Abstract
Kurt Vonnegut's novel Slaughterhouse-Five (1969) was a popular and critical success when it first appeared, and has had a notable impact on popular perceptions of "the bombing of Dresden," although it has been criticized by historians because of its inaccuracy. This article analyzes the novel's quirky, comic style and its generic mixture of science fiction and testimony, showing how Vonnegut consistently used ingenuous understatement as a way of imaginatively engaging his readers with the horrors of war. The article argues that the text's aesthetics are closer to those of graphic novels than of realist narratives and that, accordingly, we can understand its cultural impact only by approaching it as a highly artificial linguistic performance with present-day appeal and contemporary relevance, and not merely by measuring the degree to which it gives a full and accurate mimesis of past events. The article uses the case of Vonnegut to advance a more general argument that builds on recent work in cultural memory studies: in order to understand the role that literature plays in shaping our understanding of history, it needs to be analyzed in its own terms and not as a mere derivative of historiography according to a "one model fits all" approach. Furthermore, we need to shift the emphasis from products to processes by considering both artistic and historiographical practices as agents in the ongoing circulation across different cultural domains of stories about the past. Theoretical reflection should account for the fact that historiography and the various arts play distinct roles in this cultural dynamics, and while they compete with one another, they also converge, bounce off one another, influence one another, and continuously beg to be different.