What’s up folks? For the last few weeks I read Slaughterhouse-Five by Kurt Vonnegut with my Honors Modern Fiction class. While I was reading and analyzing, I realized many similarities between this novel and Going After Cacciato by Tim O’Brien, which I read last year with my Honors Humanities class. So, naturally, for this post I decided to highlight some major similarities and differences between these two famous war novels.
I guess I should start off by warning about I am about to spill some major spoilers and that would really stink if you haven’t read these novels. (I seriously loved Going After Cacciato so please don’t read ahead if you haven’t yet! Or do but don’t say I didn’t warn you).
Some major similarities between the book would be through themes of fantasy and other worlds, nonlinear plot structure, and a questionable narrator. In both novels, protagonists Paul Berlin and Billy Pilgrim fashion alternate realities in order to cope with the dangers of war.
In Going After Cacciato, Berlin and his squadron make the ultimate decision to kill their Lieutenant Sydney Martin, as his plans for searching tunnels had already killed 2 of their men, and the rest reasoned that they would be safer without him. Cacciato, apart of this group, does not agree on killing Martin, yet Berlin forces his hand and they kill Martin anyways. Cacciato then deserts the war and plans to walk to Paris in order to get justice for Lieutenant Martin. The rest of the group goes after him to try and stop him. Along the way, the group finds Cacciato and Berlin shoots him down. “He wanted to be liked. He wanted them to understand, all of them, that he felt no hate. It was all a sad accident, he would have told them…He had no stake in the was beyond simple survival…He was no tyrant, no pig, no Yankee killer. He was innocent Yes, he was. He was innocent” (O’Brien 263). Throughout the novel, Berlin faces many more atrocities of war and struggles to separate fantasy from reality. He fabricates his own journey on the Road to Paris in an attempt to make sense of what went wrong. Although the story is fabricated, the characters and actions stem from real experiences.

One aspect of Berlin’s journey that is fabricated is his travel companion, Sarkin, a supposed Vietnamese refugee. While traveling, Berlin and his squad are met with a small group of villagers. Sarkin, a young girl, ends up riding with them as she had always wanted to go to Paris. While she is present for most of their journey, it is plausible that Sarkin was just a figment of Berlin’s imagination. “Did the kids like him? A little girl with gold hoops in her ears and ugly scabs on her brow–did she feel, as he did, goodness and warmth? … He wanted health for her, and happiness. Did she know this? Did she sense his compassion?” (O’Brien 262). Instead of being a real woman traveling with the group, Berlin had seen a young girl on the side of the road and bonded to her sad eyes. She left an impression on him that forced him to evaluate the morality of what he had seen. Berlin didn’t choose to be in the war, but he was there anyways and saw and did some bad things. The only way for him to cop ewith it was to pretend he was in a different reality.
Similarly, in Slaughterhouse-Five, Billy Pilgrim is a soldier in the Second World War. His journey goes through the results of being a soldier in the allied forces and being captured by the Germans as a prisoner of war. It is not until after the war and when Billy become more grown does he start to mentally deteriorate. In order to cope with some of the horrid things he had seen, Billy imagines himself being abducted by aliens which he calls Tralfamadorians. “Billy is spastic in time, has no control over where he is going next, and the trips aren’t necessarily fun” (Vonnegut 23). These Tralfamadorians are toilet plunger shaped with a hand as a head. Inside the hand, an all seeing eye. Though the novel is fantasy, we know that elements of the novel are consistent with that of reality. But, even within the confines of the pages of the novel, it is said that Billy imagines the entire scenario of the Tralfamadorians. “Billy Pilgrim was having a delightful hallucination” (Vonnegut 49). These aliens are said to abduct Billy on the night of his daughter’s wedding and inform Billy about their philosophy, the key reason why Billy formulated their species.

In Tralfamadorian philosophy, there is no free will. Whatever is going to happen is going to happen and there is nothing you can do to stop it. Because of this, Tralfamadorians know that the humans are inferior. Humans are also incapable of seeing in the 4th dimension. The 4th dimension allows the Tralfamadorians to understand complex topics, such as knowing there are actually 7 genders. Lastly, the Tralfamadorians know time is not linear. Nothing happens in chronological order and nothing happens just once. “All moments, past, present, and future, always have existed, always will exist” (Vonnegut 27). This philosophy of fate and destiny allows Billy to give up control of his life. By accepting the Tralfamadorian policy of there’s nothing you can do to stop what is going to happen, Billy is able to make it through the war and the PTSD it leaves him with.
Both of these novels face themes of war, PTSD, and healthy coping mechanisms. There is, however, a major difference between Berlin and Billy. While Billy’s fantasies stem from wanting to escape the fear of fighting in war and having to make sense of all the death he is faced with, Berlin was unable to control his fear and gave into trigger-happy nature by killing Cacciato and struggled to cope with the aftermath. These novels speak volumes on the effect war has on the mind and spread the message that there really is nothing good to say about a war.
Works Cited
Vonnegut, Kurt. Slaughterhouse-five, Or, the Children’s Crusade: A Duty-Dance with Death. 1969. Dell Publishing.
O’Brien, Tim. Going after Cacciato: a novel. 1978. New York, Delacorte Press/S. Lawrence.
Going After Cacciato Image
Slaughterhouse-Five Image