Jailbird

( 14 )

Overview

Jailbird takes us into a fractured and comic, pure Vonnegut world of high crimes and misdemeanors in government—and in the heart. This wry tale follows bumbling bureaucrat Walter F. Starbuck from Harvard to the Nixon White House to the penitentiary as Watergate’s least known co-conspirator. But the humor turns dark when Vonnegut shines his spotlight on the cold hearts and calculated greed of the mighty, giving a razor-sharp edge to an unforgettable portrait of power and politics...
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Jailbird

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Overview

Jailbird takes us into a fractured and comic, pure Vonnegut world of high crimes and misdemeanors in government—and in the heart. This wry tale follows bumbling bureaucrat Walter F. Starbuck from Harvard to the Nixon White House to the penitentiary as Watergate’s least known co-conspirator. But the humor turns dark when Vonnegut shines his spotlight on the cold hearts and calculated greed of the mighty, giving a razor-sharp edge to an unforgettable portrait of power and politics in our times.

A master of contemporary American literature, Vonnegut has authored 18 highly acclaimed books and dozens of short stories and essays. This wry tale follows bumbling bureaucrat Walter F. Starbuck from Harvard to the Nixon White House to the penitentiary as Watergate's least known co-conspirator. Reissue.

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Editorial Reviews

From the Publisher
“He has never been more satirically on-target. . . . Nothing is spared.”—People

“[Vonnegut] is our strongest writer . . . the most stubbornly imaginative.”—John Irving
 
“A gem . . . a mature, imaginative novel—possibly the best he has written . . . Jailbird is a guided tour de force of America. Take it!”—Playboy

John Leonard
Not once in Jailbird does Mr. Vonnegut nod off, go vague. His people bite into their lives. Kindnesses, as inexplicable as history, are collected, like saving remnants. New York, with catacombs under Grand Central Terminal and harps on top of the Chrysler Building, is wonderfully evoked. The prose has sinew. Mr. Nixon's "unhappy little smile," for instance "looked to me like a rosebud that had just been smashed by a hammer." Or: "There was a withered old man...hunched over his food, hiding it with his arms. Sarah whispered that he ate as though his meal were a royal flush."
— The New York Times
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Product Details

  • ISBN-13: 9780385333900
  • Publisher: Random House Publishing Group
  • Publication date: 1/28/1999
  • Pages: 320
  • Sales rank: 179,112
  • Lexile: 930L (what's this?)
  • Product dimensions: 5.20 (w) x 8.02 (h) x 0.66 (d)

Meet the Author

Kurt Vonnegut
Kurt Vonnegut’s black humor, satiric voice, and incomparable imagination first captured America’s attention in The Sirens of Titan in 1959 and established him as “a true artist” (The New York Times) with Cat’s Cradlein 1963. He was, as Graham Greene declared, “one of the best living American writers.” Mr. Vonnegut passed away in April 2007.

Biography

Born in 1922, Vonnegut grew up in Indianapolis, Indiana. His architect father suffered great financial setbacks during the Depression and was unemployed for long stretches of time. His mother suffered from mental illness and eventually committed suicide in 1944, a trauma that haunted Vonnegut all his life. He attended Cornell in the early 1940s, but quit in order to enlist in the Army during WWII.

Vonnegut was shipped to Europe, fought in the Battle of the Bulge, and was captured behind enemy lines and incarcerated in a German prison camp. As a POW, he witnessed the firebombing of Dresden by Allied forces, an event of devastating magnitude that left an indelible impression on the young soldier.

After the war, Vonnegut returned home and married his high school sweetheart. In addition to two daughters and a son of their own, he and his first wife adopted three children orphaned in 1958 by the death of Vonnegut's sister Alice. (He and his second wife adopted another daughter.) The family lived in Chicago and Schenectady before settling in Cape Cod, where Vonnegut began to concentrate seriously on his writing. His first novel, the darkly dystopian Player Piano, was published in 1952 and met with moderate success. Three additional novels followed (including the critically acclaimed Cat's Cradle), but it was not until the publication of 1969's Slaughterhouse Five that Vonnegut achieved true literary stardom. Based on the author's wartime experiences in Dresden, the novel resonated powerfully in the social upheaval of the Vietnam era.

Although he is best known for his novels (a genre-blending mix of social satire, science fiction, surrealism, and black comedy), Vonnegut also wrote short fiction, essays, and plays (the best known of which was Happy Birthday, Wanda June). In addition, he was a talented graphic artist who illustrated many of his books and exhibited sporadically during his literary career. He died on April 11, 2007, after suffering irreversible brain injuries as a result of a fall.

