Monday, September 9, 2019

Consumerism

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It is possible to examine nearly any aspect of modern society the conduct of war, government, marriage, education and find a similar practice, an earlier version, in history. In most cases, the seeds of the present can be seen in the past. But this is not true for consumerism, for consumerism has no parallel in early human societies.


The closest thing to consumerism and this is offered only as a point of reference, not comparison is the practice of barter. In barter, two or more individuals met and exchanged what they had for what they didnt have. Advertising either didnt exist or was very primitive, and there was no hierarchy no natural division between producers and consumers, because everyone was both a producer and a consumer.


The motivation for barter was also much more basic the point was to avoid being dead. It was very straightforward you could trade your surplus of corn for some arrowheads, or for the services of a mercenary to guard your cornfield, or simply to avoid an untimely death. You could instead keep the corn and hope no one attacked your field, but over time it may have come to you that hiring a mercenary, or owning some arrowheads, would increase the amount of corn you actually kept for more than a few days.


Cheap College Papers on consumerism


The Role of Surplus


The key change that separates modern from traditional societies is the concept of surplus, a condition in which there is more than enough of everything to sustain the lives of all the members of a society. As it happens, people are not designed to cope with surplus. We have many, many strategies to deal with perpetual deficit, some learned, some congenital, but surplus bewilders us.


As just one example, many Americans are overweight because we sit down to eat and for reasons buried in our collective past expect to see no more food for a week or more. Therefore, we eat much more than we should, if only our perceptions were based on current reality. Three hours later, we sit down and repeat the performance. But we never adjust to the surplus, leading many researchers to the conclusion that deficit behaviors are very deeply rooted in our characters and are not easily modified by experience.


This condition a world of surplus, occupied by people programmed for deficit is a perfect setting for modern consumerism. Modern consumerism is based on the triple premise that


luxuries are actually needs,


what you already have is not satisfactory, and


no product is so basic that advertising is superfluous.


Reactive and Proactive Consumerism


I define consumerism as the voluntary suspension of disbelief in the value of material goods . Suspension of disbelief is desirable when viewing a fantasy world such as a stage play or motion picture, and it is also necessary in modern shopping, and for exactly the same reason the things on display cannot meaningfully be compared with reality.


Consumerism is itself divided into two subcategories, reactive consumerism and proactive consumerism. Reactive consumerism (hereinafter RC) awaits a public demand for a product and, no matter how absurd the demand, fills it. Proactive consumerism (hereinafter PC) uses advertising to create markets for products that have no natural market.


Before going on, I must add that PC isnt always as parasitic as it might sound on first hearing. Sometimes a perceived need is created out of nowhere, and this engineered need leads to a societal advance a self-fulfilling prophecy, if you will. For example, education is a form of PC it appears to convey knowledge, when in fact its real purpose is to create a lifelong taste for knowledge. But to the original target audience of young people (and, sadly, to some of their parents), the product being offered has no obvious purpose an acquired taste for ideas makes young people nearly uncontrollable, rebellious, doubtful of received wisdom. Only later in life does this fondness for ideas bear fruit, at a time (in the brief and brittle lifecycle of the average human brain) when it would be nearly impossible to instill the taste anew.


RC can exist in times of deficit, because it only springs to life in response to voiced demand. But PC, the practice of creating a market and then serving it, can only exist in times of surplus. In RC, advertising is an adjunct, a facilitation of the basic process of producing and distributing goods. In PC, advertising is the process everything else depends on it.


The Big Lie


There is one thing you absolutely must know about modern advertising. No matter how true any single advertisement is, modern advertising itself, taken as a whole, tells a lie that you need the thing being advertised. It is a lie because consumer goods of real value do not need to be advertised such goods are part of a natural market that flows beneath the PC marketplace, although as time passes these basic necessities represent a shrinking percentage of the total flow of goods.


When I was young, if you wanted a candy bar and you could afford a good one, you bought a Hersheys Bar (as they were called when I was a child), because they were known to be the best. But, whatever the source of this perception of quality, it certainly was not because of advertising, because Hershey Chocolate Company did not advertise before 170. They were the best, everyone knew it, why waste the companys money asserting the obvious? Founder Milton Hershey said, Give them quality. Thats the best advertising in the world.


By 170, the world had changed, and products of obvious value were being advertised alongside goods of no intrinsic worth, thus leveling the playing field and making it difficult to distinguish goods of actual worth from make-believe goods designed to fill make-believe needs. And in that year the Hershey Company began to advertise.


To put this another way, modern advertising spends vast sums trying to make the buying public aware of products that it also portrays as a necessity of life an obvious contradiction. After all, how could our loyal consumer have survived to the present moment without this crucial product, to be in a position to witness its advertising?


The truth is, by the time an advertisement fills a time slot on your television set, or plays on the radio, or appears in print in your newspaper, chances are you already have all you need to live comfortably . The global purpose of modern advertising is to make you forget this fact. Advertising does this in two ways


By creating an atmosphere of dissatisfaction with everything not purchasable, or already purchased. More on dissatisfaction here .


By telling lies, appealing lies, lies nearly everyone wants to hear.


All the little lies support the big lie that no product is so valuable that advertising has no purpose.


The Little Lies


Here are some examples of the minor lies that are included in advertising to support the big lie


New! How can something be simultaneously new and absolutely essential to survival? Or, given the thesis that new is better, the advertiser should honestly list the ways that the old new product failed us, thus setting the stage for inevitable disenchantment with the new new product.


An exclusive offer! This nationally televised, prime-time advertisement excludes only the dead, and those too penniless from responding to previous exclusive offers.


It costs more, but it is worth it. By implication, things that cost more are worth more, and by negation, things that have no price also have no value. This is an appeal to reject the entire natural world out of hand.


You deserve the best. A questionable premise, one intended to cloud your mind and distract you from the more practical question of whether you can afford the best, or whether the product is in fact the best.


Everybody has one of these. Except you. Yes we spent 0 million dollars on a national advertising campaign to reach the last holdout you. Now buy our $5.5 product and redeem our investment.


Protect your children with … A pitch often seen on television. Ironically, television itself threatens your children in ways too numerous to list. There is no advertisement telling you to protect your children from TV itself. I should add that, taken as a whole, the Internet is probably worse.


Want to know what women really like? ad infinitum. This class of advertising exploits the fact that men and women either do not talk to each other, or, if they do, do not understand what the other person is saying. As to the latter, when a man says, I love your youthful appearance and spirit, he does not add, When your youthful appearance wears off, your spirit by itself wont be able to sustain our relationship. When a woman says, I treasure your moments of sensitivity and vulnerability, she does not add, but you must never appear weak or indecisive. You sort it out youre a man. These examples show we are so completely saturated by the language of advertising with a sexual angle, that we no longer remember how to speak to each other in a way that doesnt mimic advertising. And we are progressively less likely to talk to each other to sort out reality we expect the advertisers to tell us what the other sex wants. Instead, and inevitably, we only discover what the advertiser wants.


This car is not for everyone. But it certainly is for the 8% of the male car-buying public our team of psychologists has identified as possessing the conceit that they are unique. You are entirely unique in the world, yet you are going to line up and choose one of the three colors this car is available in, then drive this cookie-cutter symbol of your uniqueness off into the sunset.


Im not a doctor, but I play one on television. I didnt make this up. This opening pitch was followed by an endorsement for a patent medicine. This particular example shows the advertisers contempt for the consumers intelligence, a contempt almost always justified by subsequent events.


Products that require Products of Their Own


Once advertising has delivered the product into your hands, other aspects of consumerism then come into play. These aspects rely on connections between products, real and imagined. Here are some examples


Protect your investment in A with B. Examples abound -- I will use insurance. The entire insurance industry is based on a lie that purchasing insurance is a better strategy than keeping your money and personally replacing the insured item in the event of loss. The insurance schema on its surface is very simple you pay premiums to the insurance company, in exchange for which the insurance company agrees to replace your property in the event of loss.


The dirty secret of the insurance business is that, on average, the insurance company has collected much more than the value of the insured property by the time it pays a claim. This is called making a profit, a trait considered desirable in a company, and insurance companies are very profitable. The profit comes from two sources


Your premium payments, and


The return on the investments made, with your money, by the insurance company.


Instead of paying the insurance premiums, you could invest the money as the insurance company does, and simply pay to replace the valued item in the event of a loss. On average, you would come out very far ahead using this strategy. There are two categories of consumers for which this strategy wont work


People who cant actually afford the insured item, who are purchasing with borrowed money (these individuals are usually required by the lender to carry insurance), and


People who slept through economics in school.


But most consumers dont know this basic truth about the insurance business. Most people think buying insurance is a smart investment, the action of a mature, responsible person. It isnt the only time insurance can be justified is if you are buying something you cant afford to replace, and then only when it is required of you. This discussion doesnt apply to liability insurance, where the potential losses are quite beyond imagining, and only the wealthiest individuals can afford to pay direct costs.


A implies B. Virtually all consumer products, above a rudimentary level of complexity, have accessories and enhancements. One can easily imagine a graph of products with the simplest (fewest accessories) on the left and the most complex (most accessories) at the right.


At the very left of our imaginary graph is a screwdriver. Not a Phillips screwdriver, just a plain old-fashioned straight-slot screwdriver. If you buy one of these carefully, you will have it decades from now. Your children will inherit it from you. From the standpoint of marketing, this is a nightmare any number of advertising executives start up from their pillows in terror, having just imagined that screwdriver in reliable service over years and years, its original brand name slowly wearing off.


The reason I didnt choose a Phillips screwdriver for my example is because as time passes there are more and more standard Phillips screw head sizes, so even though a screwdriver is very basic, in this case you can find yourself looking for a perfect fit for a Phillips screw virtually forever. This assures our ad executive a sound sleep. By contrast, even if you wear out the tip of a standard screwdriver, you can recreate it at home with a file (okay, one possible accessory).


At the middle of our graph, lets put a car. A car is a virtual playground for accessories. There is nothing that someone, somewhere, hasnt considered adding to a car. Wet bars. Saunas and hot tubs. There is even a car product whose purpose I havent been able to figure out. I dont dare name it (since I intend to ridicule it), but it is described as satisfying and it comes in a spray can. It has something to do with pretending your car is shinier and newer than it is. In any event, I am always suspicious of advertising where the purpose of the product is left out and the emotional effect of its use is described instead.


Even the most basic car, a car you might try to hide from your friends, has some accessories -- certainly plastic floor protectors. Once I looked into a car at a dealership and saw the usual floor protectors, and over the protectors I spied a plastic sheet. As I gazed, I wondered if some demented consumer might allow the sheet to wear completely through, thus jeopardizing the plastic floor protectors for shame!


At the right of our graph remember, this is supposed to be the most accessorizable thing imaginable lets put marriage. Some may object that marriage, strictly speaking, isnt a consumer item in the same sense as a house or car. But it is! Modern marriage is a packaged, advertised, promoted consumer item, in fact in some ways it is the prototype for all other consumer items, also it has the largest tree of dependent accessories and potential replacement items including the marriage partner of any product.


