Quotes By Author: Kurt Vonnegut
“The guide invited the crowd to imagine that they were looking across a desert at a mountain range on a day that was twinkling bright and clear. They could look at a peak or a bird or cloud, at a stone right in front of them, or even down into a canyon behind them. But among them was this poor Earthling, and his head was encased in a steel sphere which he could never take off. There was only one eyehole through which he could look, and welded to that eyehole were six feet of pipe.”This was only the beginning of Billy’s miseries in the metaphor. He was also strapped to a steel lattice which was bolted to a flatcar on rails, and there was no way he could turn his head or touch the pipe. The far end of the pipe rested on a bi-pod which was also bolted to the flatcar. All Billy could see was the little dot at the end of the pipe. He didn’t know he was on a flatcar, didn’t even know there was anything peculiar about his situation. “The flatcar sometimes crept, sometimes went extremely fast, often stopped–went uphill, downhill, around curves, along straightaways. Whatever poor Billy saw through the pipe, he had no choice but to say to himself, ‘That’s life.”
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“Why you? Why us for that matter? Why anything? Because the moment simply is.”
“The time would not pass. Somebody was playing with the clocks, and not only the electronic clocks but the wind-up kind too. The second hand on my watch would twitch once, and a year would pass, and then it would twitch again.There was nothing I could do about it. As an Earthling I had to believe whatever clocks said -and calendars.”
“There are no telegraphs on Tralfamadore. But you’re right: each clump of symbols is a brief, urgent message– describing a situation, a scene. We Tralfamadorians read them all at once, not one after the other. There isn’t any particular relationship between all the messages, except that the author has chosen them carefully, so that, when seen all at once, they produce an image of life that is beautiful and surprising and deep. There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we love in our books are the depths of many marvelous moments seen all at one time.”
“I am simply impressed by the unexpected insights which shower down on me when my job is to imagine, as contrasted with the woodenly familiar ideas which clutter my desk when my job is to tell the truth.”
“I think it can be tremendously refreshing if a creator of literature has something on his mind other than the history of literature so far. Literature should not disappear up its own asshole, so to speak.”
“Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them — in order that the reader may see what they are made of.”[From the preface.]”
“The most important thing I learned on Tralfamadore was that when a person dies heonly appears to die. He is still very much alive in the past, so it is very silly for people tocry at his funeral. All moments, past, present and future, always have existed, always willexist. The Tralfamadorians can look at all the different moments just that way we canlook at a stretch of the Rocky Mountains, for instance. They can see how permanent allthe moments are, and they can look at any moment that interests them. It is just anillusion we have here on Earth that one moment follows another one, like beads on astring, and that once a moment is gone it is gone forever.’When a Tralfamadorian sees a corpse, all he thinks is that the dead person is in a badcondition in that particular moment, but that the same person is just fine in plenty of othermoments. Now, when I myself hear that somebody is dead, I simply shrug and say whatthe Tralfamadorians say about dead people, which is “so it goes.”
“I say the same thing about the death of James Wait. “Oh, well — he wasn’t going to write the Beethoven’s Ninth Symphony anyway.”
“When a Tralfamadorian sees a corpse, all he thinks is that the dead person is in bad condition in the particular moment, but that the same person is just fine in plenty of other moments. Now, when I myself hear that somebody is dead, I simply shrug and say what the Tralfamadorians say about dead people, which is “So it goes.”
“The library is full of stories of supposed triumphs which makes me very suspicious of it. It’s misleading for people to read about great successes, since even for middle-class and upper-class white people, in my experience, failure is the norm”
“The most important thing I learnt on Tralfamadore was that when a person dies he only appears to die. He is still very much alive in the past, so it is very silly for people to cry at his funeral. All moments, past, present, and future, always have existed, always will exist. The Tralfamadorians can look at all the different moments just the way we can look at a stretch of the Rocky Mountains, for instance. They can see how permanent all the moments are, and they can look at any moment that interests them. It is an illusion we have here on Earth that one moment follows another one, like beads on a string, and that once a moment is gone it is gone forever. When any Tralfamadorian sees a corpse, all he thinks is that the dead person is in a bad condition in that particular moment, but that the same person is just fine in plenty of other moments.”
“As for myself: I had come to the conclusion that there was nothing sacred about myself or any human being, that we were all machines, doomed to collide and collide and collide. For want of anything better to do, we became fans of collisions. Sometimes I wrote well about collisions, which meant I was a writing machine in good repair. Sometimes I wrote badly, which meant I was a writing machine in bad repair. I no more harbored sacredness than did a Pontiac, a mousetrap, or a South Bend Lathe.”
“I believe that reading and writing are the most nourishing forms of meditation anyone has so far found. By reading the writings of the most interesting minds in history, we meditate with our own minds and theirs as well. This to me is a miracle.”