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    1. Also Known As:
      Kurt Vonnegut
    1. Date of Birth:
      November 11, 1922
    2. Place of Birth:
      Indianapolis, Indiana
    1. Date of Death:
      April 11, 2007
    2. Place of Death:
      New York, New York

Read an Excerpt

Prologue

Yes--Kilgore Trout is back again. He could not make it on the outside. That is no disgrace. A lot of good people can't make it on the outside.

I received a letter this morning (November 16, 1978) from a young stranger named John Figler, of Crown Point, Indiana. Crown Point is notorious for a jailbreak there by the bank robber John Dillinger, during the depths of the Great Depression. Dillinger escaped by threatening his jailor with a pistol made of soap and shoe polish. His jailor was a woman. God rest his soul, and her soul, too. Dillinger was the Robin Hood of my early youth. He is buried near my parents--and near my sister Alice, who admired him even more than I did--in Crown Hill Cemetery in Indianapolis. Also in there, on the top of Crown Hill, the highest point in the city, is James Whitcomb Riley, "The Hoosier Poet." When my mother was little, she knew Riley well.

Dillinger was summarily executed by agents of the Federal Bureau of Investigation. He was shot down in a public place, although he was not trying to escape or resist arrest. So there is nothing recent in my lack of respect for the F.B.I.

John Figler is a law-abiding high-school student. He says in his letter that he has read almost everything of mine and is now prepared to state the single idea that lies at the core of my life's work so far. The words are his: "Love may fail, but courtesy will prevail."

This seems true to me--and complete. So I am now in the abashed condition, five days after my fifty-sixth birthday, of realizing that I needn't have bothered to write several books. A seven-word telegram would have done the job.

Seriously.

But young Figler's insight reached me too late. I had nearly finished another book--this one.

In it is a minor character, "Kenneth Whistler," inspired by an Indianapolis man of my father's generation. The inspirer's name was Powers Hapgood (1900-1949). He is sometimes mentioned in histories of American labor for his deeds of derring-do in strikes and at the protests about the executions of Sacco and Vanzetti, and so on.

I met him only once. I had lunch with him and Father and my Uncle Alex, my father's younger brother, in Stegemeier's Restaurant in downtown Indianapolis after I came home from the European part of World War Two. That was in July of 1945. The first atomic bomb had not yet been dropped on Japan. That would happen in about a month. Imagine that.

I was twenty-two and still in uniform--a private first class who had flunked out of Cornell University as a student of chemistry before going to war. My prospects did not look good. There was no family business to go into. My father's architecture firm was defunct. He was broke. I had just gotten engaged to be married anyway, thinking, "Who but a wife would sleep with me?"

My mother, as I have said ad nauseam in other books, had declined to go on living, since she could no longer be what she had been at the time of her marriage--one of the richest women in town.

It was Uncle Alex who had arranged the lunch. He and Powers Hapgood had been at Harvard together. Harvard is all through this book, although I myself never went there. I have since taught there, briefly and without distinction--while my own home was going to pieces.

I confided that to one of my students--that my home was going to pieces.

To which he made this reply: "It shows."

Uncle Alex was so conservative politically that I do not think he would have eaten lunch with Hapgood gladly if Hapgood had not been a fellow Harvard man. Hapgood was then a labor union officer, a vice-president of the local CIO. His wife Mary had been the Socialist Party's candidate for vice-president of the United States again and again.

In fact, the first time I voted in a national election I voted for Norman Thomas and Mary Hapgood, not even knowing that she was an Indianapolis person. Franklin D. Roosevelt and Harry S. Truman won. I imagined that I was a socialist. I believed that socialism would be good for the common man. As a private first class in the infantry, I was surely a common man.

The meeting with Hapgood came about because I had told Uncle Alex that I might try to get a job with a labor union after the Army let me go. Unions were admirable instruments for extorting something like economic justice from employers then.

Uncle Alex must have thought something like this: "God help us. Against stupidity even the gods contend in vain. Well--at least there is a Harvard man with whom he can discuss this ridiculous dream."

(It was Schiller who first said that about stupidity and the gods. This was Nietzsche's reply: "Against boredom even the gods contend in vain.")