Marriage has the advantage that there is an innate desire for the product built into the buying public, therefore promoting it only makes people go crazier. And if a particular marriage fails to please, the average consumer will gullibly listen to promoters claims that it was that particular marriage, not marriage itself, that was at fault. This degree of gullibility is present to a degree not seen in any other product except religion.


Now imagine our completed graph, which even the Internet cannot meaningfully contain. Product complexity and accessorizability increases from left to right. The trees of dependent accessories stretch upward from the baseline of the graph. At the left is our lowly screwdriver, with no essential accessories above it. At the middle is a car, with a rather impressive tree of accessories growing out of it. At the right is marriage, with a vast tree of dependent products reaching up higher than any practical finite paper size or computer graph could contain, including nearly all the items to the left of it on the graph itself. Thinking about this graph, you will realize why you almost never see an advertisement for screwdrivers.


A is replaced by B. This is a very common pitch. A trivial change is made in the formulation of laundry soap, and suddenly you are the last holdout with a clearly inferior product. Your children will be roundly jeered from the playground. But there are more robust versions of this pitch, guaranteed to drag the majority of consumers, kicking and screaming (but still buying) into the advertisers future, if not their own.


One very effective method is to tie several products together in a dependent relationship, so that, if any one of the products changes, all of them require replacement. Example the personal computer. As time passes, incremental changes in computer hardware can be accommodated without starting over, but from time to time an irresistible technological breakthrough comes along that sweeps all prior hardware out the door.


There have been two such sweeping changes so far. One was IBMs decision to introduce an entry system that it hoped would be a steppingstone into that companys principal business, large systems. But IBM cast such a long shadow on the computing landscape (in those bygone days) that even their deliberately crippled design became the de facto standard personal computer and eclipsed several other contenders.


The second change was the introduction of graphical environments such as Windows, which first required a great deal more computer power than its predecessors, and eventually obsoleted all but the most powerful systems.


The reason these changes swept away entire architectures was partly fashion, a theme in all of consumerism, but also because of the interdependent nature of individual computers and networks of computers. To a marketer, this gives computers a mixture of attractive and terrifying qualities. Attractive because a single change can create a huge wave of system replacements all you have to do is figure out how to ride the wave. Terrifying because no individual not even Bill Gates can foresee the technological breakthrough that will trigger the next wave, or its timing.


Sweeping changes like this are so attractive that one sees valiant attempts to create them out of nothing. Quadraphonic sound is an example. Unfortunately, the American public rejected the thesis that they needed four speakers instead of two, and the idea died.


The next visible change of this kind, one supported and encouraged by the American government, is called High-Definition Television (HDTV). Basically it constitutes a technological scheme that will improve picture quality and flexibility, and finally replace the oldest and least satisfactory method for encoding a television picture still in use, NTSC (supposedly this stands for Never Twice the Same Color).


Unfortunately for consumers and fortunately for TV manufacturers, this change will eventually require the complete replacement of every TV set, every TV camera and studio, TV transmitters, cable networks, everything. Even more interesting is that the schedule of changes is mandated by the government beginning with a mixture of old-style and new-style broadcasting, ending with a complete replacement of NTSC programs with HDTV programs, in the communication pathways that are administered by the government. According to this schedule, about ten years from now, barring unforeseen events, the transition will be complete all commercial broadcasting will be based on the HDTV standard. Consumers will either have new receivers or will have some sort of converter box that will allow them to see some fraction of the size and quality of the new standards TV image.


With all the committees meeting around this issue, it is surprising that no one has asked if the content of TV will be improved along with the image. I think I know the answer.


B shows the folly of A. This is a marketing position dearly to be wished for, and it doesnt happen very often. But the examples are memorable FM radio compared to AM radio. Personal computers compared to typewriters. Calculators compared to slide rules. Transistor radios compared to tube radios (an older example). But the majority of real-world examples are an illusory, not real, replacement of a prior product on the basis of overwhelming merit Electric toothbrushes. Anti-lock brakes. Automotive Air bags. Electric bug zappers (they dont work against mosquitoes). Sonic bug repellers (they dont work at all).


The Role of Dissatisfaction


I earnestly believe that some degree of dissatisfaction is innate in people, and absent our modern society, the chance that someone would fall to his knees in wonder at the sight of a wildflower is marginal. But I can say with assurance that modern advertising makes this possibility disappear entirely, for most people in most places, because in order to consume as we do, we must first be programmed to regard everyday experiences as completely unsatisfactory.


This aspect of marketing has a lot in common with traditional religious practices


The truth is hidden from view.


Your reward lies in the hereafter.


True happiness in only available to the initiated, the insiders.


Everyday reality is a sham, a waste of time, an illusion.


We are all defective, our personal experiences have no legitimacy without the validation of priests.


When I was young, this kind of talk was perfect I already held everyday experience in contempt (meaning I was already a trained consumer). Each new belief system that came along seemed more sophisticated and promising than the last, certain to show how the seemingly random events around me actually fit together into a coherent whole, a whole that I could perceive if only I underwent an initiation ritual.


Finally I realized that each of the belief systems I sampled were simply examples of modern product packaging and marketing Your individual, direct experience means nothing. Join up. Get with the program. Oh, by the way, we are going to need some funds to cover our legitimate expenses in showing you the True Path to Enlightenment.


This doesnt mean I suddenly saw the value of direct, personal experience, but I certainly did see that the packaged version was not innately superior. For me, this was a big step forward.


But for most Americans, rich and poor, the packaged version is still innately superior, and this is tangible evidence of the triumph of marketing. For us, a personal view of a field of sunflowers is quite ordinary, but a painting of that same view can fetch millions. Even the paintings of sunflowers rejected by the artist, then used by his maid as rags to clean up his studio, are prized beyond any imaginable real-life scene of sunflowers. Why? Simple the real scene cannot be packaged and marketed it can never be more than an individual experience.


Pablo Picasso realized the importance of marketing, late in his career. At that time, he began churning out works that had as their only distinguishing characteristic a resemblance to the works of an artist named Picasso. The subject meant nothing, the style meant everything. Pure marketing.


We distrust our direct experiences, and require a commentator an authority to interpret our experiences for us. This is why Americans believe nothing is real until it has been on television. In this sense, television is the product package, as well as a vehicle for the ultimate comment on all contemporary reality advertising.


When the pet rock was first introduced, when a completely ordinary rock became valuable by virtue of its package and advertising, I imagine some advertiser on Madison Avenue saying, Yes! Now we have them! They will buy absolutely anything!


Coping Skills


Here are some common-sense suggestions to minimize the negative effects of consumerism in your life


It is very likely that most of your dissatisfactions are a carefully engineered preparation for consumerism. So examine your dissatisfactions keep only those that, if discarded, might kill you. Toss the rest.


The first rule of advertising if it is advertised, it is not a necessity. So start out by saying I dont need this product. Now, do I want it?


Ask yourself how much of an advertisement appeals to reason, and how much appeals to emotion. If the primary appeal is to emotion, you should expect to feel another, stronger emotion after the purchase disappointment.


Ask yourself if the advertisement describes a product, or instead describes you in unrealistic ways. After all, it is the real you that will be paying for the product, not the fantasy you that deserves the very best.


Apply common sense to advertising. If you are being offered a book that is guaranteed to make you millions and costs $.5, you should wonder why it didnt work for the author. Real millionaires dont promote get-rich-quick schemes on late-night TV unless the actual get-rich-quick scheme is to sell millions of copies of a worthless book.


Above all, recapture an appreciation for ordinary reality. Two reasons quickly come to mind


Fields of flowers dont lie, and


If you postpone a walk in the flowers for long enough, the next time you check, they will be gone.


In my view, if a person cant sit down in a forest, look between the trees at a sunlit meadow and say, This is all I really need, then that person is more than slightly bent. But thats only my opinion I could be wrong.


A Closing Comment


In your life, how many print articles have you read that portray consumerism and advertising in this way? Chances are, very few or none. Why? Is it because the author is spectacularly original, possibly inspired by genius? Or is it simply because television, magazines and newspapers reject this kind of writing out of hand, for fear of offending advertisers? Even though I am the author and would like you to believe the first premise, the second is actually correct articles like this are almost never seen in print, and ideas like these are almost never aired on TV. They are deliberately excluded.


In the commercial publishing business and in television network programming, articles like this are tantamount to treason or suicide. Small-circulation scholarly journals are another story, but their readership is so small and specialized that they do not represent a threat to mass marketing. For various reasons the Internet, although increasingly commercial in content, is also the best source for anti-consumerist sentiment.


It is possible to examine nearly any aspect of modern society the conduct of war, government, marriage, education and find a similar practice, an earlier version, in history. In most cases, the seeds of the present can be seen in the past. But this is not true for consumerism, for consumerism has no parallel in early human societies.


The closest thing to consumerism and this is offered only as a point of reference, not comparison is the practice of barter. In barter, two or more individuals met and exchanged what they had for what they didnt have. Advertising either didnt exist or was very primitive, and there was no hierarchy no natural division between producers and consumers, because everyone was both a producer and a consumer.


The motivation for barter was also much more basic the point was to avoid being dead. It was very straightforward you could trade your surplus of corn for some arrowheads, or for the services of a mercenary to guard your cornfield, or simply to avoid an untimely death. You could instead keep the corn and hope no one attacked your field, but over time it may have come to you that hiring a mercenary, or owning some arrowheads, would increase the amount of corn you actually kept for more than a few days.


The Role of Surplus


The key change that separates modern from traditional societies is the concept of surplus, a condition in which there is more than enough of everything to sustain the lives of all the members of a society. As it happens, people are not designed to cope with surplus. We have many, many strategies to deal with perpetual deficit, some learned, some congenital, but surplus bewilders us.


As just one example, many Americans are overweight because we sit down to eat and for reasons buried in our collective past expect to see no more food for a week or more. Therefore, we eat much more than we should, if only our perceptions were based on current reality. Three hours later, we sit down and repeat the performance. But we never adjust to the surplus, leading many researchers to the conclusion that deficit behaviors are very deeply rooted in our characters and are not easily modified by experience.


This condition a world of surplus, occupied by people programmed for deficit is a perfect setting for modern consumerism. Modern consumerism is based on the triple premise that


luxuries are actually needs,


what you already have is not satisfactory, and


no product is so basic that advertising is superfluous.


Reactive and Proactive Consumerism


I define consumerism as the voluntary suspension of disbelief in the value of material goods . Suspension of disbelief is desirable when viewing a fantasy world such as a stage play or motion picture, and it is also necessary in modern shopping, and for exactly the same reason the things on display cannot meaningfully be compared with reality.


Consumerism is itself divided into two subcategories, reactive consumerism and proactive consumerism. Reactive consumerism (hereinafter RC) awaits a public demand for a product and, no matter how absurd the demand, fills it. Proactive consumerism (hereinafter PC) uses advertising to create markets for products that have no natural market.


