все остальное в их жизни, друзья становятся привычкой или даже частью рутины. Хотя жуткая напыщенность и тщеславие Ларри выводили меня из себя, я уже много лет время от времени к нему заглядывал. Когда я говорю время от времени, я имею в виду, что видел Ларри каждый четверг между пятью и шестью часами вечера. Если бы в суде меня спросили под присягой, где я находился в пятницу такого-то числа, мне надо было бы только вспомнить, что я собираюсь делать в следующую пятницу, чтобы ответить.

Тут надо добавить, что я люблю женщин, а холостяцкая жизнь -мой сознательный выбор. Пусть холостяки одиноки, но женатые – я убежден – всего лишь одинокие люди с иждивенцами.

Говоря про любовь к женщинам, я могу назвать их по именам и, возможно, способен с их помощью описать свои отношения с Ларри. Эдит Вранкен, дочь пивовара из Шенектеди, которая хотела петь; Дженис Гёрни, дочь продавца инструментов из Индианаполиса, которая хотела петь; Беатрис Вернер, дочь инженера-консультанта из Милуоки, которая хотела петь; и Элен Спаркс, дочь оптового торговца бакалеей из Буффало, которая хотела петь.

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verbava (vonnegut) все записи автора Helen
© 1995 Kurt Vonnegut/Origami Express, LLC

verbava (vonnegut) все записи автора << Это единственная из моих книг, мораль которой я знаю. Не думаю, что эта мораль какая-то удивительная, просто случилось так, что я ее знаю: мы как раз то, чем хотим казаться, и потому должны серьезно относиться к тому, чем хотим казаться.
>>

<< Подумав, я вижу еще одну простую мораль этой истории: если вы мертвы – вы мертвы.
И еще одна мораль открылась мне теперь: занимайтесь любовью, когда можете. Это вам на пользу.
>>

<< Боже мой! Молодые люди участвуют в политических трагедиях, когда на карту поставлены миллиарды, а ведь единственное сокровище, которое им стоит искать, – это безоглядная любовь.
>>

<< – Ты должен снова начать писать. Подобно тому, как маргаритки цветут маргаритками, а розы розами, ты должен цвести как писатель, а я как художник. Все остальное в нас неинтересно.
– Мертвецы вряд ли могут писать хорошо.
>>

<< Доктор Эпштейн обошелся с несчастным старым Крапптауэром весьма грубо, заставляя его продемонстрировать всем нам, что он действительно мертв.
>>

<< – Вы можете сказать мне сейчас, что вы шпион, и все равно мы будем разговаривать так же спокойно, как сейчас. И я позволю вам исчезнуть в любое место, куда обычно исчезают шпионы, когда кончается война. Знаете, почему? – сказал он.
– Нет.
– Потому, что вы никогда не могли бы служить нашему врагу так хорошо, как служили нам.
>>

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verbava (vonnegut) все записи автора from The Children’s Crusade : Medieval History, Modern Mythistory by Gary Dickson

