{"id":100769,"date":"2016-07-25T11:55:34","date_gmt":"2016-07-25T15:55:34","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=100769"},"modified":"2016-07-25T12:35:20","modified_gmt":"2016-07-25T16:35:20","slug":"kurt-vonnegut-slaughterhouse-five","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/07\/25\/kurt-vonnegut-slaughterhouse-five\/","title":{"rendered":"Kurt Vonnegut, Slaughterhouse-Five<\/i>"},"content":{"rendered":"

Longtime readers of the<\/em>\u00a0Daily will remember\u00a0Matteo Pericoli\u2019s Windows on the World project<\/a>, which featured his pen-and-ink drawings of the views from writers\u2019 windows around the world.\u00a0Matteo is also the founder of the\u00a0Laboratory of Literary Architecture<\/a>,\u00a0an interdisciplinary project that looks at fiction through the lens of architecture<\/a>,\u00a0designing and building stories\u00a0as architectural projects. In this new series, Matteo shares some of his designs and what they reveal about the stories they\u2019re modeled on.<\/em><\/p>\n

\"\"<\/a><\/p>\n

How can a horrific event, so monstrous it seems incomprehensible, be told? How does one even find the words to write about it? In the opening chapter of Slaughterhouse-Five<\/i>, Kurt Vonnegut recounts his being unable to write a war book about the Dresden firebombing (February 13\u201315, 1945), which he survived: \u201cthere is nothing intelligent to tell about a massacre.\u201d\u00a0<\/p>\n

That \u201cfailure\u201d carries a weight. The over-five-thousand pages he had previously written are abandoned like a block of stone\u2014history that cannot be told. But as soon as he abandons the idea of a linear and faithful historical reconstruction, Vonnegut frees himself from the huge weight, disconnects himself from the event, and takes off. \u201cThe next [book] I write is going to be fun.\u201d<\/p>\n

Two lines later and \u201cthe next book\u201d <\/i>begins: it tells the surreal story of Billy Pilgrim, a young man who lives \u201cunstuck\u201d from chronological time (his life events, whether far apart or close, interconnect in a perennial present), who connects with an alien civilization, and relives the Dresden bombings which he, just like Vonnegut, survived. Vonnegut also tells us how this new book will start\u2014\u201cListen: Billy Pilgrim has come unstuck in time\u201d\u2014and how it will end\u2014\u201cPoo-tee-weet?\u201d<\/p>\n

Within Billy\u2019s absurd story, we find many references to the historical and personal events Vonnegut mentioned in the beginning; we even meet the writer who, like a movie extra, appears here and there as a casual supporting element. \u201cThat was I. That was me.\u201d<\/p>\n

The structure of Billy\u2019s imaginary and unhinged narrative leap must therefore lie upon (and rise from) the horrific weight of the unspeakable event. It must also contain points of contact between the unreal and the submerged stories. The stone foundation is as impenetrable as the idea of the Dresden bombing and it weighs on the landscape like all his years of research, memories, and attempts to understand the roots of such cruelty.<\/p>\n

Billy Pilgrim\u2019s story is instead a light, glass, and steel structure with its own geometry disconnected from that of the base, and with intersecting fragmentary volumes. A glass and steel cloud, suspended but properly anchored and supported by fin walls made of the same material as the base.<\/p>\n

Once inside the cloud, we notice that there is order. Like Billy and Vonnegut\u2019s aliens\u2014who both perceive different events in time as nonchronological points in space\u2014we visitors also understand that the fragmented spaces actually interpenetrate and that each event\/space corresponds to another. Like Billy\u2019s perception of time, space in the suspended structure is not linear. As we wander searching for order or meaning, we realize that every spatial instance contains the whole, the always.<\/p>\n

\"\"<\/a><\/p>\n

In collaboration with Giuseppe Franco.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Longtime readers of the\u00a0Daily will remember\u00a0Matteo Pericoli\u2019s Windows on the World project, which featured his pen-and-ink drawings of the views from writers\u2019 windows around the world.\u00a0Matteo is also the founder of the\u00a0Laboratory of Literary Architecture,\u00a0an interdisciplinary project that looks at fiction through the lens of architecture,\u00a0designing and building stories\u00a0as architectural projects. In this new series, […]<\/p>\n","protected":false},"author":272,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[22546],"tags":[21331,14359,12976,2861,3020,15329,22550,452,13134,5737],"class_list":["post-100769","post","type-post","status-publish","format-standard","hentry","category-literary-architecture","tag-blueprints","tag-buildings","tag-drawings","tag-history","tag-kurt-vonnegut","tag-laboratory-of-literary-architecture","tag-literary-architecture","tag-matteo-pericoli","tag-sketches","tag-slaughterhouse-five"],"acf":[],"yoast_head":"\nWhat Does \u201cSlaugherhouse-Five\u201d Look Like as a Building?<\/title>\n<meta name=\"description\" content=\"Matteo Pericoli\u2019s new Literary Architecture series looks at fiction through the lens of architecture, designing and building stories as architectural projects.\" \/>\n<meta name=\"robots\" content=\"index, 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