Before going on, I must add that PC isnt always as parasitic as it might sound on first hearing. Sometimes a perceived need is created out of nowhere, and this engineered need leads to a societal advance a self-fulfilling prophecy, if you will. For example, education is a form of PC it appears to convey knowledge, when in fact its real purpose is to create a lifelong taste for knowledge. But to the original target audience of young people (and, sadly, to some of their parents), the product being offered has no obvious purpose an acquired taste for ideas makes young people nearly uncontrollable, rebellious, doubtful of received wisdom. Only later in life does this fondness for ideas bear fruit, at a time (in the brief and brittle lifecycle of the average human brain) when it would be nearly impossible to instill the taste anew.


RC can exist in times of deficit, because it only springs to life in response to voiced demand. But PC, the practice of creating a market and then serving it, can only exist in times of surplus. In RC, advertising is an adjunct, a facilitation of the basic process of producing and distributing goods. In PC, advertising is the process everything else depends on it.


The Big Lie


There is one thing you absolutely must know about modern advertising. No matter how true any single advertisement is, modern advertising itself, taken as a whole, tells a lie that you need the thing being advertised. It is a lie because consumer goods of real value do not need to be advertised such goods are part of a natural market that flows beneath the PC marketplace, although as time passes these basic necessities represent a shrinking percentage of the total flow of goods.


When I was young, if you wanted a candy bar and you could afford a good one, you bought a Hersheys Bar (as they were called when I was a child), because they were known to be the best. But, whatever the source of this perception of quality, it certainly was not because of advertising, because Hershey Chocolate Company did not advertise before 170. They were the best, everyone knew it, why waste the companys money asserting the obvious? Founder Milton Hershey said, Give them quality. Thats the best advertising in the world.


By 170, the world had changed, and products of obvious value were being advertised alongside goods of no intrinsic worth, thus leveling the playing field and making it difficult to distinguish goods of actual worth from make-believe goods designed to fill make-believe needs. And in that year the Hershey Company began to advertise.


To put this another way, modern advertising spends vast sums trying to make the buying public aware of products that it also portrays as a necessity of life an obvious contradiction. After all, how could our loyal consumer have survived to the present moment without this crucial product, to be in a position to witness its advertising?


The truth is, by the time an advertisement fills a time slot on your television set, or plays on the radio, or appears in print in your newspaper, chances are you already have all you need to live comfortably . The global purpose of modern advertising is to make you forget this fact. Advertising does this in two ways


By creating an atmosphere of dissatisfaction with everything not purchasable, or already purchased. More on dissatisfaction here .


By telling lies, appealing lies, lies nearly everyone wants to hear.


All the little lies support the big lie that no product is so valuable that advertising has no purpose.


The Little Lies


Here are some examples of the minor lies that are included in advertising to support the big lie


New! How can something be simultaneously new and absolutely essential to survival? Or, given the thesis that new is better, the advertiser should honestly list the ways that the old new product failed us, thus setting the stage for inevitable disenchantment with the new new product.


An exclusive offer! This nationally televised, prime-time advertisement excludes only the dead, and those too penniless from responding to previous exclusive offers.


It costs more, but it is worth it. By implication, things that cost more are worth more, and by negation, things that have no price also have no value. This is an appeal to reject the entire natural world out of hand.


You deserve the best. A questionable premise, one intended to cloud your mind and distract you from the more practical question of whether you can afford the best, or whether the product is in fact the best.


Everybody has one of these. Except you. Yes we spent 0 million dollars on a national advertising campaign to reach the last holdout you. Now buy our $5.5 product and redeem our investment.


Protect your children with … A pitch often seen on television. Ironically, television itself threatens your children in ways too numerous to list. There is no advertisement telling you to protect your children from TV itself. I should add that, taken as a whole, the Internet is probably worse.


Want to know what women really like? ad infinitum. This class of advertising exploits the fact that men and women either do not talk to each other, or, if they do, do not understand what the other person is saying. As to the latter, when a man says, I love your youthful appearance and spirit, he does not add, When your youthful appearance wears off, your spirit by itself wont be able to sustain our relationship. When a woman says, I treasure your moments of sensitivity and vulnerability, she does not add, but you must never appear weak or indecisive. You sort it out youre a man. These examples show we are so completely saturated by the language of advertising with a sexual angle, that we no longer remember how to speak to each other in a way that doesnt mimic advertising. And we are progressively less likely to talk to each other to sort out reality we expect the advertisers to tell us what the other sex wants. Instead, and inevitably, we only discover what the advertiser wants.


This car is not for everyone. But it certainly is for the 8% of the male car-buying public our team of psychologists has identified as possessing the conceit that they are unique. You are entirely unique in the world, yet you are going to line up and choose one of the three colors this car is available in, then drive this cookie-cutter symbol of your uniqueness off into the sunset.


Im not a doctor, but I play one on television. I didnt make this up. This opening pitch was followed by an endorsement for a patent medicine. This particular example shows the advertisers contempt for the consumers intelligence, a contempt almost always justified by subsequent events.


Products that require Products of Their Own


Once advertising has delivered the product into your hands, other aspects of consumerism then come into play. These aspects rely on connections between products, real and imagined. Here are some examples


Protect your investment in A with B. Examples abound -- I will use insurance. The entire insurance industry is based on a lie that purchasing insurance is a better strategy than keeping your money and personally replacing the insured item in the event of loss. The insurance schema on its surface is very simple you pay premiums to the insurance company, in exchange for which the insurance company agrees to replace your property in the event of loss.


The dirty secret of the insurance business is that, on average, the insurance company has collected much more than the value of the insured property by the time it pays a claim. This is called making a profit, a trait considered desirable in a company, and insurance companies are very profitable. The profit comes from two sources


Your premium payments, and


The return on the investments made, with your money, by the insurance company.


Instead of paying the insurance premiums, you could invest the money as the insurance company does, and simply pay to replace the valued item in the event of a loss. On average, you would come out very far ahead using this strategy. There are two categories of consumers for which this strategy wont work


People who cant actually afford the insured item, who are purchasing with borrowed money (these individuals are usually required by the lender to carry insurance), and


People who slept through economics in school.


But most consumers dont know this basic truth about the insurance business. Most people think buying insurance is a smart investment, the action of a mature, responsible person. It isnt the only time insurance can be justified is if you are buying something you cant afford to replace, and then only when it is required of you. This discussion doesnt apply to liability insurance, where the potential losses are quite beyond imagining, and only the wealthiest individuals can afford to pay direct costs.


A implies B. Virtually all consumer products, above a rudimentary level of complexity, have accessories and enhancements. One can easily imagine a graph of products with the simplest (fewest accessories) on the left and the most complex (most accessories) at the right.


At the very left of our imaginary graph is a screwdriver. Not a Phillips screwdriver, just a plain old-fashioned straight-slot screwdriver. If you buy one of these carefully, you will have it decades from now. Your children will inherit it from you. From the standpoint of marketing, this is a nightmare any number of advertising executives start up from their pillows in terror, having just imagined that screwdriver in reliable service over years and years, its original brand name slowly wearing off.


The reason I didnt choose a Phillips screwdriver for my example is because as time passes there are more and more standard Phillips screw head sizes, so even though a screwdriver is very basic, in this case you can find yourself looking for a perfect fit for a Phillips screw virtually forever. This assures our ad executive a sound sleep. By contrast, even if you wear out the tip of a standard screwdriver, you can recreate it at home with a file (okay, one possible accessory).


At the middle of our graph, lets put a car. A car is a virtual playground for accessories. There is nothing that someone, somewhere, hasnt considered adding to a car. Wet bars. Saunas and hot tubs. There is even a car product whose purpose I havent been able to figure out. I dont dare name it (since I intend to ridicule it), but it is described as satisfying and it comes in a spray can. It has something to do with pretending your car is shinier and newer than it is. In any event, I am always suspicious of advertising where the purpose of the product is left out and the emotional effect of its use is described instead.


Even the most basic car, a car you might try to hide from your friends, has some accessories -- certainly plastic floor protectors. Once I looked into a car at a dealership and saw the usual floor protectors, and over the protectors I spied a plastic sheet. As I gazed, I wondered if some demented consumer might allow the sheet to wear completely through, thus jeopardizing the plastic floor protectors for shame!


At the right of our graph remember, this is supposed to be the most accessorizable thing imaginable lets put marriage. Some may object that marriage, strictly speaking, isnt a consumer item in the same sense as a house or car. But it is! Modern marriage is a packaged, advertised, promoted consumer item, in fact in some ways it is the prototype for all other consumer items, also it has the largest tree of dependent accessories and potential replacement items including the marriage partner of any product.


Marriage has the advantage that there is an innate desire for the product built into the buying public, therefore promoting it only makes people go crazier. And if a particular marriage fails to please, the average consumer will gullibly listen to promoters claims that it was that particular marriage, not marriage itself, that was at fault. This degree of gullibility is present to a degree not seen in any other product except religion.


Now imagine our completed graph, which even the Internet cannot meaningfully contain. Product complexity and accessorizability increases from left to right. The trees of dependent accessories stretch upward from the baseline of the graph. At the left is our lowly screwdriver, with no essential accessories above it. At the middle is a car, with a rather impressive tree of accessories growing out of it. At the right is marriage, with a vast tree of dependent products reaching up higher than any practical finite paper size or computer graph could contain, including nearly all the items to the left of it on the graph itself. Thinking about this graph, you will realize why you almost never see an advertisement for screwdrivers.


A is replaced by B. This is a very common pitch. A trivial change is made in the formulation of laundry soap, and suddenly you are the last holdout with a clearly inferior product. Your children will be roundly jeered from the playground. But there are more robust versions of this pitch, guaranteed to drag the majority of consumers, kicking and screaming (but still buying) into the advertisers future, if not their own.


One very effective method is to tie several products together in a dependent relationship, so that, if any one of the products changes, all of them require replacement. Example the personal computer. As time passes, incremental changes in computer hardware can be accommodated without starting over, but from time to time an irresistible technological breakthrough comes along that sweeps all prior hardware out the door.


There have been two such sweeping changes so far. One was IBMs decision to introduce an entry system that it hoped would be a steppingstone into that companys principal business, large systems. But IBM cast such a long shadow on the computing landscape (in those bygone days) that even their deliberately crippled design became the de facto standard personal computer and eclipsed several other contenders.


The second change was the introduction of graphical environments such as Windows, which first required a great deal more computer power than its predecessors, and eventually obsoleted all but the most powerful systems.


The reason these changes swept away entire architectures was partly fashion, a theme in all of consumerism, but also because of the interdependent nature of individual computers and networks of computers. To a marketer, this gives computers a mixture of attractive and terrifying qualities. Attractive because a single change can create a huge wave of system replacements all you have to do is figure out how to ride the wave. Terrifying because no individual not even Bill Gates can foresee the technological breakthrough that will trigger the next wave, or its timing.


Sweeping changes like this are so attractive that one sees valiant attempts to create them out of nothing. Quadraphonic sound is an example. Unfortunately, the American public rejected the thesis that they needed four speakers instead of two, and the idea died.


