Slaughterhouse-Five - Kurt Vonnegut [44]
I, Billy Pilgrim, the tape begins, will die, have died, and always will die on February thirteenth, 1976.
At the time of his death, he says, he is in Chicago to address a large crowd on the subject of flying saucers and the true nature of time. His home is still in Ilium. He has had to cross three international boundaries in order to reach Chicago. The United States of America has been Balkanized, has been divided into twenty petty nations so that it will never again be a threat to world peace. Chicago has been hydrogen-bombed by angry Chinamen. So it goes. It is all brand new.
Billy is speaking before a capacity audience in a baseball park, which is covered by a geodesic dome. The flag of the country is behind him. It is a Hereford bull on a field of green. Billy predicts his own death within an hour. He laughs about it, invites the crowd to laugh with him. “It is high time I was dead,” he says. “Many years ago,” he said, “a certain man promised to have me killed. He is an old man now, living not far from here. He has read all the publicity associated with my appearance in your fair city. He is insane. Tonight he will keep his promise.”
There are protests from the crowd.
Billy Pilgrim rebukes them. “If you protest, if you think that death is a terrible thing, then you have not understood a word I’ve said.” Now he closes his speech as he closes every speech—with these words: “Farewell, hello, farewell, hello.”
There are police around him as he leaves the stage. They are there to protect him from the crush of popularity. No threats on his life have been made since 1945. The police offer to stay with him. They are floridly willing to stand in a circle around him all night, with their zap guns drawn.
“No, no,” says Billy serenely. “It is time for you to go home to your wives and children, and it is time for me to be dead for a little while—and then live again.” At that moment, Billy’s high forehead is in the cross hairs of a high-powered laser gun. It is aimed at him from the darkened press box. In the next moment, Billy Pilgrim is dead. So it goes.
So Billy experiences death for a while. It is simply violet light and a hum. There isn’t anybody else there. Not even Billy Pilgrim is there.
Then he swings back into life again, all the way back to an hour after his life was threatened by Lazzaro—in 1945. He has been told to get out of his hospital bed and dress, that he is well. He and Lazzaro and poor old Edgar Derby are to join their fellows in the theater. There they will choose a leader for themselves by secret ballot in a free election.
Billy and Lazzaro and poor old Edgar Derby crossed the prison yard to the theater now. Billy was carrying his little coat as though it were a lady’s muff. It was wrapped around and around his hands. He was the central clown in an unconscious travesty of that famous oil painting, “The Spirit of ’76.”
Edgar Derby was writing letters home in his head, telling his wife that he was alive and well, that she shouldn’t worry, that the war was nearly over, that he would soon be home.
Lazzaro was talking to himself about people he was going to have killed after the war, and rackets he was going to work, and women he was going to make fuck him, whether they wanted to or not. If he had been a dog in a city, a policeman would have shot him and sent his head to a laboratory, to see if he had rabies. So it goes.
As they neared the theater, they came upon an Englishman who was hacking a groove in the Earth with the heel of his boot. He was marking the boundary between the American and English sections of the compound. Billy and Lazzaro and Derby didn’t have to ask what the line meant. It was a familiar symbol from childhood.
The theater was paved with American bodies that nestled like spoons. Most of the Americans were in stupors or asleep. Their guts were fluttering, dry.
“Close the fucking door,” somebody said to Billy. “Were you born in a barn?”
Billy closed it, took a hand from his muff, touched a stove. It was as cold as ice. The stage was still set for Cinderella. Azure curtains hung from arches which were shocking pink. There were golden thrones and the dummy clock, whose hands were set at midnight. Cinderella