She Wore Only White ($1.57 / £0.99 UK), by Dörthe Binkert and Lesley Schuldt (Translator), is the Kindle Deal of the day for those in the UK and an Amazon exclusive translation from their AmazonCrossing publishing imprint. The US edition is $1.99, so be sure to check this one out!Book Description
At the turn of the twentieth century, five thousand people a day arrived at New York’s Ellis Island, their journeys to America signifying a new beginning. But the ocean crossing also has a deeper symbolic meaning: there comes a time for us all when we find ourselves afloat, between phases of our lives, where we say goodbye to our past and move on to new horizons.
For Valentina Meyer, harboring a deep secret of tremendous guilt and pain drives her to board a trans-Atlantic voyage as a stowaway, searching desperately for a new life on a distant shore. Accompanying her is a varied cast of eccentric and unique individuals, each in search of a new and better life. Finding solace—even love—in the companionship of their fellow guests, their arrival in America puts an abrupt end to their camaraderie as Valentina’s future is immediately put in jeopardy. A probing, affecting exploration of the hidden corners of the human heart, She Wore Only White is literature at its finest.
Heart of Ice ($3.99 Kindle, B&N), the third novel in the Triple Threat series by Lis Wiehl, is the Nook Daily Find, price matched on Kindle, where you can also pick up the companion audiobook for $4.99.Book Description
Elizabeth Avery could easily be the girl next door. But what she has planned will make your blood run cold.
At first glance, the crimes appear random. Arson. Theft. Fraud. Murder. But these are more than random crimes. They’re moves in an increasingly deadly game. And the one element they have in common: a woman who is gorgeous, clever . . . and lethal.
Elizabeth Avery has a winsome smile and flawless figure, but underneath is a heart of ice. She’s a master manipulator, convincing strangers to do the unthinkable. And she orchestrates it all without getting too close. Until now.
When Elizabeth ruthlessly disposes of an inquisitive young reporter, her crime catches the attention of Federal Prosecutor Allison Pierce, FBI Special Agent Nicole Hedges, and crime reporter Cassidy Shaw. They know they’re dealing with a cold-blooded murderer who could strike at any time. What they don’t know is that they’re already on a first-name basis with the killer.
And one of them may be next on her list.
Today's Kindle Teen Daily Deal is Stolen ($1.99), by Vivian Vande Velde.Book Description
The same day that the villagers of Thornstowe finally hunt down a witch with a reputation for stealing children, a 12-year-old appears in the woods with no memory of her past. Is there a connection between Isabelle, the girl who doesn’t know who she is, and the girl the witch stole six years earlier? One of the few things Isabelle remembers is a chant that keeps running through her head:
Old as dirt,
dirty as dirt.
Ugly as sin,
mean as sin.
Don’t let the old witch catch you!
Could Isabelle have been stolen by the old witch of the woods, or has she lost her memory as the result of an accident? And what about the baby the witch stole right before the villagers attacked? Did either the witch or the baby survive the fire the villagers set?
"Isabelle heard no sound beyond the faintest shivering of leaves in a gentle breeze. No sound of pursuit. But surely something was wrong, or she would know who and where she was. So she resumed running. But it wasn’t as effortless as before. Her worry weighed her down as she tried to list the things she knew—and found the list of things she didn't know longer by far."
Grade Level: 5th and up
Today's Kindle Daily Deal is 14 Kurt Vonnegut Books for $1.99 apiece, all RosettaBooks editions. I planned to fill in my library with this sale, but found I had all but one of them, already. I also picked up Sucker's Portfolio last night (good timing, right?), a collection of his previously unpublished writing that is being released in serial form ($2.99).Welcome to the Monkey House
This short-story collection Welcome to the Monkey House (1968) incorporates almost completely Vonnegut's 1961 "Canary in a Cathouse," which appeared within a few months of Slaughterhouse-Five and capitalized upon that breakthrough novel and the enormous attention it suddenly brought.God Bless You, Mr. Rosewater
Drawn from both specialized science fiction magazines and the big-circulation general magazines (Saturday Evening Post, Colliers, etc.) which Vonnegut had been one of the few science writers to sell, the collection includes some of his most accomplished work. The title story may be his most famous--a diabolical government asserts control through compulsory technology removing orgasm from sex--but Vonnegut's bitterness and wit, not in his earlier work as poisonous or unshielded as it later became, is well demonstrated.