The next visible change of this kind, one supported and encouraged by the American government, is called High-Definition Television (HDTV). Basically it constitutes a technological scheme that will improve picture quality and flexibility, and finally replace the oldest and least satisfactory method for encoding a television picture still in use, NTSC (supposedly this stands for Never Twice the Same Color).


Unfortunately for consumers and fortunately for TV manufacturers, this change will eventually require the complete replacement of every TV set, every TV camera and studio, TV transmitters, cable networks, everything. Even more interesting is that the schedule of changes is mandated by the government beginning with a mixture of old-style and new-style broadcasting, ending with a complete replacement of NTSC programs with HDTV programs, in the communication pathways that are administered by the government. According to this schedule, about ten years from now, barring unforeseen events, the transition will be complete all commercial broadcasting will be based on the HDTV standard. Consumers will either have new receivers or will have some sort of converter box that will allow them to see some fraction of the size and quality of the new standards TV image.


With all the committees meeting around this issue, it is surprising that no one has asked if the content of TV will be improved along with the image. I think I know the answer.


B shows the folly of A. This is a marketing position dearly to be wished for, and it doesnt happen very often. But the examples are memorable FM radio compared to AM radio. Personal computers compared to typewriters. Calculators compared to slide rules. Transistor radios compared to tube radios (an older example). But the majority of real-world examples are an illusory, not real, replacement of a prior product on the basis of overwhelming merit Electric toothbrushes. Anti-lock brakes. Automotive Air bags. Electric bug zappers (they dont work against mosquitoes). Sonic bug repellers (they dont work at all).


The Role of Dissatisfaction


I earnestly believe that some degree of dissatisfaction is innate in people, and absent our modern society, the chance that someone would fall to his knees in wonder at the sight of a wildflower is marginal. But I can say with assurance that modern advertising makes this possibility disappear entirely, for most people in most places, because in order to consume as we do, we must first be programmed to regard everyday experiences as completely unsatisfactory.


This aspect of marketing has a lot in common with traditional religious practices


The truth is hidden from view.


Your reward lies in the hereafter.


True happiness in only available to the initiated, the insiders.


Everyday reality is a sham, a waste of time, an illusion.


We are all defective, our personal experiences have no legitimacy without the validation of priests.


When I was young, this kind of talk was perfect I already held everyday experience in contempt (meaning I was already a trained consumer). Each new belief system that came along seemed more sophisticated and promising than the last, certain to show how the seemingly random events around me actually fit together into a coherent whole, a whole that I could perceive if only I underwent an initiation ritual.


Finally I realized that each of the belief systems I sampled were simply examples of modern product packaging and marketing Your individual, direct experience means nothing. Join up. Get with the program. Oh, by the way, we are going to need some funds to cover our legitimate expenses in showing you the True Path to Enlightenment.


This doesnt mean I suddenly saw the value of direct, personal experience, but I certainly did see that the packaged version was not innately superior. For me, this was a big step forward.


But for most Americans, rich and poor, the packaged version is still innately superior, and this is tangible evidence of the triumph of marketing. For us, a personal view of a field of sunflowers is quite ordinary, but a painting of that same view can fetch millions. Even the paintings of sunflowers rejected by the artist, then used by his maid as rags to clean up his studio, are prized beyond any imaginable real-life scene of sunflowers. Why? Simple the real scene cannot be packaged and marketed it can never be more than an individual experience.


Pablo Picasso realized the importance of marketing, late in his career. At that time, he began churning out works that had as their only distinguishing characteristic a resemblance to the works of an artist named Picasso. The subject meant nothing, the style meant everything. Pure marketing.


We distrust our direct experiences, and require a commentator an authority to interpret our experiences for us. This is why Americans believe nothing is real until it has been on television. In this sense, television is the product package, as well as a vehicle for the ultimate comment on all contemporary reality advertising.


When the pet rock was first introduced, when a completely ordinary rock became valuable by virtue of its package and advertising, I imagine some advertiser on Madison Avenue saying, Yes! Now we have them! They will buy absolutely anything!


Coping Skills


Here are some common-sense suggestions to minimize the negative effects of consumerism in your life


It is very likely that most of your dissatisfactions are a carefully engineered preparation for consumerism. So examine your dissatisfactions keep only those that, if discarded, might kill you. Toss the rest.


The first rule of advertising if it is advertised, it is not a necessity. So start out by saying I dont need this product. Now, do I want it?


Ask yourself how much of an advertisement appeals to reason, and how much appeals to emotion. If the primary appeal is to emotion, you should expect to feel another, stronger emotion after the purchase disappointment.


Ask yourself if the advertisement describes a product, or instead describes you in unrealistic ways. After all, it is the real you that will be paying for the product, not the fantasy you that deserves the very best.


Apply common sense to advertising. If you are being offered a book that is guaranteed to make you millions and costs $.5, you should wonder why it didnt work for the author. Real millionaires dont promote get-rich-quick schemes on late-night TV unless the actual get-rich-quick scheme is to sell millions of copies of a worthless book.


Above all, recapture an appreciation for ordinary reality. Two reasons quickly come to mind


Fields of flowers dont lie, and


If you postpone a walk in the flowers for long enough, the next time you check, they will be gone.


In my view, if a person cant sit down in a forest, look between the trees at a sunlit meadow and say, This is all I really need, then that person is more than slightly bent. But thats only my opinion I could be wrong.


A Closing Comment


In your life, how many print articles have you read that portray consumerism and advertising in this way? Chances are, very few or none. Why? Is it because the author is spectacularly original, possibly inspired by genius? Or is it simply because television, magazines and newspapers reject this kind of writing out of hand, for fear of offending advertisers? Even though I am the author and would like you to believe the first premise, the second is actually correct articles like this are almost never seen in print, and ideas like these are almost never aired on TV. They are deliberately excluded.


In the commercial publishing business and in television network programming, articles like this are tantamount to treason or suicide. Small-circulation scholarly journals are another story, but their readership is so small and specialized that they do not represent a threat to mass marketing. For various reasons the Internet, although increasingly commercial in content, is also the best source for anti-consumerist sentiment.


To access some of these resources, submit the search string anti-consumer to your favorite search engine.


Further reading How we confuse symbols and things -- Interview with an Extraterrestrial


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Please note that this sample paper on consumerism is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on consumerism, we are here to assist you. Your cheap research papers on consumerism will be written from scratch, so you do not have to worry about its originality.


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Friday, September 6, 2019

The illiad's fate

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In the beginning divine intervention made enemies of Agamemnon and Achilles along with greed and jealousy. Achilles' hatred was so strong for Agamemnon that he dropped out of the war and left Agamemnon to fight on his own. Agamemnon became too greedy and relentless.


Achilles hated Agamemnon, but Agamemnon didn't care because Zeus revealed his fate in a dream. Therefore, he became greedy for power and immortality. Achilles was upset that Agamemnon chose to keep Bresis, whom was the one thing that mattered the most to Achilles. But Agamemnon wasn't thinking for himself which made things worse for him in the long-run. This made him very jealous and upset with the Achaeans. But once Agamemnon and Achilles reunited the tables turned in favor for the Greeks. They were more powerful and more strong willed than ever before. Athena strengthens him by planting ambrosia and honey in his chest. This was fate v. free will. They had to choose sides for themselves.


When Agamemnon finally realized that Achilles was the key aspect in the Battle of Troy he was mournful. This was the start of a new friendship. The two were thinking on their own and came together.


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When Agamemnon told Achilles "But I am not to blame! Zeus and Fate and the Fury stalking through the night, they are the ones who drove that savage madness in my heart......"(bk1,ln100), Agamemnon displays his frustration of the deceiving Zeus, who was sending dreams about his fate. Agamemnon became Greedy after hearing false interpretations of his future. He explained this to Achilles hoping for his forgiveness. Achilles who realizes this expresses his sorrows and realizes what all is going on. This marks the climax of the Trojan War. They were able to pull themselves together by thinking on a mortal level instead of an illusionary level.


Agamemnon could have surpassed all of this if he would have listened to his own instincts instead of some meaningless dream. He thought that his fate was to conquer everyone and live happily ever after. His greed for fate got in the way of reality and his free will.


Please note that this sample paper on The illiad's fate is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on The illiad's fate, we are here to assist you. Your cheap custom college paper on The illiad's fate will be written from scratch, so you do not have to worry about its originality.


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Thursday, September 5, 2019

Vonnegut

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Readers who have read any of the works of Kurt


Vonnegut must have come across many things that caught their


attention. It is not only his unusual style that makes him


special in contemporary American literature. It is not only


Cheap Custom Essays on Vonnegut


the skill and various literary techniques with which he


manages to convey the main message to readers of various age


groups. It is not only the message itself which always makes


people think and discover startling facts about our world.


Looking on Vonneguts works from a holistic point of view,


a reader or a critic can see recurring themes and ideas.


Throughout this authors books, the reader can notice


a unique relationship between the created image of Humanity,


people in general, and Divinity, a divine power or God.


Humanity, in this case, seems to be in a rather peculiar


situation, unable to escape an invisible grasp that has


a hold on it. Vonnegut, through his life, novels and


stories, appears to have been looking for a way out of the


grasp, a way of making a m an free. In some books he


succeeds, in some he does not. What the way out (or the ways


out) is, is the main focus of this essay.


It cannot be very difficult to write about the themes


of one particular book by Kurt Vonnegut Jr. Certainly, an


essay written on the themes of one book would not reveal


anything the reader might not notice during his own reading.


The reason for this is the fact that Vonnegut does not leave


any mysteries in his books, but with endurance explains


himself over and over again. This usually takes the wind out


of the potential critics sails. Kakutani, for example, is


irritated by this and writes th at what is most disturbing


about the novel Galapagos is


the authors tendency to repeatedly italicize the


moral of his story as in most of Mr. Vonneguts


fiction, deciphering the message is never the


readers problem, and Galapagos is obvious enough


without our having to be told, point-blank, that


Mandarax stands for the apple of knowledge or


that Captain von Kleist represents the new Adam.


(Kakutani17)


Characters, main or less important ones, tend to


reappear throughout Vonneguts work. For example Eliot


Rosewater, who appears full time in the novel God Bless


You, Mr. Rosewater, shows up to occupy a few pages of


Slaughterhouse-Five. Diana Moon Glampers playing her


important role in the story Harrison Bergeron, where she


destroys the worlds only hope of salvation, becomes


a wretched character in God Bless You, Mr. Rosewater. Dwayne


Hoover first appears in Breakfast of Champions, then in


Deadeye Dick. Kilgore Trout, as the last example, shows up


in many novels, either as a minor or a major character


(e.g. SH5, BOC, JAI, TQK, ROS, GAL). This habit, this


tendency of reappearing characters makes Vonneguts novels


interchangeable.


It is not only characters which are interchangeable.


