Looking Into the Past in Vonnegut's Slaughter House-Five

In the spring of 1945, at the end of World War II, American and British bombers faced a fire in Dresden, Germany. Approximately 135,000 people died in Dresden. This is known as one of the most deadly attacks in history, and its death number was about twice that of Hiroshima's atomic bomb. Kurt Vonnegut was one of the few people who experienced this storm; in fact, he wrote a book about it. Slaughter House-Five (1969) is his fictional experience of war.

The report of Vonnegut in Dresden is the basis of his book "Slaughterhouse Torch". The main character Billy Pilgrim is representative of Vonegut himself. Billy experienced all that Voneguut experienced both physically and psychologically during the war. Pilgrim became a captive after the Bulge fight and worked at a slaughterhouse just like his creator. Vonnegut shows his ideas in Dresden as seen by his readers through the eyes of Billy's pilgrims rather than their own experience.

Fighting Science Fiction, also known as "Children's Crusade" or "Dance of Death" entitled Kurt · Vonnegut's "Slaughter House Five" is a typical example of Vonnegt's quirky and moving touching skills. Originally published in 1969, Slaughterhouse-Five is an advanced scout of the 106th infantry division who witnessed Germany, a war prisoner on February 13, 1945, commemorating Vonnegut's experience in World War II. . The explosion in Dresden killed 135,000 people and made it the biggest person, this novel shows cruelty and violence of war, compassion for the essence of human beings and everything contained in it.

Many of Vonnegut's novels draw at least some of Dresden's experience, but Slaughter-House-Five is the first person to face this problem directly. In the novel, Vonnegut wants to convey some ideas of the Holocaust he witnessed. But the traditional techniques of historical novels are inadequate and may even be misunderstood that what he said is the opposite of what he wants. In order to avoid these problems, Vonnegut almost ignored traditional texts and traditional histology (Bloom 73). Traditionally said novels that begin (Mr. Voneggt puts it in books), traditionally said to have an intermediate, and an end will draw morals or close to giving meaning to the Holocaust. "Traditional stories will ease fear" (Bloom 81). This is contrary to what Vonnegut wants to portray "I have nothing to say about the Holocaust." (Freese 81)