Artificial Family Units in America:
Vonnegut’s Philosophy on Interdependence and Relationships
by Lauren Abbott
While on the surface Kurt Vonnegut’s works appear to
singularly contain the pessimistic views of an aging, black
humorist, his underlying meanings reveal a much more
sympathetic and hopeful glimpse of humanity that lends
itself to eventual societal improvement. As part of
Vonnegut’s strategy for enhanced communal welfare, the
satirist details in the course of his works potential
artificial family groups to connect the masses and alleviate
the lonely. Through his science fiction tales of
misinterpreted, downcast protagonists and outrageous
observations of real life, Vonnegut shines a light on
America’s problems, proposing a widespread cooperation of
common decency and interdependence as viable solutions.
Whether or not such notions actually augment the quality of
relations, Vonnegut’s well-reasoned and starkly ironic
scenarios entertain, challenge, and enliven his design for
relational welfare through synthetic families. Throughout
his works Vonnegut’s development of artificial famili es and
expression of common decency between characters helps
illuminate his universal theme of societal interdependence
in family groups and proves that life is only worth living
when individuals support each other.
Throughout his writings, Vonnegut illustrates man’s
necessity of family, whether hereditary or artificial, as
a vital contribution to his survival and healthy intercourse
with society. All relatives, be they naturally procured or
synthetically acquired, possess the unique ability, and
responsibility, to support, contribute to, and inspire his
fellow man, which in turn ultimately appeals to the
betterment of humankind. As the author illustrates in
Timequake, as diverse as individuals may be, so
proportionately diverse must families be also; a family is
not and family values do not entirely consist of a man, his
wife, and their kids fighting against “economic and
technological and ecological and political chaos” (202) in
a Midwest suburban community. Family is where it can be
found. And in spite of any character differences, “it [is]
natural, and therefore almost inevitable” (Slapstick 57) for
individuals to congregate in extended families. In many
cases these families form spontaneously as a result of the
freemasonry shared between persons of similar interest, as
in the companionship one doctor finds with another. Because
common threads, such as profession, tie compellingly
dissimilar persons together, it is possible “to belong to
artificial extended families” (5) claiming members
worldwide. In revealing this particular aspect of
companionship, George Kraft and Howard W. Campbell, Jr. in
Mother Night kindle a friendship encouraged by the absence
of both their wives. Empathetic relations between the two
prove “that human beings in extraordinary and enduring
situations should think themselves as composing new
families” ( Mother Night 57). As exemplified in most other
Vonnegut books, The Iron Guard of the White Sons of the
American Constitution was a naturally forming family group
in Mother Night that catered to the needs of its
participants, filling the voids in their lives from
dysfunctional selves, relatives, and friends. Brought
together by common ideals and interests, as are most groups
of the type, the members supported and helped each other in
improving the individual, as well as the committee as
a whole. Vonnegut cites loneliness as the main cause for the
necessitation of formation of artificial families.
Loneliness, spurned by the dissolution of individuality
– the reality of becoming an “interchangeable [part] in the
American machine” (Slapstick 5) – can only be resolved in
companionship with others. The impersonality of present
America stems from the idea that life is no good because
everyone is either stupid or unloving. Stupidity may be
making life harder on each person, but the true fallacy of
modern society is lovelessness. Vonnegut writes as though
America would be more sincere if a more definite family
atmosphere were implemented that catered to and made each
citizen an absolute necessity to the machine. Desperate to
find their respective places, many citizens such as
Vonnegut’s own Uncle Alex, search for some group that can
disperse the isolation from their lives. Despite a sober
lifestyle, Uncle Alex Vonnegut was active in Alcoholics
Anonymous merely to retain the relationships (Slapstick
10). While loneliness is often the root of artificial family
growth, Vonnegut submits that often the absence or poor
quality of one’s own biological family creates a void that
is only to be filled by a comparable kinship. “In
a hell-hole like America where everybody takes such lousy
care of their own relatives” (Slapstick 132),
dissatisfaction in natural family relations is rampant.
Without close hereditary families to depend on, abandoned
relatives are forced to look elsewhere for comfort and
charity – to reliable relatives of a different sort. Such
artificial extended families are absolutely imperative in
providing “an ideal diet for human spirit” (Timequake 202).
Besides offering support, family systems constitute
a society of structure that allows liberty to exist in
harmony with conformity (Kelly). Much like a square dance
“people dance the same steps, not because they have to, but
because when people move together … it is more pleasing to
the individual” (Kelly) than if he danced alone or out of
time with others. Square dancers conform for their own
satisfaction. For a family utopia to exist, family members
must observe a similar concept of conformity to ensure
pleasure and fulfillment for all. By practicing basic rules
of common decency this is achieved in beautiful proportions.
Only as a member of expansive fami ly groupings can man
truly find his place in society and flourish amongst its
support and companionship. Whereas individuality is often
exalted in contemporary literature, Vonnegut proves, through
philosophic anecdotes and personal examples, that life is
made easier and more enjoyable when artificial family
members are relied upon to provide sustenance and counsel.
Drawing from familiar individuals and past
experiences, Vonnegut relies on his own impression of
families, natural and otherwise, to create plot and relate
his views to the reader audience. Using characters that very
nearly mirror himself, his life, and the lives of his
family, the author illustrates his theories through
incidents that parallel himself and help develop the
nearness of his theme. In Slapstick, Vonnegut’s
autobiographical introduction and basis for characters tie
the author’s message to himself and his own family. Even his
closing words, “Das ende” are a throw back to his German
roots and family heritage (Reed). This method of further
biographical identity makes Vonnegut’s artificial family
theme receive authentic application and exercise in life.
