“A cultural icon is an object that represents some aspect of culture. In most cases, cultural icons are created at pivotal points in history. Particularly works of satire are most meaningful in a specific place and time...and continues to have meaning hundreds of years after it was originally published.” (Lamb, 2017).
If we are to use the definition above, the conclusion would be that yes, “Slaughterhouse-Five” is a cultural icon. It was created at a pivotal time in history – during the Vietnam War and a social revolution. It is largely ABOUT another pivotal point in history – World War II. It could be applied to present events that will likely be pivotal points in history someday, such as the wars in Iraq, Afghanistan, Syria and potentially North Korea. The way that Vonnegut discusses war and its absurdities is a message that any generation of war will be able to embrace, and generations without war (maybe, someday) will be intrigued by.
Dark humor, satire and metafiction in “Slaughterhouse-Five” are the basis of the safety net that keeps readers from falling into the dark pit of tragedy that lies underneath this book. Vonnegut’s brilliant interweaving of reality with science fiction, puts the question “did this really happen?” into readers minds, and allows them to decide (depending on how much they can handle) what parts of the most tragic events are real, and which ones are not. In addition, the three main stories of Billy’s life (war, Ilium, Tralfamadore) allow it to draw from various audiences. The war scenes may appeal to non-fiction readers since many of the stories are from Vonnegut’s own experiences. The Ilium life may appeal to fiction readers because this life isn’t based on fact or fantasy – just Billy’s simple life. And the Tralfamdore parts would appeal to the sci-fi lover. There is just enough of each part to keep the reader hanging on, and with the nonlinear time travel, the reader keeps reading, anticipating when the story will turn back to the part they like best.
“'Slaughterhouse-Five' is Vonnegut’s closest account of his experiences during the firebombing of Dresden. As a description of war it ranks with anything ever written. But being Vonnegut, it is also the story of a traveling salesman in middle America and a human zoo on the planet of Tralfamadore. The philosophy reverberates long after you close its pages. It’s entirely unsentimental, even cruel, but always funny and forgiving, because – hey – so it goes. Vonnegut offers understanding for our times” (Williams, 2009)
If we are to use the definition above, the conclusion would be that yes, “Slaughterhouse-Five” is a cultural icon. It was created at a pivotal time in history – during the Vietnam War and a social revolution. It is largely ABOUT another pivotal point in history – World War II. It could be applied to present events that will likely be pivotal points in history someday, such as the wars in Iraq, Afghanistan, Syria and potentially North Korea. The way that Vonnegut discusses war and its absurdities is a message that any generation of war will be able to embrace, and generations without war (maybe, someday) will be intrigued by.
Dark humor, satire and metafiction in “Slaughterhouse-Five” are the basis of the safety net that keeps readers from falling into the dark pit of tragedy that lies underneath this book. Vonnegut’s brilliant interweaving of reality with science fiction, puts the question “did this really happen?” into readers minds, and allows them to decide (depending on how much they can handle) what parts of the most tragic events are real, and which ones are not. In addition, the three main stories of Billy’s life (war, Ilium, Tralfamadore) allow it to draw from various audiences. The war scenes may appeal to non-fiction readers since many of the stories are from Vonnegut’s own experiences. The Ilium life may appeal to fiction readers because this life isn’t based on fact or fantasy – just Billy’s simple life. And the Tralfamdore parts would appeal to the sci-fi lover. There is just enough of each part to keep the reader hanging on, and with the nonlinear time travel, the reader keeps reading, anticipating when the story will turn back to the part they like best.
“'Slaughterhouse-Five' is Vonnegut’s closest account of his experiences during the firebombing of Dresden. As a description of war it ranks with anything ever written. But being Vonnegut, it is also the story of a traveling salesman in middle America and a human zoo on the planet of Tralfamadore. The philosophy reverberates long after you close its pages. It’s entirely unsentimental, even cruel, but always funny and forgiving, because – hey – so it goes. Vonnegut offers understanding for our times” (Williams, 2009)