Vonneguts Changing Women :: essays research papers fc

Vonneguts Changing Women     What follows is an argument to the effect that, in the novels pen before 1973, Vonneguts female characters generally be presented negatively, both as pro-authority anti-individualists or as helpless or male-manipulated victims who never "grow" in either a personal or literary sense. In addition I maintain that, in at least two of Vonneguts later novels, authorized female characters exercise individuality in their own existences and effect positively the awargonness and attitudes of male characters.     From the beginning of Player Piano (1952) through massacre Five (1969), Kurt Vonnegut describes the characters of his various worlds in terms of their victimization at the hand of a dehumanizing, or perhaps a better term superpower be "deindividualizing," technologically fixated, industrial/militaristic society. Time and time over again in these novels the role of the individual is subsumed in the miasma that passes for "social responsibility." handle the real world in which every human being exists, Vonneguts literary worlds feature nameless and faceless authorities (when such authorities are offered at all) who seem to be the masters in local, regional, global, and sometimes interstellar chess games. Often, as is the case in Vonneguts 1951 "All the Kings Men," these "manipulators" move their all-too-sentient pieces in what at times, for the victims, must seem to be diabolical--and what certainly are tragic--maneuvers.     In The Sirens of giant (1959) and Slaughterhouse Five the "accidental" nature or intergalactic point of view of the authority that seems to be "in charge of things" serves to surmount humans from personal responsibility for the results of such maneuvering--as such results are expound in the novels. In Sirens, for example, the inappropriate and often asinine behaviors of Malachi Constant a re shown to be products of the direct influence of the Tralfamadorians who for millennia have manipulated human societies simply to choke with a mechanized messenger shipwrecked on Saturns largest moon. The same excuse set up be made for the ultimate human manipulator in the novel, Winston Niles Rumfoord, as it can for the actions and attitudes of Bee, Rumfoords wife and the mother of Constants son, Chrono. That the communications sent to Salo on Titan consist of such inane and, given the non-human nature of the receiver, unimportant pith as, "Be patient. We havent forgotten about you," and, "You will be on your manner before you know it" (271), only makes more pathetic the fact that Tralfamadore has influenced directly the rise and fall of countless human civilizations in order to incline such messages.