In Slaughterhouse-five and The Things They Carried, death is a significant occurrence. Both books hold the belief that death is just a brief moment in time, that you will be alive far more often than you ever will be dead. When it comes to this idea of death, Billy Pilgrim embraces the idea of it. In The Things They Carried however, Tim cannot stand the idea of it and tries to wipe it completely from his mind. Billy’s acceptance of death portrays him to be much happier and at peace, while Tim’s rejection of it causes him to fall into a state of sadness and stress. Tim has many reasons why he is not too fond of the idea of death, one of those reasons is when the other soldiers in his unit shake hands with a dead man. Tim hated the “act of greeting the dead.” He found it disrespectful and he quickly became nauseous. To the soldiers who were in Vietnam longer than Tim, It was “like a funeral without the sadness.” Despite Tim’s negative reaction, the other soldiers never meant any harm by it, the other soldiers wanted to show Tim that death wasn’t all that bad when you looked at in a different light. High fiving and greeting a deceased person was a way of coping with death for them and to celebrate the loss of someone they barely knew. …show more content…
Tim was only nine years old when he lost Linda, but he knew what love was. When Linda died of cancer it negatively affected Tim all the way up into his forties. Tim wanted desperately to “save Linda’s life. Not her body ---- her life.” To cope with the loss of Linda, Tim would dream about her and would make up dialogue between the two of them. In Tim’s dreams, Linda would explain to Tim that death simply “doesn’t matter.” To Linda, death is “like a book up on a library shelf, that hasn’t been checked out for a long, long time.” The memory never goes away, it is always
Critics often suggest that Kurt Vonnegut’s novels represent a man’s desperate, yet, futile search for meaning in a senseless existence. Vonnegut’s novel, Slaughterhouse-Five, displays this theme. Kurt Vonnegut uses a narrator, which is different from the main character. He uses this technique for several reasons.
Sadly, life is a terminal illness, and dying is a natural part of life. Deits pulls no punches as he introduces the topic of grief with the reminder that life’s not fair. This is a concept that most of us come to understand early in life, but when we’re confronted by great loss directly, this lesson is easily forgotten. Deits compassionately acknowledges that grief hurts and that to deny the pain is to postpone the inevitable. He continues that loss and grief can be big or small and that the period of mourning afterward can be an unknowable factor early on. This early assessment of grief reminded me of Prochaska and DiClemente’s stages of change, and how the process of change generally follows a specific path.
Billy Pilgrim, Kurt Vonnegut's main Slaughterhouse-Five character, rode through life on one of those moving sidewalk, conveyer belt contraptions. He did not make any special efforts to enhance his situation. If one were to cut and paste the novel so that the story of Billy Pilgrim's life went in chronological order, it would become apparent that he merely lived his life. The world still moved around him, war, fire-bombing, the progression of the television set, but Billy took a passive role in his own existence. Billy Pilgrim stays the same humdrum being his entire life. Vonnegut used the repetition of Billy's life and phrases such as "Somewhere a big dig barked" to exhibit how some things just do not change (168). He points out that the people in the novel "are so sick and so much the listless playthings of enormous forces" (164). Billy knows that he is going to die anyway, regardless of what he does or does not do, and he plainly wants to remain unscathed during his journey. Vonnegut used this publication as a vehicle to show that it is not enough to live a life to its end, the approach that Billy employed.
"War is hell . . . war is mystery terror and adventure and courage and discovery and despair and . . . war is nasty (80)." When it all happened it was not like "a movie you aren't a hero and all you can do is whimper and wait (211)." O'Brien and the rest of the solders were just ordinary people thrust into extraordinary situations. They needed to tell blatant lies" to "bring the body and soul back together (239)." They needed to eliminate the reality of death. As ordinary people they were not capable of dealing with the engulfing realities of death and war therefore they needed to create coping skills. O'Brien approaches the loss of his childhood friend, Linda, in the same way he approaches the loss of his comrades in the war as this is the only way he knows how to deal with death. A skill he learned, and needed, in the Vietnam War.
When the buffalo was originally taken in, Rat had a soft and nurturing mind-set towards the buffalo. He displayed his affection by stroking the nose of the buffalo and offering food, which seemed like a natural and normal response to do to animal that had just been taken in. In a way, Rat was trying to make the buffalo a pet and use it to replace Curt as a friend. However, to most people, this was uncharacteristic of the typical soldier. The classic soldier was viewed as being callous and uncaring. By Rat displaying this type of amiable characteristic, it went against the ideology of how a soldier reacts to war. A soldier should maintain distant from the war and just do the job that he was given without showing emotion. However, the simple fact that Rat showed any sentiment at all proposed that death evokes feelings because his friend just died and he was abl...
At some point in everybody’s life they feel the sorrow and anguish of losing somebody. The the stories “Nashville Gone to Ashes” and “When It’s Human Instead of When It’s Dog”, both a widow and widower are not able to move on with their life after the loss of their loved one. In both cases the mister and the widow both come to the conclusion that their significant other is not coming back leading them to find ways to cope with their deaths, move on and function the best they can with their lives.
Often when a person suffers through a tragic loss of a loved one in his or her life they never fully recover to move on. Death is one of hardest experiences a person in life ever goes through. Only the strong minded people are the ones that are able to move on from it whereas the weak ones never recover from the loss of a loved one. In the novel The Sweet Hereafter by Russell Banks, character Billy Ansel – having lost his family serves as the best example of brokenness after experiencing death. Whether it is turning to substance abuse, using his memory to escape reality or using Risa Walker as a sexual escape, Billy Ansel never fully recovers from the death of his twins and his wife. This close analysis of Billy’s struggle with death becomes an important lesson for all readers. When dealing with tragedies humans believe they have the moral strength to handle them and move on by themselves but, what they do not realize is that they need someone by their side to help them overcome death. Using unhealthy coping mechanism only leads to life full of grief and depression.