Two early stories from Galaxy science fiction magazine and one from Fantasy & Science Fiction (the famous "Harrison Bergeron") show Vonnegut's careful command of a genre about which he was always ambivalent, stories like "More Stately Mansions" or "The Foster Portfolio" the confines and formula of a popular fiction of which he was always suspicious. Vonnegut's affection for humanity and bewilderment as its corruption are manifest in these early works.
Several of these stories (those which appeared in Collier's) were commissioned by Vonnegut’s Cornell classmate and great supporter Knox Burger, also born in 1922.
Bluebeard
God Bless You, Mr. Rosewater is a comic masterpice. Eliot Rosewater, drunk, volunteer fireman, and president of the fabulously rich Rosewater foundation, is about to attempt a noble experiment with human nature... with a little help from writer Kilgore Trout. The result is Vonnegut's funniest satire, an etched-in-acid portrayal of the greed, hypocrisy, and follies of the flesh we are all heir to.
Bluebeard, published in 1987, is Vonnegut's meditation on art, artists, surrealism, and disaster. Meet Rabo Karabekian, a moderately successful surrealist painter, who we meet late in life and see struggling (like all of Vonnegut's key characters), with the dregs of unresolved pain and the consequences of brutality. Loosely based on the legend of Bluebeard (best realized in Bela Bartok's one-act opera), the novel follows Karabekian through the last events in his life that is heavy with women, painting, artistic ambition, artistic fraudulence, and as of yet unknown consequence.Galapagos
Vonnegut's intention here is not so much satirical (although the contemporary art scene would be easy enough to deconstruct), nor is it documentary (although Karabekian does carry elements of Jackson Pollock and Mark Rothko). Instead, Vonnegut is using art for the same purpose he used science fiction cliches in Slaughterhouse-Five; as a filter through which he can illuminate the savagery, cruelty, and the essentially comic misdirection of human existence.
Readers will recognize familiar Vonnegut character types and archetypes as they drift in and out through the background; meanwhile, Karabekian, betrayed and betrayer, sinks through a bottomless haze of recollection. Like most of Vonnegut's late works, this is both science fiction and cruel contemporary realism at once, using science fiction as metaphor for human damage as well as failure to perceive. Readers will find that Vonnegut's protagonists can never really clarify for us whether they are ultimately unwitting victims or simple barbarians, leaving it up to the reader to determine in which genre this book really fits, if any at all.
Vonnegut was in his early sixties and his career, still successful, drawing toward a kind of bitter summation when Galapagos (1985) was published. His early work with its unequivocal statement of absurdity and hopelessness was now almost four decades behind when he completed this meditation on Darwinism, fate and the essential irrelevance of the human condition.Deadeye Dick
Humanity has in the millions of years after inevitable holocaust and exile transmogrified into a race of not-quite-human seals on Darwin's Galapagos Islands. Leon Trotsky Trout, the son of Vonnegut's wretched familiar character Kilgore Trout, watches and broods over his no-longer-human descendants who have made natural selection a matter of debased survivalism.
Using a device common in his novels after Slaughterhouse-Five, the material is presented in the form of a transcript or memoir; Trout unhappily witnesses a sad outcome which may nonetheless represent the best of all human possibilities. Trout's father Kilgore, in ghostly form, remains in communication, urging his son to cease observing and exit, but Leon will not take the opportunity, feeling linked to the pathetic, morphed shards of humanity who remain on the Islands. Whether the survival of the seals constitutes human survival, whether Kilgore and his son are imaginary fragments of evolutionary decay lurk as questions beneath a sequence of events which show Vonnegut trapped in the Age of Reagan.
Vonnegut is trying to see through (rather than to shape) his material; the theme of the novel represents a kind of apotheosis and never has Vonnegut's ambiguous despair been more clearly revealed or more clearly made the engine of his narrative.
Rudy Waltz (aka “Deadeye Dick”) is the lead in this latter day Vonnegut novel. Waltz, our protagonist, moves through the book trying to make sense of a life that is rife with disaster; there is a double murder, a fatal dose of radioactivity, a decapitation, the total annihilation of a city by nuclear holocaust and, believe it or not, more. Waltz, a diarist, becomes symbolic of a person living a fraught post-technological life in which frailty is as likely to be a person's undoing as any bomb.Jailbird
Waltz finally reaches the point of resignation; a realization and understanding that there are things that are just beyond our control and understanding that make all human motive, ambition, and circumstance absolutely irrelevant. Waltz's search for meaning leads him ultimately to a kind of resignation which ought not be confused with understanding of any kind, for it is not. It is simple resignation.
