Billy left his room, went down the slow elevator, walked over to Times Square, looked into the window of a tawdry bookstore. In the window were hundreds of books about fucking and buggery and murder, and a street guide to New York City, and a model of the Statue of Liberty with a thermometer on it. Also in the window, speckled with soot and fly shit, were four paperback novels by Billy's friend, Kilgore Trout.
The news of the day, meanwhile, was being written in a ribbon of lights on a building to Billy's back. The window reflected the news. It was about power and sports and anger and death. So it goes.
Billy went into the bookstore.
A sign in there said that adults only were allowed in the back. There were peep shows in the back that showed movies of young women and men with no clothes on. It cost a quarter to look into a machine for one minute. There were still photographs of naked young people for sale back there, too. You could take those home. The stills were a lot more Tralfamadorian than the movies, since you could look at them whenever you wanted to, and they wouldn't change. Twenty years in the future, those girls would still be young, would still be smiling or smoldering or simply looking stupid, with their legs wide open. Some of them were eating lollipops or bananas. They would still be eating those. And the peckers of the young men would still be semierect, and their muscles would be bulging like cannonballs.
But Billy Pilgrim wasn't beguiled by the back of the store. He was thrilled by the Kilgore Trout novels in the front. The titles were all new to him, or he thought they were. Now he opened one. It seemed all right for him to do that. Everybody else in the store was pawing things. The name of the book was The Big Board. He got a few paragraphs into it, and then he realized that he had read it be-fore--years ago, in the veterans' hospital. It was about an Earthling man and woman who were kidnapped by extra-terrestrials. They were put on display in a zoo on a planet called Zircon-212.
These fictitious people in the zoo had a big board supposedly showing stock market quotations and commodity prices along one wall of their habitat, and a news ticker, and a telephone that was supposedly connected to a brokerage on Earth. The creatures on Zircon-212 told their captives that they had invested a million dollars for them back on Earth, and that it was up to the captives to manage it so that they would be fabulously wealthy when they were returned to Earth.
The telephone and the big board and the ticker were all fakes, of course. They were simply stimulants to make the Earthlings perform vividly for the crowds at the zoo--to make them jump up and down and cheer, or gloat, or sulk, or tear their hair, to be scared shitless or to feel as contented as babies in their mothers' arms.
The Earthlings did very well on paper. That was part of the rigging, of course. And religion got mixed up in it, too. The news ticker reminded them that the President of the United States had declared National Prayer Week, and that everybody should pray. The Earthlings had had a bad week on the market before that. They had lost a small fortune in olive oil futures. So they gave praying a whirl.
It worked. Olive oil went up.
Another Kilgore Trout book there in the window was about a man who built a time machine so he could go back and see Jesus. It worked, and he saw Jesus when Jesus was only twelve years old. Jesus was learning the carpentry trade from his father.
Two Roman soldiers came into the shop with a mechanical drawing on papyrus of a device they wanted built by sunrise the next morning. It was a cross to be used in the execution of a rabble-rouser.
Jesus and his father built it. They were glad to have the work. And the rabble-rouser was executed on it.
So it goes.
The bookstore was run by seeming quintuplets, by five short, bald men chewing unlit cigars that were sopping wet. They never smiled, and each one had a stool to perch on. They were making money running a paper-and-celluloid whorehouse. They didn't have hard-ons. Neither did Billy Pilgrim. Everybody else did. It was a ridiculous store, all about love and babies.
The clerks occasionally told somebody to buy or get out, not to just look and look and look and paw and paw. Some of the people were looking at each other instead of the merchandise.
A clerk came up to Billy and told him the good stuff was in the back, that the books Billy was reading were window dressing. "That ain't what you want, for Christ's sake," he told Billy. "What you want's in back."
So Billy moved a little farther back, but not as far as the part for adults only. He moved because of absentminded politeness, taking a Trout book with him--the one about Jesus and the time machine.
The time-traveler in the book went back to Bible times to find out one thing in particular: Whether or not Jesus had really died on the cross, or whether he had been taken down while still alive, whether he had really gone on living. The hero had a stethoscope along.
Billy skipped to the end of the book, where the hero mingled with the people who were taking Jesus down from the cross. The time-traveler was the first one up the ladder, dressed in clothes of the period, and he leaned close to Jesus so people couldn't see him use the stethoscope, and he listened.
There wasn't a sound inside the emaciated chest cavity. The Son of God was dead as a doornail.
So it goes.
The time-traveler, whose name was Lance Corwin, also got to measure the length of Jesus, but not to weigh him. Jesus was five feet and three and a half inches long.
Another clerk came up to Billy and asked him if he was going to buy the book or not, and Billy said that he wanted to buy it, please. He had his back to a rack of paperback books about oral-genital contacts from ancient Egypt to the present and so on, and the clerk supposed Billy was reading one of these. So he was startled when he saw what Billy's book was. He said, "Jesus Christ, where did you find this thing?" and so on, and he had to tell the other clerks about the pervert who wanted to buy the window dressing. The other clerks already knew about Billy. They had been watching him, too.
The cash register where Billy waited for his change was near a bin of old girly magazines. Billy looked at one out of the corner of his eye, and he saw this question on its cover. What really became of Montana Wildhack?
So Billy read it. He knew where Montana Wildhack really was, of course. She was back on Tralfamadore, taking care of the baby, but the magazine, which was called Midnight Pussycats, promised that she was wearing a cement overcoat under thirty fathoms of saltwater in San Pedro Bay.
