Kurt Vonnegut quer\u00eda escribir una novela sobre la guerra. Pero ten\u00eda dos problemas. El primero, que le hac\u00eda volver a lo que \u00e9l hab\u00eda sufrido: sobrevivi\u00f3 al bombardeo de Dresde, el m\u00e1s cruento de la Segunda Guerra Mundial, y fue hecho prisionero de guerra. El segundo, que le daba pavor que llevasen la historia al cine (como le advirti\u00f3 que pasar\u00eda una buena amiga suya) y la interpretase una gran estrella, un actor muy machote, y los ni\u00f1os quisiesen ir tambi\u00e9n a la guerra y las guerras no se acabaran nunca.
\nPero escribi\u00f3 esa novela, y se prometi\u00f3 que ser\u00eda distinta a todas las dem\u00e1s. Que hablar\u00eda de \u00abla cruzada de los ni\u00f1os\u00bb. Y que en ella habr\u00eda miedo y risa y viajes en el tiempo y ternura y estupor y sorpresa y fragilidad.
\nY esa novela se convirti\u00f3 en la gran novela antib\u00e9lica de todos los tiempos. En el emblema de la contracultura de los sesenta. En uno de los mayores cl\u00e1sicos de la narrativa estadounidense. En este libro que ahora sostiene el lector, en el que late el coraz\u00f3n asustado y risue\u00f1o de Vonnegut dentro de un b\u00fanker bombardeado y tambi\u00e9n la promesa infantil (y bonita) de que no habr\u00e1 m\u00e1s guerras.
\nENGLISH DESCRIPTIONSlaughterhouse-Five, an American classic, is one of the world\u2019s great antiwar books. Centering on the infamous World War II firebombing of Dresden, the novel is the result of what Kurt Vonnegut described as a twenty-three-year struggle to write a book about what he had witnessed as an American prisoner of war. It combines historical fiction, science fiction, autobiography, and satire in an account of the life of Billy Pilgrim, a barber\u2019s son turned draftee turned optometrist turned alien abductee. As Vonnegut had, Billy experiences the destruction of Dresden as a POW. Unlike Vonnegut, he experiences time travel, or coming \u201cunstuck in time.\u201dAn instant bestseller, Slaughterhouse-Five made Kurt Vonnegut a cult hero in American literature, a reputation that only strengthened over time, despite his being banned and censored by some libraries and schools for content and language. But it was precisely those elements of Vonnegut\u2019s writing\u2014the political edginess, the genre-bending inventiveness, the frank violence, the transgressive wit\u2014that have inspired generations of readers not just to look differently at the world around them but to find the confidence to say something about it. Authors as wide-ranging as Norman Mailer, John Irving, Michael Crichton, Tim O\u2019Brien, Margaret Atwood, Elizabeth Strout, David Sedaris, Jennifer Egan, and J. K. Rowling have all found inspiration in Vonnegut\u2019s words. Jonathan Safran Foer has described Vonnegut as \u201cthe kind of writer who made people\u2014young people especially\u2014want to write.\u201d George Saunders has declared Vonnegut to be \u201cthe great, urgent, passionate American writer of our century, who offers us . . . a model of the kind of compassionate thinking that might yet save us from ourselves.\u201dFifty years after its initial publication at the height of the Vietnam War, Vonnegut’s portrayal of political disillusionment, PTSD, and postwar anxiety feels as relevant, darkly humorous, and profoundly affecting as ever, an enduring beacon through our own era\u2019s uncertainties.
\n\u201cPoignant and hilarious, threaded with compassion and, behind everything, the cataract of a thundering moral statement.\u201d\u2014The Boston Globe<\/p>\n","protected":false},"excerpt":{"rendered":"
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