Kurt Vonnegut Dresden Quotes

The Dresden atrocity, tremendously expensive and meticulously planned, was so meaningless, finally, that only one person on the entire planet got any benefit from it. I am that person. I wrote this book, which earned a lot of money for me and made my reputation, such as it is. One way or another, I got two or three dollars for every person killed. Some business I'm in.

The city was blacked out because bombers might come, so Billy didn't get to see Dresden do one of the most cheerful things a city can do when the sun goes down, which is to wink its lights on one by one.

I saw the destruction of Dresden. I saw the city before and then came out of an air-raid shelter and saw it afterward, and certainly one response was laughter. God knows, that's the soul seeking some relief.

We accepted their congratulations with good grace and proper modesty, but I felt then as I feel now, that I would have given my life to save Dresden for the world’s generations to come. That is how everyone should feel about every city on earth.

While we were being bombed in Dresden sitting in a cellar with our arms over our heads in case the ceiling fell, one soldier said as though he were a duchess in a mansion on a cold and rainy night, 'I wonder what the poor people are doing tonight.' Nobody laughed, but we were still all glad he said it. At least we were still alive! He proved it.

I really did go back to Dresden with Guggenheim money (God love it) in 1967. It looked a lot like Dayton, Ohio, more open spaces than Dayton has.

One guy I knew really was shot in Dresden for taking a teapot that wasn't his. Another guy I knew really did threaten to have his personal enemies killed by a hired gunman after the war.

Rosewater was twice as smart as Billy, but he and Billy were dealing with similar crises in similar ways. They had both found life meaningless, partly because of what they had seen in war. Rosewater, for instance, had shot a fourteen-year-old fireman, mistaking for a German soldier. So it goes. And Billy had seen the greatest massacre in European history, which was the fire-bombing of Dresden. So it goes. So they were trying to re-invent themselves and their universe. Science fiction was a big help.

The sun had just gone down, and its afterglow was backlighting the city, which formed low cliffs around the bucolic void to the idle stockyards. The city was blacked out because bombers might come, so Billy didn’t get to see Dresden do one of the most cheerful things a city is capable of doing when the sun goes down, which is to wink its lights on one by one. There was a broad river to reflect those lights, which would have made their nighttime winkings very pretty indeed. It was the Elbe.

I feel now, that I would have given my life to save Dresden for the World’s generations to come. That is how everyone should feel about every city on Earth.

Billy switched on a floor lamp. The light from the single source threw the baroque detailing of Montana’s body into sharp relief. Billy was reminded of fantastic architecture in Dresden, before it was bombed.

The occupying Russians, when they discovered that we were Americans, embraced us and congratulated us on the complete desolation our planes had wrought. We accepted their congratulations with good grace and proper modesty, but I felt then as I feel now, that I would have given my life to save Dresden for the World's generations to come. That is how everyone should feel about every city on Earth.

A perfectly routine piece of news: “Last night our planes attacked Dresden. All planes returned safely.” The only good German is a dead one: over one hundred thousand evil men, women, and children (the able-bodied were at the fronts) forever purged of their sins against humanity.

There was a big number over the door of the building. The number was five. Before the Americans could go inside, their only English-speaking guard told them to memorize their simple address, in case they got lost in the big city. Their address was this: 'Schlachthof-fünf.' Schlachthof means slaughterhouse. Fünf was good old five.

thought it would be easy for me to write about the destruction of Dresden, since all I would have to do would be to report what I had seen. And I thought, too, that it would be a masterpiece or at least make me a lot of money, since the subject was so big. But not many words about Dresden came from my mind then—not enough of them

Americans have finally heard about Dresden,” said Rumfoord, twenty-three years after the raid.

His mother was incinerated in the Dresden fire-storm. So it goes.

Prisoners of war from many lands came together that morning at such and such a place in Dresden. It had been decreed that here was where the digging for bodies was to begin. So the digging began.

As a trafficker in climaxes and thrills and characterization and wonderful dialogue and suspense and confrontations, I had outlined the Dresden story many times. The best outline I ever made, or anyway the prettiest one, was on the back of a roll of wallpaper.

As you know, I am from a planet that has been engaged in senseless slaughter since the beginning of time. I myself have seen the bodies of schoolgirls who were boiled alive in a water tower by my own countrymen, who were proud of fighting pure evil at the time.” This was true. Billy saw the boiled bodies in Dresden. “And I have lit my way in a prison at night with candles from the fat of human beings who were butchered by the brothers and fathers of those schoolgirls who were boiled. Earthlings must be the terrors of the Universe!

This family knew that Dresden was gone. Those with eyes had seen it burn and burn, understood that they were on the edge of a desert now. Still-they had opened for business, had polished the glass and wound the clocks and stirred the fires, and waited and waited to see who would come.