Hailed as Vonnegut’s fictional alter ego, Kilgore Trout, an
elderly, fatalistic science fiction writer, appears in
several novels, exhibiting many typical Vonnegut tendencies
and characteristics. Trout’s lack of family, much like
Vonnegut’s current situation, relegates him to a search for
alternative companionship, found in his pet parakeet, Bill.
Through Trout does Vonnegut market superfluous short stories
and vintage experiences to illuminate and solidify his
message of the importance of family groups. Vonnegut also
uses versions of himself in other writings to further
impress his theme by biographical means, as in Slapstick,
“the closest [he] ever came to writing an autobiography”
(1). Slapstick revolves around a brother-sister duo, much
alike Vonnegut and his late sister, Alice, and reveals the
interdependence between the two, creating a practical
application of family importance in his own life. By
including various elements from his past, Vonnegut hammers
out his views on the necessity of artificial families,
cementing the high esteem he holds his biological family in
and the support he has discovered from others in place of
their absences. In Slaughterhouse-Five and Bluebeard,
Vonnegut uses World War II experiences as basis for
storyline and theme. Using specific cites and incidents from
his war encounters, as in the previous two novels, he models
metaphoric themes after his views on family as he has
observed himself. In Bluebeard, the narrator discusses the
camaraderie shared between artists in his army regiment much
the same as Vonnegut felt about his contemporaries during
the war. Drawing from past events and information, the
author gathers together all previous and current impressions
of family to present a well-rounded mélange of personal
values and family ties that indicate the importance of
supportive relatives.
Whereas love is often equated with successful family
life and relationships, Vonnegut emphasizes that common
decency, rather than love, is the most effective and useful
agent in perfecting relations with others. “A little less
love, and a little more common decency” (Slapstick 3),
according to Vonnegut, is all that is needed to ensure
a near utopian climate when practiced by all members of
a society. As proved by Eliza and Wilbur Swain in Slapstick,
one can survive, and even thrive, in life without being
showered with love from others. To the contrary, the main
characters actually detest and find impractical the
implications and connotations love brings to any
relationship. When common decency is given higher priority
than love in family relationships, the quality and quotient
for success is greatly increased, bettering the entire
situation. Where common decency is practiced, a bond is
automatically formed between parties that creates a unity
resembling family. As most individuals, struggling in their
loneliness, are searching for such compassions from others,
shared common decency offers the much-needed family
environment situation imperative in a profitable society.
Truly family-oriented sentiments are the only things that
connect diverse groups of people and make living worthwhile,
as Vonnegut identifies in Timequake. To him, “what [makes]
being alive almost worthwhile …are “the saints” he meets,
“people behaving unselfishly and capably” (Timequake
239-40). As decency is the only thing that makes the world
better, perhaps family is the only thing worth living for.
In Mother Night, Vonnegut emphasizes this importance of
relying on others as Resi asks, “What is life without
friends?” (151). Perhaps a side effect of man’s evolution as
an individual and as a society is his increasing dependence
on others. Most characters experience a struggle against the
universe which leaves them weak, vulnerable, and dependent
on others. Vonnegut constantly petitions society with the
pervading message that “you’ve got to be kind” (God Bless
You, Mr. Rosewater). Vonnegut illustrates, as in Slapstick,
that this dependence is only successfully achieved in
practicing common decency. Therefore, fruitful relationships
as exhibited in artificial family groups, through treating
members with respect and sincerity, creates a utopian
atmosphere for individuals. Thus does Vonnegut create a web
of interdependence and reliance on others for his
characters; even in the midst of sufferi ng and vile
discomfort, to truly be satisfied one must rely on the
positive influences of others.
Vonnegut’s clear presentation of his theories
pertaining to artificial family life and incorporation of
personal family experiences projects a value of importance
and dependence upon others in his novels. He stresses the
necessity of quality relations with others, regardless of
where or how they are formed, in leading a fulfilling life.
Vonnegut’s own philosophies and trials with relational
dependence provide a concise optimism that nearly erases all
skepticism and defines the integral components of fruitful
relationships. While Vonnegut’s solutions and methods to
obtaining a state of societal utopia and abolition of
loneliness, a noble, large-scale task, appear idealistic and
slightly stray from typical Vonnegution cynicism, a more
serious caution pervades his texts, seasoned from
experience, and pleads that all members of society help each
other. Such naked requests cement Vonnegut’s purpose and
offer a multi-faceted thread of hope to all individuals
hopelessly lonely. Vonnegut’s incorporation of his
characters’ and own personal search for positive communal
relations illuminates his concern for group interdependence
and belief that only through common decency can life be made
worth living.
Works Cited:
Bryant, Jerry H. “The Open Decision.” (1970) 303-05,
319-24. Rpt. in Contemporary Literary Criticisms. Ed.
Carolyn Riley and Barbara Harte. Vol. 25. Detroit:
Gale, 1973. 452-53.
Huber, Chris. The Vonnegut Web.
http://www.duke.edu/~crh4/vonnegut/
Kelly, Dusty Chromium-2 Jay. “The Utopia Manifesto.” The
Kurt Vonnegut Artificial Family Utopia. 31 October
1997
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Lupoff, Richard. Algol Winter (1978-79) Rpt. in Contemporary
Literary Criticisms. Ed.Carolyn Riley. Vol. 12.
Detroit: Gale, 1973. 629.
Reed, Peter J. “The Later Vonnegut.” Vonnegut in America
(1977) 150-84. Rpt. in Contemporary Literary
Criticisms. Ed. Carolyn Riley. Vol. 12. Detroit: Gale,
1973. 628-29.
Schatt, Stanley. “The World of Kurt Vonnegut, Jr.” Critique:
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