There are various recurring themes (predestination and


fatalism), ideas (handicapping people in order to be equal


in Harrison Bergeron and Sirens of Titan) and places


(e.g. Indianapolis, Ilium). Sale notices this when he says


that what he resists in Vonneguts books is the fact that


they


seem formulaic, made of interchangeable parts,


though this is one quality which may endear him to


others. Once Vonnegut finds what he takes to be


a successful character, motif or phrase he cant


bear to give it up, so he carries it out from novel


to novel. (Sale)


Underpants


Another thing that drives human beings is sexual


lust, Vonnegut says. He suggests that peoples inability to


control their animal drives leads the planet into doom,


mostly by means of overpopulation.


Mary Hepburn, one of the main characters in


Galapagos, describes, for example, how easily a teenage


virgin could be made pregnant by the seed of a male who was


seeking sexual release and nothing else, who did not even


like her (GAL14). In Breakfast of Champions Vonnegut


points out that most countries are in such a miserable


condition that there is no more space for people they have


nothing to eat. And still they go on having sexual


intercourse, which is, as Vonnegut reminds us, how babie


s are made. More babies were arriving all the


time--kicking and screaming, yelling for milk (BOC1-1).


With tongue in his cheek, Vonnegut shows that


babies is a wonderful way of overcoming wars, that even


after long lasting wars there still seem to be plenty of


people around (GAL). This, however, encourages many


people to think of murdering, wiping out cities etc. as


show business, as highly theatrical forms of


self-expression, and little more (GAL).


Humanity, evidently, as Kurt Vonnegut describes it,


is producing more than it can sustain, yet it is ignorant of


this fact. Just because something can reproduce, that does


not mean that it should reproduce, (HOC4) Vonnegut says.


Otherwise, Humanity could suffocate. The word locusts also


comes into mind; or Planet Gobblers, which is a short


story written by Kilgore Trout. The story was


about us, and we were the terrors of the universe.


We were sort of interplanetary termites. We would


arrive on a planet, gobble it up, and die. But


before we died, we sent out spaceships to start


tiny colonies elsewhere... (PSU0)


Humanity, however, does not realize that there is Earth only


and after it gobbles up this planet, there will be no more


food, no more planets to consume.


Big brains


Vonnegut does not only describe the drives of


Humanity, he even uncovers the source of these lusts and of


all the bad things Humanity does. In Galapagos, the source


is Humanitys imagination, destructive ideas, peoples


oversized brains. If catastrophe comes more easily to man


than courtesy and decency, Contemporary Authors suggests,


mans large brain is to blame (Contemporary Authors,4).


Can it be doubted that three kilogram brains were once


nearly fatal defects in the evolution of the human race?


(GAL8) Vonnegut asks. He asserts that the planet is


basically innocent, except for those big brains (GAL).


These brains are irresposible, unreliable, hideously


dangerous, wholly unrealistic and they are simply no damn


good (GAL5).


These brains make people lie, for example (GAL67).


They are the irresponsible generators of suggestions as to


what might be done with life (GAL78). They generate crazy


ideas in the heads of human beings who cannot help but carry


them out. Vonnegut calls this aspect of human brains


diabolical (GAL66).


They would tell their owners, in effect Here


is a crazy thing we could actually do, probably,


but we would never do it, of course. Its just fun


to think about.


And then, as though in trances, the people


would really do it--have slaves fight each other to


the Death in the Colloseum, or burn people alive in


the public square for holding opinions which were


locally unpopular, or build factories whose only


purpose was to kill people in industrial


quantities, or to blow up whole cities, and on and


on. (GAL66)


Even Kilgore Trout realizes in Breakfast of Champions


that evil is put into the world in the form of bad ideas


(BOC15). Furthermore, Vonnegut illustrates the danger of


wild ideas on the saying If wishes were horses, beggars


would ride. He shows that since people discovered tools


(and weapons, consequently) the homicidal beggars could


ride (BOC8). In simpler words, Humanitys brains managed


to make peoples wishes (crazy ideas etc.) come true.


Suicidal Tendencies


A rather common tendency that Humanity seems to have


in Vonneguts works are suicidal tendencies. How often the


reader encounters characters who die prematurely of their


own will. So often, the bad ideas in peoples brains make


them do such a horrible thing as commit suicide.


In Timequake, Vonnegut says that people are the


smartest animals on the planet, who hate being alive so


much. (TQK5) In Welcome to the Monkey House, there are


so called suicide parlors, where people can kill themselves,


or rather have themselves killed in a humane way, by a nice


woman, with a last meal, with pleasant atmosphere etc.


(WTM8-47)


A rather common manner of ending ones life is eating


Drano, a poisonous chemical normally used for cleaning


drains. Celia Hoover, the wife of one of the main characters


of Breakfast of Champions and Deadeye Dick, commits suicide


this way. (DED10) Drano appears also in Vonneguts later


books as a succesful tool of deliberate self destruction.


Vonnegut also writes that the Earth itself, Humanity itself


looked as if it were eating this chemical.


The planet itself was breaking down. It was


going to blow itself up sooner or later anyway, if


it didnt poison itself first. In a manner of


speaking, it was already eating Drano. (DED17)


Stupidity


From reading Vonnegut, one can easily conclude that


Vonnegut intends to show that people are stupid, that


Humanity as a whole is stupid, dumb and ignorant. With


several characters the writer takes it to the extreme, such


as Kimberley in the Chemistry Professor. The plays


commentary calls her scatterbrained (PSU61), but


stupidity could be the image the reader forms when reading


about her going to look up an unimportant comment in the


library, a comment that has been uttered just by the w ay,


and even more when, after a few pages, Kimberley enters


again and asks innocently Which building is the library?


(PSU68) Others, more important characters, may be seen as


stupid as well. Howard, for example, sees Billy (SH5) as


a vaguely dissatisfied dupe, and adds that he is a blank


and stupid man (Howard1). In Cats Cradle Bokonon says


that he could write a whole book, a history of human


stupidity and use it for a pillow (CAT11).


In Hocus Pocus, ignorance, conceit and dumbness show


up to be the most frequently pin-pointed problems of


Humanity. The main character, Eugene Debs Hartke, for


example, speaks about a Jack Patton who was


against everybodys reproducing, since human beings


were, in his own words, about 1,000 times dumber


and meaner than they think they are.


I myself, obviously, have finally come around


to his point of view. (HOC4)


Later, Hartke continues and says


I think that William Shakespeare was the


wisest human being I ever heard of. To be perfectly


frank, though, thats not saying much. We are


impossibly conceited animals, and actually dumb as


a heck. Ask any teacher. You dont even have to ask


a teacher. Ask anybody. Dogs and cats are smarter


than we are. (HOC146)


He continues with the outpour of his heart and calls the


board of Trustees of Tarkington College dummies, people who


caused the war in Vietnam dummies and even himself the


biggest dummy of all (HOC146).


From the several examples shown above, it is clear


that Vonnegut does not have a very high opinion of


humankind, but rather a contemptuous one. Bryant notices


that Vonnegut cites human stupidity and the human condition


as the two chief obstacles to the achievement of the highest


good, and that it is human stupidity that leads men to


kill and cheat and steal (Bryant) .


Machines


Another quality of Humanity corresponds with the


above described stupidity. This quality is seen when


Vonnegut describes people as machines. The impulses by which


the reader forms the image of Humanity as a machine are both


direct and indirect. In Sirens of Titan Vonnegut explains


the term machine. In his opinion, to be a machine is to be


vulgar, to lack sensitivity and imagination, and to be


purposeful without a shred of conscience (TIT00). These


traits, or most of them, can be recognize d in most human


characters in Vonneguts books.


Humanitys vulgarity is obvious from perhaps


everything Vonnegut has written from how people talk and


how they act, from their animal attitude towards sexuality


etc.


Lack of sensitivity is also a very often used quality


of humans. Vonnegut demonstrates this by many ways the


previously mentioned Humanitys attitude towards sex


(lacking sesitivity altogether), human greed (people are not


stopped by anything in their chase for silver and gold) and


the omnipresent shadow of war, when people forget the value


of human life altogether and turn into homicidal imbeciles


(HOC).


That people are purposeful is also a very often


expressed quality of humans. People keep doing what they


seem to be programmed for, what they seem to be designed


for. One of these purposes is surely the already mentioned


reproduction. An example of this can be found, for example,


in Deadeye Dick


The actress playing Celia could ask why God


had even put her on Earth.


And then the voice from the back of the


theater could rumble To reproduce. Nothing else


really interests Me. All the rest is frippery.


(DED185)


Another aspect of Vonneguts novels that can hint at the


issue of purposefulness, is people being reduced into


unthinking entities by various institutions. People are


often seen as robots under orders, willing to do anything.


One of the most often described institutions is surely the


army. For example, the main character in Hocus Pocus says


that he was a professional soldier and would have killed the


returning Jesus Christ if ordered by a superior officer


(HOC). In Sirens of Titan Vonnegut describes soldiers as


people with antennae in their heads, controlled by radio to


do anything the commander chooses (TIT6).


The only exception from the traits of a machine


applied to Humanity is the lack of imagination. It cannot be


said that Vonneguts characters lack imagination. On the


contrary, human imagination is often emphasized. It is


a very important quality of Vonneguts Humanity.


This chapter has so far dealt with indirect


indications of peoples being machines. However, this trait


is also very often defined in the text directly. This direct


definition is perhaps most common in Breakfast of Champions.


One of the Kilgore Trouts books, Now It Can Be Told, says


that all people, all living things are machines and the only


entity with free will is the reader of the book (BOC17-5,


5-7). Another example is people being seen from the


viewpoint of Tralfamadorians (Vonnegu ts favorite race of


aliens). These beings see everything what happens, what


happened and what will happen, at the same time.


Lionel Merble was a machine. Tralfamadorians,


of course, say that every creature and plant in the


Universe is a machine. It amuses them that so many


Earthlings are offended by the idea of being


machines.


Outside the plane, the machine named Valencia


Merble Pilgrim was eating a Peter Paul Mound Bar


and waving bye-bye. (SH5154)


Another way of direct definition of this character trait is


considering the parts of human body to be components of


a machine. Talking about anatomy Vonnegut often uses words


like wires, motors, switches, computers etc. (e.g. BOC).


The idea of pre-programmed human being appears also in


Timequake, where Vonnegut suggests that its genes which make


us behave in this or that way (TQK118). Genes are some kind


of programming of human beings, they cannot be changed.


No-one chooses genes, they are inherited. A child gets


his/her genes at conception and has to live with them


through the rest of his/her life. This also may allude


humans to machines.


To sum up, Vonnegut argues that human beings are


robots, are machines (BOC). He both indicates this


directly and indirectly. Vonnegut also provides a formula


(defining the term machine) by which the reader can see


this by him/herself (TIT00). There is, however, one


element in the formula, into which the image of humanity


does not fit. This element is human imagination.


Family life


The last feature that needs to be discussed when


describing Vonneguts humanity is the appearance of families


in the novels. Vonneguts families seem to be undergoing


a crisis, just as everything about Humanity that has been


described so far.