It is this theme of Vonnegut's--the impossibility of trying to live meaningfully in a meaningless world--that is ultimately central to this novel. Rudy Waltz (like some of Vonnegut's other protagonists, Billy Pilgrim or Howard Campbell) is ultimately only a stand-in for Vonnegut himself who is really narrating for us as the lead witness and character here--the philosopher who is telling us why and what for.
Walter Starbuck, a career humanist and eventual low-level aide in the Nixon White House, is implicated in Watergate and jailed, after which he (like Howard Campbell in Mother Night) works on his memoirs. Starbuck is innocent (his office was used as a base for the Watergate shenanigans of which he had no knowledge) and yet he is not innocent (he has collaborated with power unquestioningly served societal order all his life). In that sense, Starbuck is a generic Vonnegut protagonist, an individual compromised by the essential lack of interior.Mother Night
Jailbird (1979) uses the format of the memoir to retrospectively trace Starbuck's uneven, centerless and purposeless odyssey in or out of the offices of power. He represents another Vonnegut Everyman caught amongst forces which he neither understands nor can defend. Written in the aftermath of Watergate, Jailbird is, of course, an attempt to order those catastrophic events and to find some rationale or meaningful outcome, and, as is usually the case with Vonnegut's pyrotechnics, there is no easy answer or perhaps there is no answer at all.
Starbuck (his name an Americanized version of his long, foreign birth name), in his profound ambiguity and ambivalence, may himself constitute an explanation for Watergate, a series of whose consequences have not, almost forty years later, been fully assimilated or understood. The Nixon who passes across the panorama of Jailbird is no more or less ambiguous than Starbuck himself--a man without qualities whose overwhelming quality is one of imposition.
Best known now by the 1996 Nick Nolte film of the same title, Mother Night (1961) is a dazzling narrative of false, shifting identity. The story tells of the odyssey of Howard Campbell, Jr., the book's protagonist, and is a paradigm of shifting loyalties, ambiguous commitment, and tales of personal compromise. Campbell is an American emigre in Germany at the time of Hitler's ascension; he is married to a German, his relations with the Nazi regime are excellent, and he agrees to spy for them and to become a broadcaster for the regime; but then, increasingly disaffected, Campbell becomes a double agent, then perhaps a triple agent, sending coded messages to the Allies.Bagombo Snuff Box
After the War, he is tried for war crimes but is exonerated. The novel is written in memoir format from the point of view of the exiled Campbell, who, indifferent to outcome, plots suicide.
Here is a moral tale without a moral, or perhaps, according to Vonnegut, a tale with several morals. Vonnegut, a science fiction writer in his early career, knew the science fiction community very well, and it is more or less accepted that the conflicted and indecipherable Howard Campbell is modeled upon John W. Campbell, Jr. (1910-1971), the great editor of Astounding and Analog whose decades long rightward drift led him to endorse George Wallace in 1968.
Here, Kurt Vonnegut's final short story collection--Bagombo Snuff Box (1999)--we have combined early and rather more obscure stories which had not appeared earlier. Drawn largely from the 1950s and the slick magazine markets which Vonnegut had from the beginning of his career in the postwar period demonstrated an uncanny ability to sell, these stories show clearly that Vonnegut found his central themes early on as a writer. More, he had been able to place stories in great consumer magazines like Colliers (that his good friend and college classmate Knox Burger was editing Colliers during this time was perhaps no small factor in Vonnegut's success). There were only a handful of science fiction writers of Vonnegut's generation who were able to sell in such a broad manner outside of the genre during the '50s, but it was this success that allowed Vonnegut the consistent denial that he was not a science fiction writer at all.Timequake
Vonnegut's themes--folly, hypocrisy, misunderstanding--cycle through these stories although with perhaps somewhat less bitterness than what had come before. Even through the screen or scrim of magazine taboos, Vonnegut's voice is singular, infused by disaffection and wit. Most of Vonnegut's characters stagger through the plot full of misapprehension, cowardice, and self-delusion. In ""Thanasphere,"" the achievement of space travel becomes a means of communicating with the dead (and for that reason the project is abandoned). In ""Mnemonics,"" a forgetful protagonist is given a drug that prompts him to remember everything with the exception of an unrequited crush. This late collection of Vonnegut's work clearly shows the unifying themes of his work, which were present from the very outset, among them, his very despair.