Dresden was destroyed on the night of February 13, 1945,” Billy Pilgrim began. “We came out of our shelter the next day.” He told Montana about the four guards who, in their astonishment and grief, resembled a barbershop quartet. He told her about the stockyards with all the fenceposts gone,

It had to be done,” Rumfoord told Billy, speaking of the destruction of Dresden. “I know,” said Billy. “That’s war.” “I know. I’m not complaining.” “It must have been hell on the ground.” “It was,” said Billy Pilgrim. “Pity the men who had to do it.” “I do.” “You must have had mixed feelings, there on the ground.” “It was all right,” said Billy. “Everything is all right, and everybody has to do exactly what he does.

As a trafficker in climaxes and thrills and characterization and wonderful dialogue and suspense and confrontations, I had outlined the Dresden story many times. The best outline I ever made, or anyway the prettiest one, was on the back of a roll of wallpaper. I used my daughter’s crayons, a different color for each main character. One end of the wallpaper was the beginning of the story, and the other end was the end,

they were on the edge of a desert now. Still—they had opened for business, had polished the glasses and wound the clocks and stirred the fires, and waited and waited to see who would come. There was no great flow of refugees from Dresden. The clocks ticked on, the fires crackled, the translucent candles dripped. And then there was a knock on the door, and in came four guards and one hundred American prisoners of war. The innkeeper asked the guards if they had come from the city. “Yes.

The advocates of nuclear disarmament seem to believe that, if they could achieve their aim, war would become tolerable and decent. They would do well to read this book and ponder the fate of Dresden, where 135,000 people died as the result of an air attack with conventional weapons. On the night of March 9th, 1945, an air attack on Tokyo by American heavy bombers, using incendiary and high explosive bombs, caused the death of 83,793 people. The atom bomb dropped on Hiroshima killed 71,379 people.

It was difficult for Rumfoord to take Billy seriously, since Rumfoord had so long considered Billy a repulsive non-person who would be much better off dead. Now, with Billy speaking clearly and to the point, Rumfoord’s ears wanted to treat the words as a foreign language that was not worth learning. “What did he say?” said Rumfoord. Lily had to serve as an interpreter. “He said he was there,” she explained. “He was where?” “I don’t know,” said Lily. “Where were you?” she asked Billy. “Dresden,” said Billy.

When, late in the war, with the Wehrmacht breaking up on all fronts, our planes were sent to destroy this last major city, I doubt if the question was asked, “How will this tragedy benefit us, and how will that benefit compare with the ill-effects in the long run?” Dresden, a beautiful city, built in the art spirit, symbol of an admirable heritage, so anti-Nazi that Hitler visited it but twice during his whole reign, food and hospital center so bitterly needed now—plowed under and salt strewn in the furrows.

The advocates of nuclear disarmament seem to believe that, if they could achieve their aim, war would become tolerable and decent. They would do well to read this book and ponder the fate of Dresden, where 135,000 people died as the result of an air attack with conventional weapons. On the night of March 9th, 1945, an air attack on Tokyo by American heavy bombers, using incendiary and high explosive bombs, caused the death of 83,793 people. The atom bomb dropped on Hiroshima killed 71,379 people. So it goes.

He was down in the meat locker on the night that Dresden was destroyed. There were sounds like giant footsteps above. Those were sticks of high-explosive bombs. The giants walked and walked. The meat locker was a very safe shelter. All that happened down there was an occasional shower of calcimine. The Americans and four of their guards and a few dressed carcasses were down there, and nobody else. The rest of the guards had, before the raid began, gone to the comforts of their own homes in Dresden. They were all being killed with their families.

The dominant literary mode of the twentieth century has been the fantastic. This may appear a surprising claim, which would not have seemed even remotely conceivable at the start of the century and which is bound to encounter fierce resistance even now. However, when the time comes to look back at the century, it seems very likely that future literary historians, detached from the squabbles of our present, will see as its most representative and distinctive works books like J.R.R. Tolkien’s The Lord of the Rings, and also George Orwell’s Nineteen Eighty-Four and Animal Farm, William Golding’s Lord of the Flies and The Inheritors, Kurt Vonnegut’s Slaughterhouse-Five and Cat’s Cradle, Ursula Le Guin’s The Left Hand of Darkness and The Dispossessed, Thomas Pynchon’s The Crying of Lot-49 and Gravity’s Rainbow. The list could readily be extended, back to the late nineteenth century with H.G. Wells’s The Island of Dr Moreau and The War of the Worlds, and up to writers currently active like Stephen R. Donaldson and George R.R. Martin. It could take in authors as different, not to say opposed, as Kingsley and Martin Amis, Anthony Burgess, Stephen King, Terry Pratchett, Don DeLillo, and Julian Barnes. By the end of the century, even authors deeply committed to the realist novel have often found themselves unable to resist the gravitational pull of the fantastic as a literary mode. This is not the same, one should note, as fantasy as a literary genre – of the authors listed above, only four besides Tolkien would find their works regularly placed on the ‘fantasy’ shelves of bookshops, and ‘the fantastic’ includes many genres besides fantasy: allegory and parable, fairy-tale, horror and science fiction, modern ghost-story and medieval romance. Nevertheless, the point remains. Those authors of the twentieth century who have spoken most powerfully to and for their contemporaries have for some reason found it necessary to use the metaphoric mode of fantasy, to write about worlds and creatures which we know do not exist, whether Tolkien’s ‘Middle-earth’, Orwell’s ‘Ingsoc’, the remote islands of Golding and Wells, or the Martians and Tralfa-madorians who burst into peaceful English or American suburbia in Wells and Vonnegut. A ready explanation for this phenomenon is of course that it represents a kind of literary disease, whose sufferers – the millions of readers of fantasy – should be scorned, pitied, or rehabilitated back to correct and proper taste. Commonly the disease is said to be ‘escapism’: readers and writers of fantasy are fleeing from reality. The problem with this is that so many of the originators of the later twentieth-century fantastic mode, including all four of those first mentioned above (Tolkien, Orwell, Golding, Vonnegut) are combat veterans, present at or at least deeply involved in the most traumatically significant events of the century, such as the Battle of the Somme (Tolkien), the bombing of Dresden (Vonnegut), the rise and early victory of fascism (Orwell). Nor can anyone say that they turned their backs on these events. Rather, they had to find some way of communicating and commenting on them. It is strange that this had, for some reason, in so many cases to involve fantasy as well as realism, but that is what has happened.