People often say that family is the basis of every


state and every human society. Should family be broken, the


society would break as well. The problems would start among


the young people, but then, as they would grow up, become


the heads of their own families and have their own children,


the problems would appear among their posterity as well the


brokenness spreading from generation to generation. This is


exactly what is happening in Vonneguts writing. The family


in Vonneguts books just se ems not to work properly.


Especially the relationship between father and son often


fails to function correctly.


Kilgore Trout can be one of the examples. His three


marriages failed and his son, Leon, ran away from home when


he was sixteen. It was because I was so ashamed of him,


Leon explains the reason (GAL55). When I got to be


sixteen, though, I myself had arrived at the conclusion my


mother and the neighbors had reached so long ago that my


father was a repellent failure, ... He was an insult to life


itself... (GAL56). Kilgore Trout had a depressing


childhood, too (BOC1). Another example of not very good


relationship between father and children can be found in


Bluebeard, where the main character, Rabo Karabekian says


One might think that my two sons, Terry and


Henri Karabekian, . . ., might enjoy coming here


with their families. Terry has two sons of his own


now. Henri has a daughter..


But they do not speak to me.


So be it! So be it! I cry in this manicured


wilderness. Who gives a damn! Excuse this


outburst. (BLU6)


Deadeye Dick also shows the reader (in the


relationship between the main character and his father) that


an unsuccessful father can only produce an unsuccessful son.


In this case, the father is a painter, a failure of


a painter, actually, and the son becomes an unsuccesful


writer. The fact that parents pass a great part of


themselves on their posterity is demostrated or mentioned in


many of Vonneguts books. In Hocus Pocus, for example, the


main character says


And if I feel that my father was a horses


fundament and my mother was a horses fundament,


what can I be but another horses fundament? Ask my


kids, both legitimate and illegitimate. They know.


(HOC146)


To mention another example, the fact that Kilgore Trout was


not very successful caused the same in his son, who was


flunking every course but arts at school (GAL56).


Bluebeard shows another problem in the family members


of a family not caring about one another the husband not


caring about his wife and wife not caring about her husband.


...my Mother, who let herself become quite heavy,


and who didnt care much what her hair looked like,


either, or her clothes. Mother didnt care because


Father didnt care. (BLU14)


There are more family problems, such as divorce and


child abuse in Vonneguts books, but there is no need to


examine them in detail.


As a result of malfunctioning families, Humanity often


experiences and suffers from loneliness. Vonnegut realizes


the need for a family. Human beings are genetically such


gregarious creatures, he says. They need plenty of


like-minded friends and relatives almost as much as they


need B-complex vitamins and a heartfelt moral code


(PSU04). He uses a Christian saying One Christian is no


Christian. and changes it to One human being is no human


being. (PSU16). Wilbur Swain speaks in Slap stick with an


old lonely man


An old man crawled up to me afterwards and


told me how he used to buy life insurance and


mutual funds and household appliances and


automobiles and so on, not because he liked them or


needed them, but because the salesman seemed to


promise to be his relative, and so on.


I had no relatives and I needed relatives,


he said.


Everybody does, I said.


He told me he had been a drunk for a while,


trying to make relatives out of people in bars.


The bartender would be kind of a father, you


know- he said. And all of a sudden it was closing


time. (SLP15-16)


Vonnegut also shows that loneliness might be the reason for


the bad things in the world all the damaging excesses of


Americans in the past were motivated by loneliness rather


than a fondness for sin (SLP15).


Summing up Humanity


This part of the essay has shown the overall image of


Humanity in Vonneguts books. It has illustrated that


Humanity (as a literary character) is ugly, dirty,


funny-looking, fat and is definitely not going to win


a beauty contest (SLP51). It has been born with some of


these qualities, and the others were caused by Humanity


neglecting itself. The environment, where Humanity lives is


as miserable as its physical appearance the Earth has


turned into a cramped, neglected, dirty, smelly place.These


negative qualities are, however, strongly overpowered by


inner qualities. Humanity is seen as a machine moving


incontrollably forward, driven by several fatal lusts


(such as greed for money and wealth, ambition, sex). The


machine never stops, decency is unimportant, human lives are


unimportant. The monster moves onward, destroying


everything that gets in its way. However, the machine also


seems to be driven by a much higher force, by something


completely out of Humanitys control.


Human life and its value


Showing that people are playthings or puppets or pawns


or players also leads to the right conception of the value


of human life in Vonneguts writing. Frequent occurence of


death depicted in various ways is constantly present.


Generally speaking, there are two most remarkable views on


life and death. One of the views shows that human life is


priceless, very valuable, item of the highest importance.


The other view contradicts the first one, because it shows


that human life does not really have any value, that it can


be and often is wasted for almost any reason.


Life without price


Some works of Kurt Vonnegut show that human life does


not have a very great value or high price. This can be


concluded from several hints. In Galapagos, for example,


Vonnegut puts a star to every name of a person, who is going


to die in the following chapter. It is a rather amusing


feature at first, but later it makes the reader wonder about


the value of life, about the question whether that is all


that can be said about the loss of human life. This person


is going to die the star seems to say -- only that and


nothing more, no compassion, no feeling, nothing. The


greatest effect of using the stars with names of people


close to death is reached by using the star with Mandarax


(an amazing computer capable of doing almost everything,


from translating and interpreting all languages and quoting


famous people and famous quotations to, for example,


diagnosing a mental illness, or arranging flowers). The


computer is mentioned numerously throughout the whole book


and close to the end a star wi th the name Mandarax preceeds


its drowning in the sea. By using the same tool for both


human death and the end of Mandarax, Vonnegut appears to say


that the value of human life equals the value of a computer,


of a machine. The reader may wonder whether this example may


show that when a person dies in the book, it should evoke no


more feelings for the dying one than for a piece of


electronic equipment.


Furthermore, to stay with the novel Galapagos,


Vonnegut uses one phrase everytime somebody dies he


wasnt going to write Beethovens Ninth Symphony anyway


(e.g. GAL44-45). In this way, another view is shown and


that is the opinion that the human life is valuable as long


as the person does something important in peoples eyes for


example, write a famous symphony. Otherwise, there need to


be no tears and no emotions about a dead person, who was


just another human being, one out of many. Similar phrase as


the one about Beethovens Ninth Symphony is used in


Slaughterhouse-Five. It is much shorter but, on the other


hand, it is used much more frequently. Everytime a character


dies, Vonnegut says So it goes. The epitaph appears one


hundred and six times altogether throughout the novel. It is


no wonder death occurs so often in the novel, since the


prime topic of the book is the fire-bombing of Dresden in


World War Two. The phrase seems to suggest that it is not


a great tragedy when some body dies, that it is normal, and


does not deserve more time speaking about it than necessary.


In Deadeye Dick, when somebody dies, Vonnegut does not call


it dying. He writes that this person had their peephole


closed and when they are born, they simply have their


peephole opened. This, again, seems to show, that human


life is no more than peeping through a hole and death


means only an end to this.


In Deadeye Dick, Vonnegut calls a neutron bomb


a friendly bomb, because it destroys people and leaves all


the property untouched. (DED4) DeMott asks a difficult


question Why do human beings take satisfaction in creating


a neutron bomb that destroys only human beings, not their


accoutrements? (DeMott, 18p.1) In this example property,


houses, cars, home equipment and other valuable things


appear to be worth much more than human lives.


A rather common theme in Vonnegut is showing people


who are reduced to mere numbers, be it soldiers (such as in


Sirens of Titan), or workers (e.g. Player Piano) or anybody


else. People reduced to numbers do not have much value,


either. In the story The Lie (WTM-6) Vonnegut shows


a young boy, Eli Remenzel, who is supposed to go to a very


prestigeous school, only because all the Remenzels in


history went there. On the way there, his mother counts all


his predecessors and finds out that Eli is actually number


thirty-one. His feelings do not matter, his wishes, his


fears do not matter. The only thing that matters is that he


is number thirty-one. The theme can be found in other works


as well, for example Sirens of Titan, Hocus Pocus, or Player


Piano. In Harrison Bergeron this theme can be recognized


as well. Vonnegut shows the readers a society where everyone


is completely equal, equal even in things as absurd as body


weight or intelligence or how one looks like. This, however,


redu ces the human being into a mere number, too. The person


loses his individual features, ceases to be special any


more. The people in Harrison Bergeron, through acquiring


equality, reach uniformity and deformity of self instead.


To go further from showing unimportance of human


beings as individuals, it can be said that the same view is


taken for humankind in general, for Humanity. The novel


Galapagos demonstrates this very apparently. There is an


apocalypse and only a few people survive on the Galapagos


Islands. However, evolution does its work with this remnant


of humanity and people evolve into different kind of


species, a species with flippers instead of hands and


a brain that is much smaller and much less capable. Again,


there is no feeling or compassion for the lost species. It


seems that the world is better off without people, at least


people as we know them. It seems that the phrase He wasnt


going to write Beethovens Ninth Symphony anyway can be


applied here, too, meaning that the same way people are


unimportant and there is nothing special about them,


Humanity is unimportant and there is nothing special about


it, either.


The only thing that matters human life


The previous section has shown that humanity appears


to be disposable. However, this cynicism is not shared


everywhere in Vonneguts work. On the contrary, there


appears another view which shows the value of human life in


a different light.


In Timequake, when Kilgore Trout observes dead and


dying people, a completely different attitude to human death


is seen. While the epitaph he was not going to write


Beethovens Ninth Symphony anyway could be inscribed


emotionlessly upon the grave of humanity in other novels,


Kilgore Trout does not share this


The dead and dying were widely scattered, rather


than heaped or enclosed in a burning or crumpled


airplane or bus. They were still individuals. Alive


or dead, they still had personalities, with stories


to read in their faces and clothes. (TQK110)


This humane view of dead people seems to be a rarity in


Vonneguts books.


In the apocalyptic novel Cats Cradle, there are many


other clues that can lead to the discovery that human life


is valuable. For Bokonists, there is one thing that matters,


one sacred thing. It is not even God, there is just one


thing. The answer to what it is, is neither the ocean, nor


the sun. Its Man ... Thats all. Just man (CAT14). For


example, when a Bokonist is about to commit suicide, he


always says Now I will destroy the whole world


(CAT160). Todd calls this kind of mora lism vague, so


undemanding, a dreamily humanist nihilism... (Todd107).


Bryant finds more truth and maybe the foundation about


the human worth in Vonneguts writing


Human worth -- and hence significance --


resides in the being of the human.The self is its


own reason for being its being is its own


guarantee of its value. (Bryant0)


Vonnegut, showing Humanity in the worst light possible, over


and over again describes that human lives are precious and


valuable in themselves. People do not need to prove to be


worthy, their worth is there no matter what kind of person


they happen to be. Vonnegut depicts ususally broken down


people, criminals, failures etc., while still showing the


fact that their value is great, beyond measurement.


Bugs in Amber


The lack of free will is a common feature in most of


Vonneguts books. In Slaughterhouse-Five, for example


Vonnegut introduces the phrase bugs in amber. One of the


examples is the passage which shows (from the view of the


Tralfamadorians) that the future is given and that one


cannot change it.


