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Look at the Birdie is a collection of fourteen previously unpublished short stories from one of the most original writers in all of American fiction. In this series of perfectly rendered vignettes, written just as he was starting to find his comic voice, Kurt Vonnegut paints a warm, wise, and funny portrait of life in post—World War II America–a world where squabbling couples, high school geniuses, misfit office workers, and small-town lotharios struggle to adapt to changing technology, moral ambiguity, and unprecedented affluence.
Here are tales both cautionary and hopeful, each brimming with Vonnegut's trademark humor and profound humanism. A family learns the downside of confiding their deepest secrets into a magical invention. A man finds himself in a Kafkaesque world of trouble after he runs afoul of the shady underworld boss who calls the shots in an upstate New York town. A quack psychiatrist turned "murder counselor" concocts a novel new outlet for his paranoid patients. While these stories reflect the anxieties of the postwar era that Vonnegut was so adept at capturing– and provide insight into the development of his early style–collectively, they have a timeless quality that makes them just as relevant today as when they were written. It's impossible to imagine any of these pieces flowing from the pen of another writer; each in its own way is unmistakably, quintessentially Vonnegut.
Featuring a Foreword by author and longtime Vonnegut confidant Sidney Offit and illustrated with Vonnegut' s characteristically insouciant line drawings, Look at the Birdie is an unexpected gift for readers who thought his unique voice hadbeen stilled forever–and serves as a terrific introduction to his short fiction for anyone who has yet to experience his genius.
Read "Hello, Red" and "The Petrified Ants," two of the stories from the collection, as single-story e-books before Look at the Birdie goes on sale. Available wherever e-books are sold.
The 14 stories in Look at the Birdie, none of them afraid to entertain, dabble in whodunnitry, science fiction and commanding fables of good versus evil. Why these stories went unpublished is hard to answer. They're polished, they're relentlessly fun to read, and every last one of them comes to a neat and satisfying end. For transmittal of moral instruction, they are incredibly efficient delivery devices…The most surprising thing about nearly all of these stories is how simple and straightforward they are. Vonnegut loved a good surprise ending, considered it an elementary virtue of storytellingbut most of the endings in Look at the Birdie are startling because they're straight-up happy.
More Reviews and RecommendationsKurt Vonnegut was forever established in the literary pantheon and on the school syllabus with the publication of his brilliant antiwar novel Slaughterhouse-Five, but he endured as a purveyor of mind-warping, surreal fiction that just so happened to be funny.
More About the AuthorName:
Kurt Vonnegut
Date of Birth:
November 11, 1922
Place of Birth:
Indianapolis, Indiana
Date of Death
April 11, 2007
Place of Death
New York, New York
Education:
Cornell University, 1940-42; Carnegie-Mellon University, 1943; University of Chicago, 1945-47; M.A., 1971
Born in 1922, Vonnegut grew up in Indianapolis, Indiana. His architect father suffered great financial setbacks during the Depression and was unemployed for long stretches of time. His mother suffered from mental illness and eventually committed suicide in 1944, a trauma that haunted Vonnegut all his life. He attended Cornell in the early 1940s, but quit in order to enlist in the Army during WWII.
Vonnegut was shipped to Europe, fought in the Battle of the Bulge, and was captured behind enemy lines and incarcerated in a German prison camp. As a POW, he witnessed the firebombing of Dresden by Allied forces, an event of devastating magnitude that left an indelible impression on the young soldier.
After the war, Vonnegut returned home and married his high school sweetheart. In addition to two daughters and a son of their own, he and his first wife adopted three children orphaned in 1958 by the death of Vonnegut's sister Alice. (He and his second wife adopted another daughter.) The family lived in Chicago and Schenectady before settling in Cape Cod, where Vonnegut began to concentrate seriously on his writing. His first novel, the darkly dystopian Player Piano, was published in 1952 and met with moderate success. Three additional novels followed (including the critically acclaimed Cat's Cradle), but it was not until the publication of 1969's Slaughterhouse Five that Vonnegut achieved true literary stardom. Based on the author's wartime experiences in Dresden, the novel resonated powerfully in the social upheaval of the Vietnam era.
Although he is best known for his novels (a genre-blending mix of social satire, science fiction, surrealism, and black comedy), Vonnegut also wrote short fiction, essays, and plays (the best known of which was Happy Birthday, Wanda June). In addition, he was a talented graphic artist who illustrated many of his books and exhibited sporadically during his literary career. He died on April 11, 2007, after suffering irreversible brain injuries as a result of a fall.
Look at the Birdie is a collection of fourteen previously unpublished short stories from one of the most original writers in all of American fiction. In this series of perfectly rendered vignettes, written just as he was starting to find his comic voice, Kurt Vonnegut paints a warm, wise, and funny portrait of life in post—World War II America–a world where squabbling couples, high school geniuses, misfit office workers, and small-town lotharios struggle to adapt to changing technology, moral ambiguity, and unprecedented affluence.
