In the writing of Slaughterhouse Five, Vonnegut makes a bold artistic innovation. He has deconstructed the linear narrative pattern of the traditional fiction and at the same time put forward a non linear narrative pattern which combines history with imagination, reality with fantasy, and the diachronic with the synchronic, makes the author the interpreter of the novel text, and thus reconstructed a postmodernist novel world.
Enumerating these relationships, we will lead readers to concern about the non-linearly narrative characters, including cyber space, material space and inner space involving with each other, which has its own specific time axes, therefore both space and time bears the different and multiplex quality .
Chapter Three: This part will focus on the writer's magical realist techniques such asnon—linear narration, magical images, exaggerations, prophecies and hybrid text, whichare used to represent his postcolonial positions of “the third space” embodied through hisattempts to rewrite Indian history and to present the hybridity of India's identity.
Part four is the conclusion: as a typical metafictional work, engendered in the postmodern society, Zuckerman Trilogy exploits a kind of innovative discourse and deepens the theme of the writer’s“spiritual search”in alienated postmodern society.
Vonnegut thinks that the traditional novel that follows the causal hypothesis and the ossified notions of time and contents is not suitable to represent the illogical subject—the Dresden destruction. He needs a novel form that can provide the readers with a narration that they can understand but does not seem to explain the events with reason. He specially needs a novel form that regards duration as the fourth dimension. In the writing of Slaughterhouse Five, Vonnegut makes a bold artistic innovation. He ha...