Timequake (1997) exists in two conjoined versions ("Timequake One"/"Timequake Two") and in meta-fictional mode is a novel about a novel, composed in short, arbitrary chapters and using its large cast of characters and disoriented chronology to mimic the "timequake" which is its subject. Some cosmic upheaval has hurled the entire population a decade back where, in full consciousness (but helplessly entrapped) everyone’s pitiable and embarrassing mistakes are helplessly enacted again.Slapstick
By this stage of his life--he was 72 the year the novel was published--Vonnegut was still wearing his luminescent bells and Harlequin's cape, but these had become dusty and the cape no longer fitted. Vonnegut’s exasperation and sense of futility could no longer be concealed or shaped, and this novel is a laboratory of technique (deliberately) gone wrong, a study of breakdown.
Vonnegut had never shown much hope in his work for human destiny or occupation; the naive optimism of Eliot Rosewater in God Bless You, Mr. Rosewater had in the damaged veteran Billy Pilgrim of Slaughterhouse-Five become a naive fantasy of escape to a sexual heaven. In the nihilism of Timequake, the only escape is re-enactment, but re-enactment has lost hope and force.
This is no Groundhog Day in which Vonnegut traps his various refugees (many escaped from his earlier works) but a hell of lost possibility. The temporal timequake of the title is the actual spiritual fracture of the 20th century, and in his 73rd year Vonnegut envisions no hope, not even the hollow diversions of Slapstick. Vonnegut’s imaginative journey, closely tracked by his work, is one of the most intriguing for any American writer of the twentieth century.
Perhaps the most autobiographical (and deliberately least disciplined) of Vonnegut's novels, Slapstick (1976) is in the form of a broken family odyssey and is surely a demonstration of its eponymous title. The story centers on brother and sister twins, children of Wilbur Swain, who are in sympathetic and (possibly) telepathic communication and who represent Vonnegut's relationship with his own sister who died young of cancer almost two decades before the book’s publication.Player Piano
Vonnegut dedicated this to Stan Laurel and Oliver Hardy. Like their films and routines, this novel is an exercise in non-sequentiality and in the bizarre while using those devices to expose larger and terrible truths. The twins exemplify to Swain a kind of universal love; he campaigns for it while troops of technologically miniaturized Chinese are launched upon America. Love and carnage intersect in a novel contrived to combine credibility and common observation; critics could sense Vonnegut deliberately flouting narrative constraint or imperative in an attempt to destroy the very idea of the novel he was writing.
Slapstick becomes both product and commentary, event and self-criticism; an early and influential example of contemporary "metafiction." Vonnegut's tragic life--like the tragic lives of Laurel, Hardy, Buster Keaten and other exemplars of slapstick comedy--is the true center of a work whose cynicism overlays a trustfulness and sense of loss which are perhaps deeper and truer than expressed in any of Vonnegut's earlier or later works. Slapstick is a clear demonstration of the profound alliance of comedy and tragedy which, when Vonnegut is working close to his true sensibility, become indistinguishable.
Vonnegut's first novel, an unforgiving portrait of an automated and totalitarian future, was published in 1952. A human revolt against the machines which control life was arranged by the machines themselves to prove the futility of such resistance. Visionary and unrelenting, this is felt by some critics to be Vonnegut's best and most original novel.Palm Sunday
Vonnegut was a memorable novelist, but this work is, though memorable, entirely something else: Vonnegut has assembled some powerful and disturbing confessional essays which take the curtain between writer and novelistic material aside, and in some pieces like the "Self Interview" published in The Paris Review no. 69 or the audacious 1972 short story, "The Big Space F***," Vonnegut has produced material as potent and disturbing as any of his novels.Hocus Pocus
There are political speeches and endorsements ("Dear Mr. McCarthy"), blistering self-evaluation ("I Am Embarrassed") and the kind of consideration of contemporaries (the review of "Something Happened") which function as direct testimony. Even when writing in occasional mode, Vonnegut was unable to escape a sense of occasion, and perhaps no modern collection has been as painfully self-exposed as this by a writer who of course was always self-exposed, a writer who made Delmore Schwartz's "wound of consciousness" his true text.