The most popular twentieth-century American work of fiction to nourish itself from the Children’s Crusade is Kurt Vonnegut’s acclaimed anti-war novel Slaughterhouse-Five or the Children’s Crusade: A Duty-Dance with Death (1969), which was both a best-seller and a critical success. If the horror of the World War II fire-bombing of Dresden overshadows Slaughterhouse-Five, the book’s alternative title demands to be taken just as seriously.
Kurt Vonnegut’s time-traveling hero Billy Pilgrim, a young, naive GI in wartorn Europe is a true American innocent abroad. Given the childlike diminutive of his fi rst name and the medieval peregrinus of his last, he makes an excellent symbolic child-crusader. His comrades in arms, and indeed some of the German troops, are likewise represented as youngsters. Their forty-three-year-old U.S. colonel admits he forgot that wars were fought by babies. Looking at their freshly shaved faces, he gets a shock. “My God, my God,” he exclaims, “it’s the Children’s Crusade.” As much the innocent victims of war as the German civilians, these young American GIs fighting World War II in Europe are the new child-crusaders.
Slaughterhouse-Five fuses the absurd inhumanity of mass destruction—which the attack on Dresden exemplifies—with the theme of the Slaughter of the Innocents. Calling it “the Children’s Crusade” allows Vonnegut to give an anti-heroic twist to the notion that World War II had been a Crusade in Europe. That was the title Dwight David Eisenhower chose for his military memoirs (1948), and in retrospect, his choice of title seems inevitable. Four years earlier, on the eve of the Normandy invasion, General Eisenhower delivered a solemn address to the Allied Expeditionary Forces which began: “You are about to embark upon the Great Crusade....” During the war the minumum age of conscription for American servicemen fell from twenty-one to eighteen, as it was for the British. These were boy-soldiers. Boy-crusaders, some might say.
Was it, as one critic suggests, Herman Hesse’s Journey to the East (1932) which supplied Vonnegut, an admirer of Hesse, with his motif of the Children’s Crusade? Hesse called his eastern journey a pilgrimage and a Children’s Crusade. But another critic points out that Vonnegut had to look no further for boy soldiers than the great anti-war classic of World War I, Erich Maria Remarque’s All Quiet on the Western Front (1929). Its German troops were “little more than boys.” An example closer to home for Vonnegut would be Stephen Crane’s novel of the American Civil War, The Red Badge of Courage (1895), with its youthful protagonist and his young friend. These Union soldiers were the “brave boys in blue.” There was also the World War II refrain—“Turn the dark clouds inside out, Till the boys come home.” Fighting men were now “the boys.” Vonnegut’s boy-soldiers did not lack military antecedents.
To find out about the actual Children’s Crusade, Vonnegut and his friends in Slaughterhouse-Five, turn to Charles Mackay’s Extraordinary Popular Delusions and the Madness of Crowds (1841). Mackay, a Scottish journalist and man of letters (1814–1889), wrote in the spirit of Voltaire that “vile monks” preaching to “deluded children” set it in motion. Vonnegut may have used Mackay to relocate the pueri in his World War II American Children’s Crusade, but he jettisoned Mackay’s cynical perspective. His child-crusaders were naive, not “deluded.” Consciously or not, Vonnegut was exploiting the mythic theme of childhood innocence which nineteenth-century America shared with medieval Europe.
Widespread and intense opposition to the war in Vietnam was commonplace across the campuses of America when Slaughterhouse-Five appeared in 1969. So Vonnegut’s idea of a Children’s Crusade spoke to the politicized, activist, anti-war students of America’s colleges, who, by then, were already veterans of their own abortive Children’s Crusade on behalf of Senator Eugene McCarthy. The climactic moment of the anti-war campus rebellion, the shooting of students at Kent State (1970), came only a year after Slaughterhouse-Five was published.

verbava (vonnegut) все записи автора

verbava (vonnegut) все записи автора Kurt Vonnegut Judges Modern Society

(As part of the Long View series on Morning Edition, Vonnegut, 83, looks back with Steve Inskeep at how society has changed in the last 50 years)

via NPR




'cause thus spoke vonnegut

verbava (vonnegut) все записи автора Kurt Vonnegut: After the Slaughterhouse

from Martin Amis - The Moronic Inferno & Other Visits to America

Inveterately regressive, ever the playful infantilist, Kurt Vonnegut recently shuffled his career into a report card, signed it, and tacked it to his study wall. The report was chronological, grading his work from A to D. This is what it looked like:

Player Piano A
The Sirens of Titan A
Mother Night A
Cat's Cradle A+
God Bless You, Mr Rosewater A
Slaughterhouse-Five A+
Breakfast of Champions C
Slapstick D
Jailbird A

The burden of the report seems clear enough: Kurt started confidently, went from strength to strength for a good long spell, then passed into a trough of lassitude and uncertainty, but now shows signs of rallying.
The graph charted by the American literary establishment — viewed by Vonnegut as, at best, a flock of cuecard-readers, at worst a squad of jailers, torturers and funeral directors — would be even starker, and much less auspicious. Their report would probably go something like this: B-, B, B-, A, A-, B-, B, D, C.
'Anyway, the card isn't quite up to date,' I said, half-way through lunch in a teeming trattoria on Second Avenue. Vonnegut is a mildly lionised regular here, but it was mid-December, and we took our chances among the parched and panting Christmas shoppers of New York. Our table seemed to be half-way between the lobby and the toilet. I wondered, protectively, whether we'd have done any better during Vonnegut's heyday; perhaps the head waiter hadn't liked Slapstick either. 'What about your new novel?' I asked. 'How would you grade Deadeye Dicky Vonnegut looked doubtful. 'I guess it's sort of a B-minus,' he said.
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verbava (vonnegut) все записи автора

'cause thus spoke vonnegut

verbava (vonnegut) все записи автора

'cause thus spoke vonnegut

verbava (vonnegut) все записи автора by Christopher Felver



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verbava (vonnegut) все записи автора (via Universität Paderborn)

