A
New Historicist View of The
Nice Little People
by Kurt Vonnegut
Jane Watson
English
201
Professor
Leslie Jewkes
27th, October 2012
In
the following essay we explore the in-depth relationship between a
masterful storyteller, Kurt Vonnegut, and his short work of fiction,
The
Nice Little People.
Closely examining Vonnegut's unique writing style and simple prose,
we take a look at the man himself through his other stories and his
own writing devices using a new historicist lens, with a special
emphasis on Vonnegut's employ of characterization and his humanistic
approach to storytelling.
Jane
Watson
Professor
Leslie Jewkes
English
201
27
Oct 2012
A New Historicist View of The Nice
Little People by Kurt Vonnegut
Kurt
Vonnegut's short story, The
Nice Little People,
is a fun demonstration of quirky science fiction in post world war II
America. The Nice Little People is a short story found in a
collection with thirteen other stories that were posthumously
published in Look
at the Birdie
in 2009. This vignette is a compelling story written by one of the
world's most unique writers. Vonnegut is most widely known for the
literary masterpieces written with a strong influence from his
experiences both as a soldier and a prisoner of war. This new
historicist look offers a glimpse of this great american writer not
through the horrors of war, but more by the Kurt Vonnegut who reveled
in humor, pessimism, science fiction and moral reverence.
The protagonist told by third
person limited is called Lowell Swift, and within the first paragraph
Lowell is easily likable, identifiable, and cared for. Vonnegut felt
it was important to create a character that could be easily followed
along with and rooted for, a testament to his humanistic connection
to the world. He flawlessly does this by creating a character who
could be anyone and anywhere, your neighbor, friend from work or one
of the nice guys at church. You root for Lowell Swift, maybe because
he works an honest day's labor, maybe because you know his marriage
ends that day and it feels all the more tragic because of the “red
roses in a long, green box under his arm.” (431) Vonnegut's
portrayal of Lowell Swift seems to be a moralized standard of the
hard working joe post word war II. Because of Vonnegut's disgust at
death and destruction and the effects it had on him while a prisoner
of war, Vonnegut was drawn to kindness despite his negative views of
the world.
Lowell Swift is too kind. You
first get a taste of his moral character following just beneath the
first paragraph when the narration begins with, “the bus was
crowded but no woman were standing, so Lowell's conscience was
unencumbered.” (431) Lowell then spends his time on the bus
thinking pleasant things about his wife. Right away the reader
couples Lowell's positive thoughts about his wife and the end of the
marriage occurring on the same day, paving more sympathy for Lowell.
The absolve of a marriage usually happens with negative foreshadowing
by one or both parties involved, and the reader is told who to side
with on an early basis within the story. One of Vonnegut's common
storytelling devices is to shock, and because we have no idea
precisely when or how the marriage will come to an end, Vonnegut has
already set you up for a surprise outcome.
Vonnegut's
light tone proceeds through the story, much like his other more well
known works, such as Cat's
Cradle
and Slaughterhouse-Five.
Though unlike the heavy themes of death, war and destruction in these
aforementioned novels, The
Nice Little People
seems to be a far departure. Upon further reading, Lowell is further
developed with neat description that deepens the connection between
reader and character, as we now know that Lowell remains far too kind
for his own good and makes less money than his wife. He's afraid she
might leave him. Vonnegut explores the inequality between Lowell
Swift and his wife and Lowell's humble acceptance that though she
made quite a bit more money than he did as a real estate saleswoman,
“God had made him-even as he had made Madelaine-presumably with
some good end in mind.” (431)
Vonnegut
often explored the theme of free will throughout his books.
Slaughterhouse-Five
and Breakfast
of Champions
are two well received novels that deal with the concept of free will
and the view that it is nonexistent. In Slaughterhouse-Five,
Vonnegut wrote, “If I hadn’t spent so much time studying
Earthlings," said the Tralfamadorian, "I wouldn’t have
any idea what was meant by 'free will.' I've visited thirty-one
inhabited planets in the universe, and I have studied reports on one
hundred more. Only on Earth is there any talk of free will.”