Here are tales both cautionary and hopeful, each brimming with Vonnegut's trademark humor and profound humanism. A family learns the downside of confiding their deepest secrets into a magical invention. A man finds himself in a Kafkaesque world of trouble after he runs afoul of the shady underworld boss who calls the shots in an upstate New York town. A quack psychiatrist turned "murder counselor" concocts a novel new outlet for his paranoid patients. While these stories reflect the anxieties of the postwar era that Vonnegut was so adept at capturing– and provide insight into the development of his early style–collectively, they have a timeless quality that makes them just as relevant today as when they were written. It's impossible to imagine any of these pieces flowing from the pen of another writer; each in its own way is unmistakably, quintessentially Vonnegut.
Featuring a Foreword by author and longtime Vonnegut confidant Sidney Offit and illustrated with Vonnegut' s characteristically insouciant line drawings, Look at the Birdie is an unexpected gift for readers who thought his unique voice hadbeen stilled forever–and serves as a terrific introduction to his short fiction for anyone who has yet to experience his genius.
Read "Hello, Red" and "The Petrified Ants," two of the stories from the collection, as single-story e-books before Look at the Birdie goes on sale. Available wherever e-books are sold.
The 14 stories in Look at the Birdie, none of them afraid to entertain, dabble in whodunnitry, science fiction and commanding fables of good versus evil. Why these stories went unpublished is hard to answer. They're polished, they're relentlessly fun to read, and every last one of them comes to a neat and satisfying end. For transmittal of moral instruction, they are incredibly efficient delivery devices…The most surprising thing about nearly all of these stories is how simple and straightforward they are. Vonnegut loved a good surprise ending, considered it an elementary virtue of storytellingbut most of the endings in Look at the Birdie are startling because they're straight-up happy.
This collection of unpublished fiction sheds light on Vonnegut's early writing, but fails to measure up to the rest of his formidable oeuvre. The stories are brief, vividly imagined and sometimes carry a science-fictional twist with a moral (of sorts), not unlike “Harrison Bergeron.” In “Confido,” for instance, an inventor manufactures a device that whispers to its users everything they want to hear, with special emphasis on their worst desires and suspicions, while the title story describes an interaction at a bar between a disgruntled man and a self-styled “murder counselor” who has come up with an ingenious method for killing people. Sidney Offit, Vonnegut's longtime friend, notes in an introduction that it's possible these stories went unpublished because they didn't satisfy the author. To be sure, they lack the polish and humor of the author's best-known work. Nevertheless, for devotees, they provide an instructive view of Vonnegut's talent in the making. (Nov.)
This is the third collection of Vonnegut's early work, following Bagombo Snuff Box (1999) and Armageddon in Retrospect (2008). Most of the stories are typical examples of late 1950s black humor. "Confido" is an audio device that whispers a bitchy commentary on the shortcomings of the owner's real friends, like an inner Joan Rivers. In "Fubar," a marginalized office worker's life is upended by a new secretary from the Girl Pool. In "Hall of Mirrors," two detectives match wits with a hypnotist suspected of murder. All of the stories feel dated, and reading them is similar to watching reruns of old black-and-white TV shows. Vonnegut's America is almost unrecognizable: low tech, mostly blue collar, but with an underlying weirdness, as in Philip K. Dick's work from the same period. But the voice is clearly Vonnegut's (as are the illustrations), and that should be enough to win over fans. VERDICT These early stories lack the polish of Vonnegut's classic novels but track the development of his hugely influential mix of sf and black humor. Important for fans, but first-time readers should start with the better-known titles. [See Prepub Alert, LJ 7/09.]—Edward B. St. John, Loyola Law Sch. Lib., Los Angeles
Early, unpublished work from the much-lauded and much-loved American writer. The foreword by his friend Sidney Offit portrays Vonnegut (1922-2007) as being in his private life very much like the man we know from his fiction: a gimlet-eyed, cantankerous, but always openhearted observer of the human condition. Readers will discover traces of that Vonnegut here. In "Shout About It from the Housetops," a traveling salesman who finds himself in the middle of an embattled couple's marital drama thinks, "I was sure now that both the husband and wife were crazy, and that, if there were any children, the children would be crazy as bedbugs, too. There obviously wasn't anybody around who could be counted on to make regular payments on storm windows." These words capture both the character and the callous earnestness of a low-level capitalist. It's also clear that Vonnegut's gift for believably absurd monikers emerged early; anyone who admires the singular genius of the name Kilgore Trout will likely appreciate Fuzz Littler and K. Hollomon Weems. But despite the occasional flickers of brilliance, the collection as a whole is not very good. Offit mentions O. Henry in his foreword, but The Twilight Zone would be a more apt comparison; the stories' unvarying structure-setup followed by shocking twist-is strikingly similar to that of the TV show. Though obviously of value to anyone interested in Vonnegut's artistic development, this edition suffers from a lack of context. The pieces are not dated, nor are we told whether they went unpublished because they were rejected or because the author was dissatisfied with them. For ultra-committed fans and Vonnegut scholars only.
Foreword Sidney Offit Offit, Sidney
Letter from Kurt Vonnegut, Jr., to Walter J. Miller, 1951 3
Confido 7
Fubar 21
Shout About It from the Housetops 37
Ed Luby's Key Club 51
A Song for Selma 103
Hall of Mirrors 121
The Nice Little People 139
Hello, Red 151
Little Drops of Water 167
The Petrified Ants 185
The Honor of a Newsboy 203
Look at the Birdie 213
King and Queen of the Universe 221
The Good Explainer 241
Illustrations 253
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