Through an intimate maternal bond, Michaels mother experiences the consequences of Michaels decisions, weakening her to a debilitating state of grief. “Once he belonged to me”; “He was ours,” the repetition of these inclusive statements indicates her fulfilment from protecting her son and inability to find value in life without him. Through the cyclical narrative structure, it is evident that the loss and grief felt by the mother is continual and indeterminable. Dawson reveals death can bring out weakness and anger in self and with others. The use of words with negative connotations towards the end of the story, “Lonely,” “cold,” “dead,” enforce the mother’s grief and regressing nature. Thus, people who find contentment through others, cannot find fulfilment without the presence of that individual.
“Linda was nine then, as I was, but we were in love. And, it was real. When I write about her now, three decades later, it’s tempting to dismiss it as a crush, an infatuation of childhood, but I know for a fact that what we felt for each other was as deep and rich as love can ever get.”( p.216 ) This passage describe the innermost relationship between life and death. The living Dead has a larger purpose than just explaining what it is like to be in a war. Linda was died at the age of 9 by suffering brain tumor. She gives O'brien a reason to write stories, to internalize her dead. O’Brien figure out that even if someone died, you can still make them alive by telling their stories. Linda is O’Brien’s example that storytelling is the healing process of pain, confusion, and sadness that comes with unexpected death. After she dies, he uses his imagination to bring her back to life, and he also believes that the death can still be alive through literature. The death of Linda portrays how soldiers can deal with death in Vietnam even they encounter so many people dying in the
Death is sometimes considered unthinkable. People do not wish to think of loved ones dying. When someone close to us dies we are over come with sadness. We wish we had more time with them. Their death shows us the importance of that person’s role in our lives. We begin to think of how we will live our lives without them. We think of all the moments we shared with them, they live again in our memories. Perhaps death is considered unthinkable because we fe...
Though he was able to escape war unharmed, Billy seems to be mentally unstable. In fact, his nightmares in the German boxcar at the prisoners of war (POW) camp indicate that he is experiencing Post-Traumatic Stress Disorder (PTSD): “And now there was an acrimonious madrigal, with parts sung in all quarters of the car. Nearly everybody, seemingly, had an atrocity story of something Billy Pilgrim had done to him in his sleep. Everybody told Billy Pilgrim to keep the hell away” (79). Billy’s PTSD is also previously hinted when he panics at the sound of sirens: “A siren went off, scared the hell out of him. He was expecting World War III at any time. The siren was simply announcing high noon” (57). The most prominent symptom of PTSD, however, is reliving disturbing past experiences which is done to an even more extreme extent with Billy as Slaughterhouse-Five’s chronology itself correlates with this symptom. Billy’s “abduction” and conformity to Tralfamadorian beliefs seem to be his method of managing his insecurity and PTSD. He uses the Tralfamadorian motto “so it goes” as a coping mechanism each time he relives a tragic event. As Billy struggles with the conflict of PTSD, the work’s chronological order is altered, he starts to believe
What would happen if one possessed the ability to travel through time without any limitations? What kind of person this person would become? Time travel has been one of most thrilling topics in the science fiction novels. Questions about time travel always provoke readers’ deliberate thinking about their own lives.
The books we read in Creative Writing are Slaughterhouse-Five and The Things They Carried. Slaughterhouse-Five was written by Kurt Vonnegut in 1969 and The Things They Carried was written by Tim O’Brien in 1990. The Things They Carried and Slaughterhouse-Five are two examples of anti-war literature. Slaughterhouse-Five is a story describing the time traveling between periods of time in Billie’s life. Billie is an American prisoner in the Dresden, Germany. The Things They Carried is a journal of the events that occurred in the Vietnam War that the author writes from the Alpha Company. These two stories are similar and different in their description of the horrors of war. They are classic anti-war books. The two books are successful in blending fiction and nonfiction items to demonstrate dreamlike and unbelievable descriptions that give a complete picture of war.
Throughout his career, Kurt Vonnegut has used writing as a tool to convey penetrating messages and ominous warnings about our society. He skillfully combines vivid imagery with a distinctly satirical and anecdotal style to explore complex issues such as religion and war. Two of his most well known, and most gripping, novels that embody this subtle talent are Cat's Cradle and Slaughterhouse-Five. Both books represent Vonnegut’s genius for manipulating fiction to reveal glaring, disturbing and occasionally redemptive truths about human nature. On the surface, Cat’s Cradle and Slaughterhouse-Five are dramatically different novels, each with its own characters, symbols, and plot. However, a close examination reveals that both contain common themes and ideas. Examining and comparing the two novels and their presentation of different themes provides a unique insight into both the novels and the author – allowing the reader to gain a fuller understanding of Vonnegut’s true meaning.
Two years and four months ago I died. A terrible condition struck me, and I was unable to do anything about it. In a matter of less than a year, it crushed down all of my hopes and dreams. This condition was the death of my mother. Even today, when I talk about it, I burst into tears because I feel as though it was yesterday. I desperately tried to forget, and that meant living in denial about what had happened. I never wanted to speak about it whenever anyone would ask me how I felt. To lose my Mom meant losing my life. I felt I died with her. Many times I wished I had given up, but I knew it would break the promise we made years before she passed away. Therefore, I came back from the dead determined and more spirited than before.