Vonnegut explores his un-harmonious relationship with freewill again
in The
Nice Little People
when Lowell Swift suddenly encounters a paper knife. It appeared to
be thrown at him as he waited for the bus. While there is no mention
of free will in the story directly, through study of Vonnegut and his
work, it is clear he has put Lowell Swift in a position where he had
no choice but to encounter the paper knife. Because nobody around
claimed the paper knife to be their own, Lowell put it in his pocket.
Vonnegut
further explains Lowell's relationship with money and the lack
thereof when he hops back on the bus and arrives home to a
“colonnaded, white colonial apartment” (432) which without
Madelaine's income, they could not afford. This is another example of
Vonnegut's tumultuous relationship with inequality, a constant theme
throughout the story. Vonnegut often visits this theme in his work,
as well as a particular character style, which throughout the bulk of
his career is dealt in little consideration and description. Vonnegut
abandoned his favorite writing style with The
Nice Little People with
apt and personal descriptions of Lowell Swift. Vonnegut always felt
that the writer should genuinely care for what they are writing, and
it is evident that Vonnegut spent an intimate amount of time with
Lowell to ensure that we too, as readers, care about him. The reader
spends only a minimal amount of time with Madelaine, and what we do
know is spoken through Lowell, and because of his childlike
descriptions of her actions while they are so painfully and obviously
wrong, we further side with Lowell and find his wife despicable, even
though Lowell himself does not. We know more than Lowell.
Lowell arrives home, eagerly
anticipating a meeting with her as it is their anniversary. Vonnegut
turns the tables when instead of meeting his beloved wife, he meets a
hand written note placed on the hall mirror. “Am taking a prospect
for the Finletter property to supper. Cross your fingers.”
Immediately we know as readers that Madelaine is doing something much
more unacceptable with this 'prospect'. Lowell, however, proceeds
with a wistful smile, blissfully unaware of what is so blatantly
obvious.
Vonnegut
loved science fiction. Anyone familiar with Vonnegut might expect
some element of the supernatural. Labeled as a science fiction
writer, Vonnegut's most famous pieces included elements of time
travel, alternate histories, the far future, mind control and aliens.
Vonnegut claimed plainly, that he noticed technology, and merely
shrugged off the label of being a science fiction writer. Thus far in
The
Nice Little People,
Vonnegut has yet to introduce any preternatural material, so when Lowell Swift hears an unusual sound
coming from his pocket where he placed the paper knife, the reader
may or may not be surprised at the sudden introduction of six tiny
people who have come pouring out of the paper knife and are now
huddled together on the protagonist's couch.
At first, Lowell doesn't know the tiny beings that have come pouring
out of the paper knife are human. He prepares to smash them, but upon
further examination, Lowell indeed discovers they are three men and
three woman, “clad in glistening black tights.” (433) It is no
surprise that Vonnegut disallows Lowell to smash the creatures as he
was preparing to do until he noticed they were human beings. An
active humanistic writer, Vonnegut got right down to the human
element of both Lowell Swift and the creatures when Lowell begins to
tenderly care about them and for them. “He congratulated himself on
his calm, his reasonableness with respect to the little people. He
hadn't panicked, hadn't killed them or called for help.” (436)
Lowell Swift spends the next page and a half having a great time
with the little people, entertaining himself with their crazy,
unexpected arrival in his life. He notices right away that these
alien-human beings couldn't have landed at a better place nor with a
better person to take care of them and ensure they weren't handled
wrong. It's when Madelaine arrives home that the story accelerates
pace.