So Uncle Alex and I sat down at a front table in Stegemeier's and ordered beers and waited for Father and Hapgood to arrive. They would be coming separately. If they had come together, they would have had nothing to say to each other on the way. Father by then had lost all interest in politics and history and economics and such things. He had taken to saying that people talked too much. Sensations meant more to him than ideas--especially the feel of natural materials at his fingertips. When he was dying about twenty years later, he would say that he wished he had been a potter, making mud pies all day long.

To me that was sad--because he was so well-educated. It seemed to me that he was throwing his knowledge and intelligence away, just as a retreating soldier might throw away his rifle and pack.

Other people found it beautiful. He was a much-beloved man in the city, with wonderfully talented hands. He was invariably courteous and innocent. To him all craftsmen were saints, no matter how mean or stupid they might really be.

Uncle Alex, by the way, could do nothing with his hands. Neither could my mother. She could not even cook a breakfast or sew on a button.

Powers Hapgood could mine coal. That's what he did after he graduated from Harvard, when his classmates were taking jobs in family businesses and brokerages and banks and so on: He mined coal. He believed that a true friend of the working people should be a worker himself--and a good one, too.

So I have to say that my father, when I got to know him, when I myself was something like an adult, was a good man in full retreat from life. My mother had already surrendered and vanished from our table of organization. So an air of defeat has always been a companion of mine. So I have always been enchanted by brave veterans like Powers Hapgood, and some others, who were still eager for information of what was really going on, who were still full of ideas of how victory might yet be snatched from the jaws of defeat. "If I am going to go on living," I have thought, "I had better follow them."

I tried to write a story about a reunion between my father and myself in heaven one time. An early draft of this book in fact began that way. I hoped in the story to become a really good friend of his. But the story turned out perversely, as stories about real people we have known often do. It seemed that in heaven people could be any age they liked, just so long as they had experienced that age on Earth. Thus, John D. Rockefeller, for example, the founder of Standard Oil, could be any age up to ninety-eight. King Tut could be any age up to nineteen, and so on. As author of the story, I was dismayed that my father in heaven chose to be only nine years old.

I myself had chosen to be forty-four--respectable, but still quite sexy, too. My dismay with Father turned to embarrassment and anger. He was lemur-like as a nine-year-old, all eyes and hands. He had an endless supply of pencils and pads, and was forever tagging after me, drawing pictures of simply everything and insisting that I admire them when they were done. New acquaintances would sometimes ask me who that strange little boy was, and I would have to reply truthfully, since it was impossible to lie in heaven, "It's my father."

Bullies liked to torment him, since he was not like other children. He did not enjoy children's talk and children's games. Bullies would chase him and catch him and take off his pants and underpants and throw them down the mouth of hell. The mouth of hell looked like a sort of wishing well, but without a bucket and windlass. You could lean over its rim and hear ever so faintly the screams of Hitler and Nero and Salome and Judas and people like that far, far below. I could imagine Hitler, already experiencing maximum agony, periodically finding his head draped with my father's underpants.

Whenever Father had his pants stolen, he would come running to me, purple with rage. As like as not, I had just made some new friends and was impressing them with my urbanity--and there my father would be, bawling bloody murder and with his little pecker waving in the breeze.

I complained to my mother about him, but she said she knew nothing about him, or about me, either, since she was only sixteen. So I was stuck with him, and all I could do was yell at him from time to time, "For the love of God, Father, won't you please grow up!"

And so on. It insisted on being a very unfriendly story, so I quit writing it.

And now, in July of 1945, Father came into Stegemeier's Restaurant, still very much alive. He was about the age that I am now, a widower with no interest in ever being married again and with no evident wish for a lover of any kind. He had a mustache like the one I have today. I was clean-shaven then.

A terrible ordeal was ending--a planetary economic collapse followed by a planetary war. Fighting men were starting to come home everywhere. You might think that Father would comment on that, however fleetingly, and on the new era that was being born. He did not.

He told instead, and perfectly charmingly, about an adventure he had had that morning. While driving into the city, he had seen an old house being torn down. He had stopped and taken a closer look at its skeleton. He noticed that the sill under the front door was an unusual wood, which he finally decided was poplar. I gathered that it was about eight inches square and four feet long. He admired it so much that the wreckers gave it to him. He borrowed a hammer from one of them and pulled out all the nails he could see.

