Kurt Vonnegut and humanism go hand in hand. In Behaving Decently: Kurt Vonnegut’s Humanism, Wayne Laufert examines how Vonnegut revealed his moral philosophy through the themes and characters in his work and through his public comments. Topic by topic, Vonnegut’s written and spoken views are explored, from his first novel, Player Piano (1952), through his antiwar masterpiece, Slaughterhouse-Five (1969), to the collections of his fiction and nonfiction that appear up till today, long after his death in 2007. His speeches, essays, interviews, and journalism, which support and expand upon the sentiments in his novels, receive proper consideration in this conversational overview of Vonnegut’s life and career. Religion, war, politics, science, art—these subjects and more are seen through Vonnegut’s perspective and are placed within a larger humanistic outlook. His most famous creation, the old science fiction writer Kilgore Trout, gets his own chapter too. Vonnegut called himself a “Christ-worshiping agnostic,” a term that Behaving Decently analyzes in the context of his upbringing as a freethinker, his wartime experience, his time in the corporate world, and other factors that formed his values. Those values are perhaps best expressed by his character Eliot Rosewater, the damaged, super-rich philanthropist: “God damn it, you’ve got to be kind.” Vonnegut’s real and imagined selves were incorporated into Kurt Vonnegut the author, the public speaker, the interview subject, and even the character that appears in some of his books. After all, he wrote, “I myself am a work of fiction.” That funny, wise, sometimes depressed persona was humanistic. Behaving Decently shows the reader how Kurt Vonnegut reminded us to take small steps along hopeful paths to kindness and community and dignity and art—and farting around.

"I've worried some about why write books when presidents and senators and generals do not read them, and the university experience taught me a very good reason: you catch people before they become generals and senators and presidents, and you poison their minds with humanity. Encourage them to make a better world." — Kurt Vonnegut Kurt Vonnegut's desire to save the planet from environmental and military destruction, to enact change by telling stories that both critique and embrace humanity, sets him apart from many of the postmodern authors who rose to prominence during the 1960s and 1970s. This new look at Vonnegut's oeuvre examines his insistence that writing is an "act of good citizenship or an attempt, at any rate, to be a good citizen." By exploring the moral and philosophical underpinnings of Vonnegut's work, Todd F. Davis demonstrates that, over the course of his long career, Vonnegut has created a new kind of humanism that not only bridges the modern and postmodern, but also offers hope for the power and possibilities of story. Davis highlights the ways Vonnegut deconstructs and demystifies the "grand narratives" of American culture while offering provisional narratives—petites histoires—that may serve as tools for daily living.

The literature of American author Kurt Vonnegut, from the idyllic society of 1950s post-war America in his earliest unpublished stories to his ultimate confrontation with an America run by "sickies" in 2005's A Man Without a Country, displays remarkable philosophical consistency which embodies Vonnegut's unique Humanism. A middle-class mentality helps define Vonnegut's emphasis on the importance of human compassion and common decency, his career's most consistent and recurring theme. In this thesis, "Humanisms in Kurt Vonnegut," I discuss many of Vonnegut's unpublished short stories made available through the Kurt Vonnegut Collection at Indiana University's Lilly Library in Bloomington, IN. With the aid of a Florida State University Bess H. Ward Honors Thesis Grant, I traveled in October of 2007 to research for a week these important unpublished documents. At the Lilly Library I studied nearly one hundred unpublished stories for the purpose of examining Vonnegut's early elements of Humanism and situating these stories within the larger context of Vonnegut's published work. The thesis is composed of four chapters which focus on American 1950s culture, World War Two, science-fiction, the notion of "progress," Post-Humanism, and evolution.

From Slapstick's "Turkey Farm" to Slaughterhouse-Five's eternity in a Tralfamadorean zoo cage with Montana Wildhack, the question of the afterlife never left Kurt Vonnegut's mind. In God Bless You, Dr. Kevorkian, Vonnegut skips back and forth between life and the Afterlife as if the difference between them were rather slight. In thirty odd "interviews," Vonnegut trips down "the blue tunnel to the pearly gates" in the guise of a roving reporter for public radio, conducting interviews: with Salvatore Biagini, a retired construction worker who died of a heart attack while rescuing his schnauzer from a pit bull, with John Brown, still smoldering 140 years after his death by hanging, with William Shakespeare, who rubs Vonnegut the wrong way, and with socialist and labor leader Eugene Victor Debs, one of Vonnegut's personal heroes. What began as a series of ninety-second radio interludes for WNYC, New York City's public radio station, evolved into this provocative collection of musings about who and what we live for, and how much it all matters in the end. From the original portrait by his friend Jules Feiffer that graces the cover, to a final entry from Kilgore Trout, God Bless You, Dr. Kevorkian remains a joy.

A New York Times Notable Book from the acclaimed author of Slaughterhouse-Five, Breakfast of Champions, and Cat's Cradle. At 2:27pm on February 13th of the year 2001, the Universe suffered a crisis in self-confidence. Should it go on expanding indefinitely? What was the point? There's been a timequake. And everyone—even you—must live the decade between February 17, 1991 and February 17, 2001 over again. The trick is that we all have to do exactly the same things as we did the first time—minute by minute, hour by hour, year by year, betting on the wrong horse again, marrying the wrong person again. Why? You'll have to ask the old science fiction writer, Kilgore Trout. This was all his idea.

A never-before-seen collection of deeply personal love letters from Kurt Vonnegut to his first wife, Jane, compiled and edited by their daughter “A glimpse into the mind of a writer finding his voice.”—The Washington Post “If ever I do write anything of length—good or bad—it will be written with you in mind.” Kurt Vonnegut’s eldest daughter, Edith, was cleaning out her mother’s attic when she stumbled upon a dusty, aged box. Inside, she discovered an unexpected treasure: more than two hundred love letters written by Kurt to Jane, spanning the early years of their relationship. The letters begin in 1941, after the former schoolmates reunited at age nineteen, sparked a passionate summer romance, and promised to keep in touch when they headed off to their respective colleges. And they did, through Jane’s conscientious studying and Kurt’s struggle to pass chemistry. The letters continue after Kurt dropped out and enlisted in the army in 1943, while Jane in turn graduated and worked for the Office of Strategic Services in Washington, D.C. They also detail Kurt’s deployment to Europe in 1944, where he was taken prisoner of war and declared missing in action, and his eventual safe return home and the couple’s marriage in 1945. Full of the humor and wit that we have come to associate with Kurt Vonnegut, the letters also reveal little-known private corners of his mind. Passionate and tender, they form an illuminating portrait of a young soldier’s life in World War II as he attempts to come to grips with love and mortality. And they bring to light the origins of Vonnegut the writer, when Jane was the only person who believed in and supported him supported him, the young couple having no idea how celebrated he would become. A beautiful full-color collection of handwritten letters, notes, sketches, and comics, interspersed with Edith’s insights and family memories, Love, Kurt is an intimate record of a young man growing into himself, a fascinating account of a writer finding his voice, and a moving testament to the life-altering experience of falling in love.