Vonnegut goes into brief detail of Madelaine's kiss with her boss as
Lowell plainly watches from the window. Lowell's reaction, is of
course, not what it may have been if the little people hadn't been
preoccupying his mind. Though it seems that Lowell is far too easy
going regarding his wife, which makes the ending to the story that
much more provocative.
Lowell must find a way to keep the little people out of Madelaine's
view. He hurries them back into the spaceship as his wife makes her
first appearance in the story. We are now introduced into a quite
unusual circumstance between Lowell and his wife, though not unusual
of Vonnegut's writing style. Madelaine doesn't discover the existence
of the little people, but she does comment on the paper knife after
she offhandedly tells Lowell the flowers he brought home were nice.
She does apologize for her absence on their anniversary, but the
interchange between them is somehow cold and quickly to the point in
an uncharacteristic way of man and wife, again, a unique mechanism of
Vonnegut's writing style.
Vonnegut said of good writing, that something awful should happen to
the characters, “in order that the reader may see what they are
made of.” Vonnegut uses a brilliant, if somewhat sadist means to
end The Nice Little People. Though Madelaine and Lowell are in
fact, married, she suddenly proclaims that the prospect she'd gone
out to dinner with asked her to marry him, which she replied with a
yes. Lowell's calm reaction is anything but what you might expect. “I
had no idea it was that simple.” (438) Madelaine says she is
dreadfully sorry, and Lowell asks for a farewell kiss, which
Madelaine regards with disgust. She strikes him on the chest and
tries to turn away, crying, “I can't stand it!” (438)
The spaceship in Lowell's hand has a greater reaction to this turn
of events than Lowell himself. It hummed and grew hot. “It trembled
and shot from his hand, under its own power, straight at Madelaine's
heart.” (438) Vonnegut's masterful employ of great writing has the
next line of text beginning with Lowell picking up the phone to speak
to the precinct. He wants to report an accident-a death, and the
sergeant wants to know if it was a homicide. Lowell responds that it
takes a bit of explaining, which he does thoroughly, from beginning
to end.
The
Nice Little People is perhaps one of Vonnegut's lesser recognized
works of literature that does not directly hint at his world war II
experiences but does a brilliant job reflecting his black sense of
humor, satire and love for science fiction. This perfectly blended
mix of ingredients is the recipe for pure fun, if you can handle a
dose of caustic wit. The
Nice Little People
is
a one of a kind glimpse into the mind of a veteran with a love affair
for science fiction, black comedy and a delve into the inner state of
consciousness.
Vonnegut
delivers just that with a likable, seemingly normal protagonist many
of us can relate to. We root for Lowell Swift, even as he
unintentionally facilitates the murder of his wife.
Works Cited
Britt,
Ryan. “The Kurt Vonnegut Question.” Genre in the Mainstream. n.s.
n.d, Web. 5 Nov. 2012.
Deresiewicz,
William.
"'I Was There'." Nation
294.23
(2012): 32-37. Academic
Search Complete.
Web. 29 Oct. 2012.
Eggers,
Dave, ed. The
Best American Nonrequired Reading.
New York: Houghton Mifflin Harcourt, 2010. Print.
Reed,
Peter. “Kurt Vonnegut's Fantastic Faces.” Vonnegut.
Origami Express, n.d. Web. 5 Nov. 2012.
Vonnegut,
Kurt. How
to Write With Style.
Boingboing.net. International Paper Company, n.d. Web. 18 Nov.
2012.
Wilson,
Scott. "The Economimesis Of New Historicism (Or How New
Historicism Displaced Theory In English Literature
Departments)." Journal
For Cultural Research
11.2
(2007): 161-174. Academic
Search Complete.
Web. 29 Oct. 2012.
Bibliography
Notable
Biographies.
Kurt
Vonnegut Biography.
Advameg, Inc, 2012. Web. 5 Nov. 2012.
Vonnegut,
Kurt. Bagombo
Snuff
Box:
Uncollected
Short
Fiction.
New York: Berkley Books, 2000. Print.