Palm Sunday (1981) can best be described as an "occasional book", the kind of potpourri which a successful (or not so successful) novelist would drop in-between books. Usually, though by no means always, a short story collection, the occasional work is meant to keep the writer's name (and work) before the public during a fallow time. The work in it is assembled from magazine publications or journalistic pieces and although regarded as secondary, it has proven in the cases like those of A.J. Liebling or Dorothy Parker to be the exemplary testimony of the writer. This is not the case here.
Eugene Debs Hartke (named after the famous early 20th century Socialist working class leader) describes an odyssey from college professor to prison inmate to prison warden back again to prisoner in another of Vonnegut's bitter satirical explorations of how and where (and why) the American dream begins to die. Employing his characteristic narrative device--a retrospective diary in which the protagonist retraces his life at its end, a desperate and disconnected series of events here in Hocus Pocus show Vonnegut with his mask off and his rhetorical devices unshielded.Fates Worse Than Death
Debs (and Vonnegut) see academia just as imprisoning as the corrupt penal system and they regard politics as the furnishing and marketing of lies. Debs, already disillusioned by circumstance, quickly tracks his way toward resignation and then fury. As warden and prisoner, Debs (and the reader) come to understand that the roles are interchangeable; as a professor jailed for "radical" statements in the classroom reported by a reactionary student, he comes to see the folly of all regulation. The "hocus pocus" of the novel's title does not describe only the jolting reversals and seemingly motiveless circumstance which attend Debs' disillusion and suffering, but also describe the political, social, and economic system of a country built upon can't, and upon the franchising of lies.
At 68, Vonnegut had not only abandoned the sentiment and cracked optimism manifest in Slaughterhouse-Five, he had abandoned any belief in the system or faith for its recovery. This novel is another in a long series of farewells to the farmland funeral rites of childhood.
Kurt Vonnegut presents in Fates Worse than Death a veritable cornucopia of Vonnegut's thought on what could best be summed up as perhaps "anti-theology", a manifesto for atheism that details Vonnegut's drift from conventional religion, even a tract evidencing belief in the divine held within each individual self; the Deity within each individual person present in a universe that otherwise lacks any real order.
Vonnegut was never a real optimist and with just cause: he had an incredibly difficult life (he had been a prisoner of war from which he drew the title for his book Slaughterhouse-Five) and suffered from failing health, which only showed him his own mortality even more than he already knew it. Still, most readers find that in the body of Vonnegut's work there is still a glimmer of desperate hope. Vonnegut's continued search for meaning surely counts for a great deal as he balances hope and despair.
Scholars and fans can read about Vonnegut’s experiences during World War II and the after-effect he felt it had on him. His religious (or anti-religious) ramblings and notations are interesting and, by turns, funny and perceptive. The humor may be dark, but that does not make it any the less funny.
ABOUT THE AUTHOR
Kurt Vonnegut (1922-2007) is one of the most beloved American writers of the twentieth century. Vonnegut's audience increased steadily since his first five pieces in the 1950s and grew from there. His 1968 novel Slaughterhouse-Five has become a canonic war novel with Joseph Heller's Catch-22 to form the truest and darkest of what came from World War II.
Vonnegut began his career as a science fiction writer, and his early novels--Player Piano and The Sirens of Titan--were categorized as such even as they appealed to an audience far beyond the reach of the category. In the 1960s, Vonnegut became closely associated with the Baby Boomer generation, a writer on that side, so to speak.
Now that Vonnegut's work has been studied as a large body of work, it has been more deeply understood and unified. There is a consistency to his satirical insight, humor and anger which makes his work so synergistic. It seems clear that the more of Vonnegut's work you read, the more it resonates and the more you wish to read. Scholars believe that Vonnegut's reputation (like Mark Twain's) will grow steadily through the decades as his work continues to increase in relevance and new connections are formed, new insights made.
ABOUT THE SERIES
Author Kurt Vonnegut is considered by most to be one of the most important writers of the twentieth century. His books Slaughterhouse-Five (named after Vonnegut's World War II POW experience) and Cat's Cradle are considered among his top works. RosettaBooks offers here a complete range of Vonnegut's work, including his first novel (Player Piano, 1952) for readers familiar with Vonnegut's work as well as newcomers.