Books
Aldiss, Brian W. Billion Year Spree: The True History of Science Fiction. Garden City, NY: Doubleday, 1973.
Allen, William Rodney, ed. Conversations with Kurt Vonnegut. Jackson: UP of Missippi, 1988.
Allen, William Rodney. Understanding Kurt Vonnegut. Columbia: U of South Carolina, 1991.
Bertram, Ute H. Die Rolle des Religiösen in den Romanen von Kurt Vonnegut. Frankfurt: Fischer Verlag, 1989.
Boon, Kevin Alexander (ed. and introd). At Millennium’s End: New Essays on the Work of Kurt Vonnegut. New York: State U of New York P, 2001.
Breinig, Helmbrecht. Satire und Roman: Studien zur Theorie des Genrekonflikts und zur satirischen Erzählliteratur der USA von Brackenridge bis Vonnegut. Tübingen: Narr, 1984.
Brocher, Sabine. Abenteuerliche Elemente Im Modernen Roman: Italo Calvino, Ernst Augustin, Luigi Malerba, Kurt Vonnegut, Ror Wolf. München: Hanser Verlag, 1981.
Broer, Lawrence R. Sanity Plea: Schizophrenia in the Novels of Kurt Vonnegut. Ann Arbor: UMI Research Press, 1989.
Broer, Lawrence R. Sanity Plea: Schizophrenia in the Novels of Kurt Vonnegut. . Tuscaloosa: U of Alabama P, 1994.
Davis, Todd F. Kurt Vonnegut’s Crusade; Or, How a Postmodern Harlequin Preached a New Kind of Humanism. New York: State U of New York P, 2006.
Giannone, Richard. Vonnegut: A Preface to His Novels. Port Washington, New York: Kennikat Press, 1977.
Goldsmith, David. Kurt Vonnegut: Fantasist of Fire and Ice. Popular Writers Series Pamphlet No.2. Bowling Green, Ohio: Bowling Green U Popular P, 1972.
Hauck, Richard Boyd. A Cheerful Nihilism. Bloomington, Indiana: Indiana UP, 1971.
Jones, Peter G., and M. L. Rosenthal. War and the Novelist: Appraising the American War Novel. Columbia: U of Missouri P, 1976.
Ketterer, David. New Worlds for Old: The Apocalyptic Imagination, Science Fiction, and American Literature. Bloomington: Ind. UP, 1974.
Klinkowitz, Jerome, and John Somer, eds. The Vonnegut Statement: Original Essays on the Life and Work of Kurt Vonnegut, Jr. New York: Delta Books, 1973.
Klinkowitz, Jerome. The Life of Fiction. Urbana: U of Illinois P, 1977.
Klinkowitz, Jerome. Kurt Vonnegut. London, New York: Methuen, 1982.
Klinkowitz, Jerome. Vonnegut in Fact: The Public Spokesmanship of Personal Fiction. Columbia, SC: U of South Carolina P, 1998.
Klinkowitz, Jerome. The Vonnegut Effect. Columbia, SC: U of South Carolina P, 2004.
Leeds, Marc, and Kurt Vonnegut (fwd.). The Vonnegut Encyclopedia: An Authorized Compendium. Westport, CT: Greenwood, 1995.
Leeds, Marc, and Peter J. Reed (eds. and introd.). Kurt Vonnegut: Images and Representations. Westport, CT: Greenwood, 2000.
Loeb, Monica. Vonnegut's Duty-Dance with Death: Theme and Structure in Slaughterhouse-Five. Umea: Univ. - Bibliothek, 1979.
Lundquist, James. Kurt Vonnegut. New York: Ungar - Modern Literature Monographs, 1977.
Mayo, Clark. Kurt Vonnegut: The Gospel from Outer Space. San Bernardino, CA: Borgo Press, 1977.
Merrill, Robert. Critical Essays on Kurt Vonnegut. Boston: Chelsea House, 1990.
Morse, Donald E. Kurt Vonnegut. San Bernardino, CA: Borgo Press, 1992.
Mustazza, Leonard. Forever Pursuing Genesis: The Myth of Eden in the Novels of Kurt Vonnegut. Lewisburg, PA: Bucknell UP, 1990.
Pettersson, Bo. The World according to Kurt Vonnegut: Moral Paradox and Narrative Form. Abo: Abo Akademi UP, 1994.
Reed, Peter J. Kurt Vonnegut, Jr. New York: Warner Paperback Library, 1972.
Reed, Peter J., and Marc Leeds (ed. and introd.). The Vonnegut Chronicles: Interviews and Essays. Westport, CT: Greenwood, 1996.
Schatt, Stanley. Kurt Vonnegut, Jr. Boston: Twayne's United States Authors Series No. 276, 1976.
Schnackertz, Hermann Josef. Darwinismus und literarischer Diskurs: Der Dialog mit der Evolutionsbiologie in der englischen und amerikanischen Literatur. E. Bulwer-Lytton, S. Butler, J. Conrad, Ch. Darwin, Th. Dreiser, G. Gissing, H. Spencer, K. Vonnegut, H.G. Wells. Munich: Wilhelm Fink, 1992.
Scholes, Robert. The Fabulators. New York: Oxford UP, 1967.
Short, Robert. Something to Believe In: Is Kurt Vonnegut the Exorcist of Jesus Christ Superstar? New York: Harper, 1978.
Singh, Sukhbir. The Survivor in Contemporary American Fiction: Saul Bellow, Bernard Malamud, John Updike, Kurt Vonnegut, Jr. Delhi: B. R. Publ. Corp., 1991.
Streier, Eva-Maria. Bedrohung des Menschen durch Naturwissenschaft und Technologie? Antworten im Romanwerk (1952-69) von Kurt Vonnegut, Jr. Frankfurt am Main: Peter Lang, 1984.
Thomas, P.L. Reading, Learning, Teaching Kurt Vonnegut. New York: Peter Lang, 2006.