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. (SH57)


Another passage of the novel describes the theme more


directly. It is the part when the Tralfamadorians kidnap


Billy Pilgrim and he asks why?.


Have you ever seen bugs trapped in amber?


Well, here we are, Mr. Pilgrim, trapped in


the amber of this moment. There is no why.


(SH576-77)


This concept views the world as a kind of amber and


everything in the world as a bug trapped in it, unable to


control what it is doing, having no free will at all.


Humanity, according to this, cannot help what it is doing.


Thus Bokonon and Jonah in Cats Cradle can sing a Bokonist


tune


We do, doodley do, doodley do, doodley do, What we


must, muddily must, muddily must, muddily must;


Muddily do, muddily do, muddily do, muddily do,


Until we bust, bodily bust, bodily bust, bodily


bust. (CAT178)


Timequake, Vonneguts latest novel, deals with free will, or


the lack of it, very directly, too. In the story, there is


a timequake that causes the time to go back ten years.


Everything the people went through during the ten years,


they have to go through again, without any chance of


changing things. Vonnegut calls it a rerun (e.g. TQK1)


or an automatic pilot (e.g. TQK1). Just like a pilot


who has no control over a plane that is flown on an


automatic pilot, the characters and whole Humanit y has no


way of controling what is going to happen next.


The structure of Vonneguts novels itself reveals the


fact that everything is set and the characters have no way


of changing the storyline. The plot is usually revealed in


the first couple of chapters (e.g. GAL, SH5, HOC, BOC etc.),


the reader almost always knows what is going to happen next.


The narrator often occupies a vantage point for observing


the whole story. In Slaughterhouse-Five, for instance, it is


the view of Tralfamadorians who see in the fourth dimension,


therefore see everything that has happened and that will


happen. In Galapagos it is the viewpoint of a ghost


narrating the story a million years after it actually


happened, therefore seeing it from a very similar point to


the Tralfamadorians?.


If there is a puppet which is actually doing


something, there also must be a puppet master. It is


difficult to recognize the puppet master, though. The


enormous force (SH5164), the source of all acts of


Humanity differs from book to book. In Galapagos it is the


peoples big brains. In some other books (e.g. HOC, BOC,


DED), it is chemicals or fault in the construction of the


human being


It is a big temptation to me, when I create


a character for a novel, to say that he is what he


is because of faulty wiring, or because of


microscopic amounts of chemicals which he ate or


failed to eat on that particular day. (BOC4)


Some of the most gruesome accidents, says Vonnegut, were


caused by people who had rendered themselves imbecillic or


maniacal because by ingesting too much of what, if taken in


moderation, could be a helpful chemical (HOC8). Wilbur


Swains mother, in Slapstick, is described as a symphony of


chemical reactions (SLP58). In some novels the source is


the sexual drive or other physical needs. The key word is


probably the word physical. Vonnegut often sees the fault


in the body. In Bluebeard, for example, that fault is seen


in the meat I would hate to be responsible for what my


meat does. When people do something terrible, it is the


meats fault (BLU46).


On the other hand, in Breakfast of Champions Vonnegut


muses about the idea of God being the cause. He uses


a parallel the destructive testing division at the


Pontiac Division of General Motors, where


various parts of automobiles and even entire


automobiles were destroyed. Pontiac scientists set


upholstery on fire, threw gravel at windshields,


snapped crankshafts and driveshafts, staged


head-on collisions, tore gearshift levers out by


the roots, ran engines at high speeds with almost


no lubrication, opened and closed glove compartment


doors a hundred times a minute for days, cooled


dashboard clocks to within a few degrees of


absolute zero, and so on.


Everything youre not supposed to do to a car,


they did to a car. (BOC165-166)


Vonnegut wonders if this is the reason what God put people


on earth for, whether it was to test them and find out how


much they can stand without breaking (BOC166). From the


novel it seems that he thinks that this is, obviously, the


reason.


In Galapagos, he says that people are natures


experiments (GAL8), which corresponds with the above


view, only with one difference that Vonnegut uses the word


nature instead of God. However, it can be assumed, that


he has one entity in mind, since both, nature and God can


take up the role of, or be seen as, the Creator of the


Universe, of the world, of the human beings.


After all, Vonnegut seems to imply, God is the creator


of the meat and the designer of the big brain, both of


which a human being cannot control, both of which a human


being is subject to. Another clue of God being the source


can be seen If God created the whole reality, then it is


the maker of the amber as well. What are people predestined


to do must have been predestined by God, the creator.


Whatever or whoever the puppet master might be, it


will hence be called Divinity, as a counterpart to Humanity.


Humanity versus Divinity


Humanity does not conquer Divinity physically. It


cannot do it. It is not capable of being set free from the


bonds that Divinity set on it. However, Vonneguts Humanity


does manage to outwit Divinity. Even though it is physically


impossible to be set free, Humanity manages to liberate


itself. One aspect did not really fit the definition of


a machine (as was shown in the section on Humanity) and it


is crucial in this moment human imagination. It is


something that is not under Divinitys control. It is


something people are free to use at any time, at times when


they are otherwise controlled by the enormous forces.


Bryant points out that Vonneguts Humanity is a complex


combination of nobility and meanness, knowledge and


ignorance, grandeur and ignomity (Bryant). It is


a complex of good and bad qualities. The bad qualities


(meanness, ignorance and ignomity) can be ascribed to


Divinity, because Humanity cannot be blamed for them. It is


not able to suppress them. If one scratches out the bad


qualities (which are mostly in majority), the good ones will


remain. Benjamin DeMott complains that Vonneguts Humanity


serves evil too openly and good too secretly (DeMott


1710). The outside of Humanity is controlled by Divinity,


the villain, therefore Humanity appears to be evil. What


happens inside Humanity is whats beyond the villains


power. Thats what makes Humanity a good character. It does


serve good above all things. Evil things are beyond its


control.


The novel Bluebeard emphasizes the difference between


meat and soul. My soul knows my meat is doing bad


things (BLU46). Soul is good. Meat is evil. The story


Unready to Wear, which was written as early as 151, also


points at this distinct parts of a human being The mind is


the only thing worth anything (WTM40). [The body] brings


out the worst in us, no matter how good our psyches are


(WTM4). The minute you get in [the body], chemicals take


over (WTM44). Kilgore Trout in Breakfast of Champions


also agrees with this Our awareness is all that is alive


and maybe sacred in any of us. Everything else about us is


dead machinery (BOC1). Vonnegut, indeed manages to make


the awareness a sacred component of a human being. If people


did not possess it, they would really be simple machines or


puppets.


On meaning and purpose of life


Most of Vonneguts novels deal with the meaning of


life, seeking its purpose. Ranly says that Vonnegut employs


only a scientific, mechanistic meaning for purpose and fails


to find a reasonable purpose in either the universe or in


man (Ranly11). Humans, therefore find a meaning in


themselves. If they seem to have been created for some


pathetic reason, they can surely invent a purpose inside


them. The main character of Sirens of Titan discovers this


kind of answer at the end of the novel It took us that


long to realize that a purpose of human life, no matter who


is controlling it, is to love whoever is around to be loved


(TIT0). Samuels notices this as well life passes human


understanding but not our powers of enjoyment


(Samuels1). It is this alternative that can be found in


the heart of Humanity that is the means by which it outwits


Divinity. If Divinity wants to write about somebody who


suffers all the time (BOC41), Humanitys only way of


winning is not to suffer.


This chapter has shown that there are no real villains


or heroes in Vonneguts books. These characters can be found


only when Humanity and Divinity are considered to be


literary characters. Humanity was proved not to be the


villain, despite all the vile things it does. It is led into


doing them by Divinity and that is why Divinity is the


villain. Humanity, however, could not be considered to be


the hero if there was no additional aspect of its character


to being the puppet. This aspect has bee n found in


Humanitys awareness, its imagination, the capability of


discovering its own answers. This becomes a way for


outwitting Divinity, a way of winning over it. Therefore,


Humanity can be considered to be the hero.


Kilgore Trout - Vonnegut in the Mirror


Kilgore Trout is a character that appears in


Vonneguts books more frequently than any other. While


playing a minor part in, for example, God Bless You, Mr.


Rosewater or Galapagos, being only mentioned in several


others, such as Jailbird or Hocus Pocus, he appears as the


major character in two other books Breakfast of Champions


and Timequake. He is a writer, like Kurt Vonnegut. Trouts


person, however, is rather obscure. There are many details


about his life mentioned throughout these books, but the


bits and pieces of information often contradict one another.


For example, Breakfast of Champions says that he died in


18. In Timequake, he is still alive in 001 and, as


Vonnegut says, dies that year. (TQKxiii). While in some


novels, he is an unknown writer, in others, he is


a distinguished writer and scientist who has even been


awarded the Nobel Prize (BOC16,5). However, a short


biography can be put together from the pieces of information


available, with the omission of the contradicti ng parts,


however.


He was born in a family of ornithologists and spent


his childhood in Bermuda. It was depressing (BOC1). He


started writing when he was fourteen years old, but no


distinguished publisher would publish his stories or books.


His prose was usually published in trash and pornographic


magazines only (e.g. The Black Garterbelt), fulfilling the


sole function of a filler between obscene pictures and


photos. The text had nothing to do with the pictures,


though. His paperback novels, when they managed to find


a publisher, were failures and usually served as


a shop-window dressing only. His readership was really


small; people who bought the pornographic magazines were not


interested in the text anyway and not many people bought the


paperbacks, either. He had only a few fans. One of the most


devoted ones was definitely Eliot Rosewater (SH5, ROS).


Another avid fan (SH5168) is Billy Pilgrim, who has read


dozens of books by Trout. (SH5166) Despite the low


popularity, he was very fruitful, having written 117 novels


and about 000 short stories (by the time of the action of


Breakfast of Champions).


His family life was sad. His numerous mariages did not


work out and his son, Leon, ran away from home when he was


sixteen. He lived alone in his rented apartment in Illium.


Another known place of residence was an aparment in Cohoes,


NY, where he lived with his parakeet, Cyclone Bill, only. In


order to get money (which he ususally did not get from his


writing career) he did various jobs. He worked as an


installer of aluminous combination storm windows and


screens. (BOC0), he was a stock clerk in a trading stamp


redemption center (ROS1). In Slaughterhouse-Five, his job


was a circulation man for the Illium Gazette where he


managed newspaper delivery boys, bullied and flattered and


cheated little kids (SH5166). Giving freedom to his


parakeet in 175 and having learned of his sons death, he


becomes a vagabond (TQK). However, at the end of his life,


the odds seem to work for him. He even receives the nobel


prize. (BOC5) and even his jokes start to be taken


seriously. (BOC1)


There are many reasons why a reader can draw


a conclusion that Vonnegut and Trout have a lot in common


and that, probably, when talking about Trout, Vonnegut talks


about himself. Various critics have come to this conclusion,


even before Vonnegut admitted himself that Trout has been


his alter ego (TQKxiii). Lundquist, for example, has used


this term, alter ego, for Kilgore Trout as early as 177


(Lundquist41).