Then he took it to a sawmill--to have it ripped into boards. He would decide later what to do with the boards. Mostly, he wanted to see the grain in this unusual wood. He had to promise the mill that there were no nails left in the timber. This he did. But there was still a nail in there. It had lost its head, and so was invisible. There was an earsplitting shriek from the circular saw when it hit the nail. Smoke came from the belt that was trying to spin the stalled saw.

Now Father had to pay for a new sawblade and a new belt, too, and had been told never to come there with used lumber again. He was delighted somehow. The story was a sort of fairy tale, with a moral in it for everyone.

Uncle Alex and I had no very vivid response to the story. Like all of Father's stories, it was as neatly package and self-contained as an egg.

So we ordered more beers. Uncle Alex would later become a cofounder of the Indianapolis chapter of Alcoholics Anonymous, although his wife would say often and pointedly that he himself had never been an alcoholic. He began to talk now about The Columbia Conserve Company, a cannery that Powers Hapgood's father, William, also a Harvard man, had founded in Indianapolis in 1903. It was a famous experiment in industrial democracy, but I had never heard of it before. There was a lot that I had never heard of before.

The Columbia Conserve Company made tomato soup and chili and catsup, and some other things. It was massively dependent on tomatoes. The company did not make a profit until 1916. As soon as it made one, though, Powers Hapgood's father began to give his employees some of the benefits he thought workers everywhere in the world were naturally entitled to. The other principal stockholders were his two brothers, also Harvard men--and they agreed with him.

So he set up a council of seven workers, who were to recommend to the board of directors what the wages and working conditions should be. The board, without any prodding from anybody, had already declared that there would no longer be any seasonal layoffs, even in such a seasonal industry, and that there would be vacations with pay, and that medical care for workers and their dependents would be free, and that there would be sick pay and a retirement plan, and that the ultimate goal of the company was that, through a stock-bonus plan, it become the property of the workers.

"It went bust," said Uncle Alex, with a certain grim, Darwinian satisfaction.

My father said nothing. He may not have been listening.

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Customer Reviews

Average Rating 4.5
( 14 )
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Sort by: Showing all of 14 Customer Reviews
  • Posted May 1, 2011

    Jailbird, Kurt Vonnegut

    How would you describe the author's style? In Jailbird, the novel is written in first person point of view, narrated by Walter Starbuck. Walter seems to be in his late seventies, early eighties, because of the aspect of his character and identity portrayed in the novel. Written by Kurt Vonnegut, Walter seems to ramble on a lot and contemplate the same problems or people for extended periods of time. Walter seems to be unaware of what he had made of his life and what his life is now. Most of the characters the author develops, specifically Walter, seem to lack personality. For example, Walter spends extended periods of time describing the Watergate Scandal, but never tells how he felt during the scandal and shows very little emotion. Walter mainly tells factual stories and doesn't add any personal details to make the stories personalized or a little bit interesting. I think a general statement that would describe the author's style is, Kurt Vonnegut writes factually but with some added fiction.

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  • Anonymous

    Posted March 1, 2011

    eBook Version has many errors

    The book itself is amazing, as all Kurt Vonnegut novels are. But I'm really annoyed with how many errors are showing up in the eBook on my Nook. Dual pages, spelling, periods in the middle of a sentence, the ending " marks in the middle of a sentence that's not a quote. Annoying.

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  • Anonymous

    Posted May 15, 2004

    Classic piece from Vonnegut

    I had to read this book for an advanced placement class in my high school, and it blew my socks off. I thought I wasn't going to like it, scince i'm not really into polititics, but it was a great read. Now i'm going to look more into Vonnegut's ingenious way of writing

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  • Anonymous

    Posted March 17, 2004

    best spent afternoon

    this is such a good book. Although not the most popular from this incredible author, it is my favorite by far. Most of the time, there are all these pieces up in the air and gravity varies and is completely not dependeble. All these pieces are falling down or floating up and just making a mess of the world. But when they happen to come together midair, they become an amazingly eloquent object. And you become grateful for the accidents of life because you know that these pieces are destined to go their separate ways again. Thats how I felt when I read this book.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted April 22, 2002

    A great book

    I thought that this book was the most best book that I have ever read. I just couldn't put it down. I loved all the people in the story because they were real. I loved this book and I know that I will read it again and again.

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  • Anonymous

    Posted December 24, 2001

    Take a Chance and Read this Book

    This is a fascinating look at a bygone time, the mid-seventies. It has the usually style of Vonnegut but is a bit more experiemental. Not everything works, but if you're looking for a thought provoking book that's also pretty darn funny, read this book.

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