verbava (vonnegut) все записи автора by Donna Frizano Leonetti

verbava (vonnegut) все записи автора

'cause thus spoke vonnegut

verbava (vonnegut) все записи автора (via Universität Paderborn)

Articles
Abádi-Nagy, Zoltán. "The Skilful Seducer of Vonnegut's Brand of Comedy." Hungarian Studies in English. 8 (1974): 45-56.
Abádi-Nagy, Zoltán. "Ironic Messianism in Recent American Fiction." Studies in English and American. 4 (1978): 63-83.
Abádi-Nagy, Zoltán. "An Original Look at 'Origins': Bokononism." The Origins and Originality of American Culture. Ed. Frank, Tibor. Budapest: Akademiai Kiado, 1984. 601-608.
Abádi-Nagy, Zoltan. "Bokonism as a Structure of Ironies." The Vonnegut Chronicles: Interviews and Essays. Westport, CT: Greenwood, 1996. 85-90.
Abramson, Marcia. "Vonnegut: Humor to Cope With Suffering." University of Michigan Daily (22 January 1969): 2.
Adams, Marion. "You've Come a Long Way Since Shortridge High, Kurt Vonnegut, Jr." Indianapolis (October 1976): 29.
Aldiss, Brian W. "Guru Number Four." Summary. 1, 2 (1971): 63-68.
Aldiss, Brian W. "Billion Year Spree I: Origin of Species." Extrapolation. 14 (1973): 167-91.
Alsen, Eberhard. "Vonnegut's Comedy of Errors." Transition. 82-83 (1983): 28-36.
Ancone, Frank. "Kurt Vonnegut and the Great Twain Robbery." Notes on Contemporary Literature. 13, 4 (September 1983): 6-7.
Andrews, David. "Vonnegut and Aesthetic Humanism." At Millennium’s End: New Essays on the Work of Kurt Vonnegut. Ed. Kevin Alexander Boon. New York: State U of New York P, 2001. 17-48.
Anonymous. "Vonnegut's Gospel." Time International (29 June 1970): 8.
Anonymous. "An Account of the Ancestry of Kurt Vonnegut, Jr. by an Ancient Friend of his Family." Summary. 1, 2 (1971): 76-118.
Au, Bobbye G. "Contemporary Novels: A Reflection of Contemporary Culture." Modern American Cultural Criticism. Ed. Johnson, Mark. Warrensburg: Central Missouri State U, 1983. 99-104.
Auwera, Fernand. "Lucky Punch." Dietsche Warande en Belford: Tijdschrift voor Letterkunde, Kunst en Geestesleven. 122 (1977): 783-785.
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verbava (vonnegut) все записи автора photo by Lou O' Bedlam



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verbava (vonnegut) все записи автора Harrison Bergeron

by Kurt Vonnegut (1961)

THE YEAR WAS 2081, and everybody was finally equal. They weren’t only equal before God and the law. They were equal every which way. Nobody was smarter than anybody else. Nobody was better looking than anybody else. Nobody was stronger or quicker than anybody else. All this equality was due to the 211th, 212th, and 213th Amendments to the Constitution, and to the unceasing vigilance of agents of the United States Handicapper General.

Some things about living still weren’t quite right, though. April, for instance, still drove people crazy by not being springtime. And it was in that clammy month that the H-G men took George and Hazel Bergeron’s fourteen-year-old son, Harrison, away.

It was tragic, all right, but George and Hazel couldn’t think about it very hard. Hazel had a perfectly average intelligence, which meant she couldn’t think about anything except in short bursts. And George, while his intelligence was way above normal, had a little mental handicap radio in his ear. He was required by law to wear it at all times. It was tuned to a government transmitter. Every twenty seconds or so, the transmitter would send out some sharp noise to keep people like George from taking unfair advantage of their brains.

George and Hazel were watching television. There were tears on Hazel’s cheeks, but she’d forgotten for the moment what they were about.

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verbava (vonnegut) все записи автора Телевизионная экранизация рассказа Курта Воннегута "Harrison Bergeron"




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verbava (vonnegut) все записи автора Иллюстрации TheMorrigan к рассказу Курта Воннегута "Harrison Bergeron"



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