Americans have finally heard about Dresden,’ said Rumfoord, twenty-three years after the raid. ‘A lot of them know now how much worse it was than Hiroshima. So I’ve got to put something about it in my book. From the official Air Force standpoint, it’ll all be new.’ ‘Why would they keep it a secret so long?’ said Lily. ‘For fear that a lot of bleeding hearts,’ said Rumfoord, ‘might not think it was such a wonderful thing to do.’ It was now that Billy Pilgrim spoke up intelligently. ‘I was there,’ he said.

The eight [Dresdeners] were grim as they approached the boxcars containing their wards. They knew what sick and foolish soldiers they themselves appeared to be. One of them actually had an artificial leg, and carried not only a loaded rifle but a cane. Still—they were expected to earn obedience and respect from tall, cocky, murderous American infantrymen who had just come from all the killing at the front. And then they saw bearded Billy Pilgrim in his blue toga and silver shoes, with his hands in a muff. He looked at least sixty years old. Next to Billy was little Paul Lazzaro with a broken arm. He was fizzing with rabies. Next to Lazzaro was the poor old high school teacher, Edgar Derby, mournfully pregnant with patriotism and middle age and imaginary wisdom. And so on. The eight ridiculous Dresdeners ascertained that these hundred ridiculous creatures really were American fighting men fresh from the front. They smiled, and then they laughed. Their terror evaporated. There was nothing to be afraid of. Here were more crippled human beings, more fools like themselves. Here was light opera.

The Dresden atrocity, tremendously expensive and meticulously planned, was so meaningless, finally, that only one person on the entire planet got any benefit from it. I am that person. I wrote this book, which earned a lot of money for me and made my reputation, such as it is. One way or another, I got two or three dollars for every person killed. Some business I’m in.

Vonnegut tells us in his own voice how he came to write this book. It was born from his experiences as a young U.S. Army private taken prisoner in the Second World War, witness to both the concentration camp and the catastrophic firebombing of Dresden. Near the end of the chapter he writes the following: I have told my sons that they are not under any circumstances to take part in massacres, and that the news of massacres of enemies is not to fill them with satisfaction or glee…. I have also told them not to work for companies which make massacre machinery, and to express contempt for people who think we need machinery like that.

Rosewater was twice as smart as Billy, but he and Billy were dealing with similar crises in similar ways. They had both found life meaningless, partly because of what they had seen in war. Rosewater, for instance, had shot a fourteen-year-old fireman, mistaking him for a German soldier. So it goes. And Billy had seen the greatest massacre in European history, which was the fire-bombing of Dresden. So it goes. So they were trying to re-invent themselves and their universe. Science fiction was a big help.

Billy’s story ended very curiously in a suburb untouched by fire and explosions. The guards and the Americans came at nightfall to an inn which was open for business. There was candlelight. There were fires in three fireplaces downstairs. There were empty tables and chairs waiting for anyone who might come, and empty beds with covers turned down upstairs. There was a blind innkeeper and his sighted wife, who was the cook, and their two young daughters, who worked as waitresses and maids. This family knew that Dresden was gone. Those with eyes had seen it burn and burn, understood that they were on the edge of a desert now. Still—they had opened for business, had polished the glasses and wound the clocks and stirred the fires, and waited and waited to see who would come. There was no great flow of refugees from Dresden. The clocks ticked on, the fires crackled, the translucent candles dripped. And then there was a knock on the door, and in came four guards and one hundred American prisoners of war. The innkeeper asked the guards if they had come from the city. “Yes.” “Are there more people coming?” And the guards said that, on the difficult route they had chosen, they had not seen another living soul. The blind innkeeper said that the Americans could sleep in his stable that night, and he gave them soup and ersatz coffee and a little beer. Then he came out to the stable to listen to them bedding down in the straw. “Good night, Americans,” he said in German. “Sleep well.

You needn’t worry about bombs, by the way. Dresden is an open city. It is undefended, and contains no war industries or troop concentrations of any importance.