The things that are similar between Trout and Vonnegut


are many. One thing is their writing. Their stories, or


novels, often have the same themes or the same characters.


To mention several examples, one story that is very similar


is Trouts novel BR0TB (ROS1-1) and Vonneguts short


story Welcome to the Monkey House. In both, the reader can


find the idea of Ethical Suicide Parlors, where people can


have themselves killed legally and humanely. The two places


are described almost identically. Another thing Trout and


Vonnegut have in common is the planet Tralfamadore and


aliens called Tralfamadorians. It is the planet where Billy


Pilgrim (SH5) is taken to when kidnapped by UFOs. This


planet appears also in Sirens of Titan. It appears in


several of Trouts stories, for example Protocols of the


Elders of Tralfamadore (HOC). Even though the accounts of


Tralfamadore and Tralfamadorians differ slightly both in


Trouts stories and in Vonneguts books, it is an element


the two writers have in common.


Many of the novels of Kilgore Trout have similar


themes as Vonneguts and attack the same things over and


over again, such as automation, free will, religion, human


stupidity, greed and obsession with money, sexual lust etc.


Many of Trouts stories appear throughout Vonneguts books,


usually stripped so that the readers can read the plot of


the story condensed into one paragraph. One, and definitely


not only, example can be the story about a money tree


Trout, incidentally, had written a book about


a money tree. It had twenty dollar bills for


leaves. Its flowers were government bonds. Its


fruit was diamonds. It attracted human beings who


killed each other around the roots and made very


good fertilizer. (SH5167)


Another parallel between Trout and Vonnegut can be


seen in the publishers of their stories and books. Vonnegut,


too, was first published in various magazines. Welcome to


the Monkey House, for example, appeared in Playboy. Others


include The Atlantic Monthly, Colliers Magazine,


Cosmopolitan, Fantasy and Science Fiction Magazine, Ladies


Home Journal, The New York Times, Saturday Evening Post,


Venture etc. His first books appeared in paperback only.


In God Bless You, Mr. Rosewater, the reader can find


the description of Trouts favorite formula for writing


stories


Trouts favorite formula was to describe


a perfectly hideous society, not unlike his own,


and then, toward the end, to suggest ways in which


it could be improved. (ROS0)


This is the very formula that Vonnegut himself is using in


his fiction, as has already been described.


In the biography of these two people, there are also


several suprising coincidences. For example, Vonnegut, just


like Trout, probably started writing at an early age. In


16, Vonnegut, when at High School, was one of the


publishers of a school magazine, Shortridge Daily Echo


(Zelenka15). He was fourteen when he started attending the


school, just as Trout was fourteen when he started writing.


His first short story, Report on the Barnhouse Effect,


however, was published another fourteen years later, at the


age of twenty-eight. Some places are also common both for


Trout and Vonnegut especially Cape Cod.


Trout can really be seen as Vonneguts fictional


counterpart, a parody of Vonnegut or Vonneguts mirror


image. Beorgettz notes that Trout is also a representation


of what Vonnegut himself might become. (Beorgettzchapter


1) This is one of the reasons why the reader can consider


Vonneguts fiction to be more autobiography than fiction.


Billy Pilgrim and other autobiographical characters


Kilgore Trout is not the only literary character that


seems to carry Vonneguts image. In his writing, the reader


can find more characters that could be called


autobiographical characters.


Billy Pilgrim is probably the most obvious of the


characters that reflects Vonnegut himself. Billy Pilgrim


re-lives the hell of the fire-storming of Dresden in 145,


an event that probably had the greatest impact on Vonnegut


and his writing. Apart from the identical events that Billy


and Vonnegut experience (the war, being prisoners-of-war,


work in Dresden and the actual bombing), Vonnegut prompts


two other hints that leave no doubt that Vonnegut equals


Billy Pilgrim That was I. That was me. That was the author


of this book, (SH515, 148) Vonnegut writes.


Another of Vonneguts characters that could be


connected with the writer himself by the mark equals is


Wilbur Daffodil-11 Swain in Slapstick. Without the fact that


Vonnegut said himself in the prologue that Slapstick is


rather an autobiography, the readers would hardly be able to


see the autobiographical elements themselves. Having read


this before the novel starts makes them constantly wonder at


the things depicted in the story. Vonnegut says this about


the novel It depicts myself and my beautiful sister as


monsters. (SLP4) His sister, Alice, was embarassingly


tall, and died of cancer (Nicol10) and even though the


setting is all fictional, it is about Alice and Kurt. The


book is about what life feels like to Vonnegut


(Nicol10). It is also an experiment with old age


(SLP5) which Vonnegut started to enter (he was fifty-four


when Slapstick was published.)


Kilgore Trout co-stars in Breakfast of Champions


with Dwayne Hoover. The latter is also much like Vonnegut.


Hoover has a dog, Sparky, and loves to get down on the floor


and roll around with him and speak to him (BOC17-18). In


the prologue to Slapstick, Vonnegut says that this is his


own love, too


I used to spend a lot of time rolling around on


rugs with uncritically affectionate dogs we had.


And I still do a lot of that. The dogs become


tired and confused and embarassed long before I do.


I could go on forever. (SLP1)


This is one connecting thing that connects Hoover with


Vonnegut. Another of the connecting things is Dwaynes job


a car salesman. Vonnegut himself was a Saab dealer in


154-56 (Zelenka160).


David Potter in Deer in the Works also reminds


a reader of Kurt Vonnegut. The story probably is about


Vonnegut. Potter comes to the Illium Works to apply for


a job as a writer in advertising and sales promotion


(WTM07). He also owns a weekly paper in Dorset. Vonnegut


himself was working as a publicist in General Electric


Company in Schenectady, N.Y. Feeling trapped, like Potter


and the deer, he left in 151 and became a full-time writer


(Zelenka160).


Rudy Watz is also a reflection of Vonnegut, as he says


in the preface of Deadeye Dick (DEDxiii)


The neutered pharmacist who tells the tale is my


declining sexuality. The crime he commited in


childhood is all the bad things I have done.


(DEDxiii)


Not only from these, but from other characters of


Vonneguts can the reader conclude that Vonnegut often


writes about himself. It is also the usual first person


narrative Vonnegut mostly uses. Slapstick, for example, is


an autobiography of Wilbur Swain, therefore written in first


person. In Hocus Pocus, Eugene Debs Hartke writes about his


life on bits of paper, and again, there is the first person


narrative. Bluebeard is another autobiography, this time of


Rabo Karabekian. Jailbird is another. Palm Sunday and Fates


Worse than Death have the subtitle An Autobiographical


Collage, yet the style and the narrative does not differ


much from Vonneguts other novels that could be named


fiction, Timequake, for example. The narrative helps to


persuade the reader that Vonnegut, by talking about other


people, talks about himself. That is why it appears to be so


attractive and natural for Vonnegut to choose the first


person narrative in majority of his books, especially the


later ones.


Further, the personal prefaces and prologues to his


books usually contain the same devices as the actual novel.


For example, in the prologue to Slapstick, Vonnegut uses the


same senile hiccup hi ho just as throughout the whole


book (SLP1,16,17,1,5). Chapter oneof


Slaughterhouse-Five, being an introduction, uses for example


the recurrent phrase So it goes (SH51). The frequency of


and-so-ons and et-ceteras and other similar phrases


Vonnegut uses in his fiction is also something th at


connects the actual story with the personal note in the


beginning.


Autobiographical Places


Vonnegut writes about many places, but many of them


are actual places, where Vonnegut lived or worked.


Indianapolis can be one of them. Many events of Vonneguts


writing are set in Indiana, or the capital itself. Cape Cod


appears in many books, too (CAT, ROS, SH5 etc.) and it is


actually where Vonnegut has lived as well (TQKxi). To name


a few more, Schenectady and New York appear in his books


frequently, too, and these two places are also where he has


lived.


Bergoettz, Glenn; Autobiography and Philosophy in the


Personal Novels of Kurt Vonnegut 168-17 in Kurt


Vonnegut Corner Online, 18


URLhttp//www.geocities.com/Hollywood/45/kv_autobio.html


(Apr , 001)


Bryant, Jerry H., The Open Decision; The Free Press, 170


Contemporary Authors, 4, Gale Reserach, Detroit, MI


DeMott, Benjamin; Vonneguts Otherworld by Laughter,


Saturday Review; May 1, 171


DeMott, Benjamin; A Riot of Randomness, The New York Times


Book Review, The New York Times Company October 17, 18


Goldsmith, David H.; Kurt Vonnegut Fantasist of Fire and


Ice; Bowling Green University Popular Press, 17


Howard, Maureen; book review, Partisan Review, No. 1, 170


Huber, Chris; The Vonnegut Web online, Durham, NC 18 URL


http//www.duke.edu/~crh4/vonnegut/ ( Apr 001)


Jarab, Josef; Vehlasny prozaik z popartoveho plakatu, in


Czech edition of Breakfast of Champions; Praha


Kakutani, Michiko; book review, The New York Times Book


Review; The New York Times Company Lake City Final Edition,


Section C; September 5, 185


Leonard, John, book review, The New York Times, The New York


Times Company September 7, 17


Lessing, Doris; Vonneguts Responsibility, The New York


Times Book Review; The New York Times Company February 4,


17


Lewis, C.S.; God in the Dock, in God in the Dock; London


Harper Collins Religions


Lifton, Robert Jay; Survivor as Creator, American Poetry


Review; January-February, 17


Lundquist, James; Kurt Vonnegut; New York Frederick Ungar


Publishing Co., 177


May, John R.; Vonneguts Humor and the Limits of Hope,


Twentieth Century Literature, January 17


Nelson, Joyce, Vonnegut and Bugs in Amber, Journal of


Popular Culture, Winter, 17


Novotny, Adolf; Biblicky Slovnik (Bible Dictionary), Praha


Kalich - Ceska biblicka spolecnost, 1


Nicol, Charles; Kiss Me, Im senile, National Review; New


York, National Review Inc., November 6, 176


Olderman, Raymond M.; Out of the Waste Land and into the


Fire Catalysm or the Cosmic Cool, Beyond the Waste Land


A Study of the American Novel in the Nineteen-Sixties; Yale


University Press, 17


Ranly, Ernest W.; What Are People For?, Commonwealth;


Commonwealth Publishing Co., May 7, 171


Reed, Peter J.; Kurt Vonnegut Jr.; Warner Paperback Library,


17


Rimmon-Kenan, Shlomith; Narrative Fiction Contemporary


Poetics; London New Accents, 18


Sale, Roger, book review, The New York Times Book Review;


The New York Times Company October , 176


Samuels, Charles Thomas; Age of Vonnegut, The New


Republic; June 1, 171


Scholes, Robert, book review, The New York Times Book


Review; The New York Times Company Apr 6, 16


Todd, Richard; book review, The Atlantic Monthly; Boston,


Mass.May 17


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