So it goes.
Billy wanted to laugh. The magazine, which was published for lonesome men to jerk off to, ran the story so it could print pictures taken from blue movies which Montana had made as a teen-ager. Billy did not look closely at these. They were grainy things, soot and chalk. They could have been anybody.
Billy was again directed to the back of the store, and he went this time. A jaded sailor stepped away from a movie machine while the film was still running. Billy looked in, and there was Montana Wildhack alone on a bed, peeling a banana. The picture clicked off. Billy did not want to see what happened next, and a clerk importuned him to come over and see some really hot stuff they kept under the counter for connoisseurs.
Billy was mildly curious as to what could possibly have been kept hidden in such a place. The clerk leered and showed him. It was a photograph of a woman and a Shetland pony. They were attempting to have sexual intercourse between two Doric columns, in front of velvet draperies which were fringed with deedlee-balls.
Billy didn't get onto television in New York that night, but he did get onto a radio talk show. There was a radio station right next to Billy's hotel. He saw its call letters over the entrance of an office building, so he went in. He went up to the studio on an automatic elevator, and there were other people up there, waiting to go in. They were literary critics, and they thought Billy was one, too. They were going to discuss whether the novel was dead or not. So it goes.
Billy took his seat with the others around a golden oak table, with a microphone all his own. The master of ceremonies asked him his name and what paper
he was from. Billy said he was from the Ilium Gazette.
He was nervous and happy. "If you're ever in Cody, Wyoming," he told himself, "just ask for Wild Bob."
Billy put his hand up at the very first part of the program, but he wasn't called on right away. Others got in ahead of him. One of them said that it would be a nice time to bury the novel, now that a Virginian, one hundred years after Appomattox, had written Uncle Tom's Cabin. Another one said that people couldn't read well enough anymore to turn print into exciting situations in their skulls, so that authors had to do what Norman Mailer did, which was to perform in public what he had written. The master of ceremonies asked people to say what they thought the function of the novel might be in modern society, and one critic said, "To provide touches of color in rooms with all-white walls." Another one said, "To describe blow-jobs artistically." Another one said, "To teach wives of junior executives what to buy next and how to act in a French restaurant."
And then Billy was allowed to speak. Off he went, in that beautifully trained voice of his, telling about the flying saucers and Montana Wildhack and so on.
He was gently expelled from the studio during a commercial. He went back to his hotel room, put a quarter into the Magic Fingers machine connected to his bed, and he went to sleep. He traveled in time back to Tralfamadore.
"Time-traveling again?" said Montana. It was artificial evening in the dome. She was breastfeeding their child.
"Hmm?" said Billy.
"You've been time-traveling again. I can always tell."
"Um."
"Where did you go this time? It wasn't the war. I can tell that, too."
"New York."
"The Big Apple."
"Hm?"
"That's what they used to call New York."
"Oh."
"You see any plays or movies?"
"No--I walked around Times Square some, bought a book by Kilgore Trout."
"Lucky you." She did not share his enthusiasm for Kilgore Trout.
Billy mentioned casually that he had seen part of a blue movie she had made. Her response was no less casual. It was Tralfamadorian and guilt-free:
"Yes--" she said, "and I've heard about you in the war, about what a clown you were. And I've heard about the high-school teacher who was shot. He made a blue movie with a firing squad." She moved the baby from one breast to the other, because the moment was so structured that she had to do so.
There was a silence.
"They're playing with the clocks again," said Montana, rising, preparing to put the baby into its crib. She meant that their keepers were making the electric clocks in the dome go fast, then slow, then fast again, and watching the little Earthling family through peepholes.
There was a silver chain around Montana Wildhack's neck. Hanging from it, between her breasts, was a locket containing a photograph of her alcoholic mother--a grainy thing, soot and chalk. It could have been anybody. Engraved on the outside of the locket were these words:
10
ROBERT KENNEDY, whose summer home is eight miles from the home I live in all year round, was shot two nights ago. He died last night. So it goes.
Martin Luther King was shot a month ago. He died, too. So it goes.
And every day my Government gives me a count of corpses created by military science in Vietnam. So it goes.
My father died many years ago now--of natural causes. So it goes. He was a sweet man. He was a gun nut, too. He left me his guns. They rust.
On Tralfamadore, says Billy Pilgrim, there isn't much interest in Jesus Christ. The Earthling figure who is most engaging to the Tralfamadorian mind, he says, is Charles Darwin--who taught that those who die are meant to die, that corpses are improvements. So it goes.
The same general idea appears in The Big Board by Kilgore Trout. The flying saucer creatures who capture Trout's hero ask him about Darwin. They also ask him about golf.
If what Billy Pilgrim learned from the Tralfamadorians is true, that we will all live forever, no matter how dead we may sometimes seem to be, I am not overjoyed. Still--if I am going to spend eternity visiting this moment and that, I'm grateful that so many of those moments are nice.
One of the nicest ones in recent times was on my trip back to Dresden with my old war buddy, O'Hare.
We took a Hungarian Airlines plane from East Berlin. The pilot had a handlebar mustache. He looked like Adolphe Menjou. He smoked a Cuban cigar while the plane was being fueled. When we took off, there was no talk of fastening seat belts.
When we were up in the air, a young steward served us rye bread and salami and butter and cheese and white wine. The folding tray in front of me would not open out. The steward went into the cockpit for a tool, came back with a beer-can opener. He used it to pry out the tray.
There were only six other passengers. They spoke many languages. They were having nice times, too. East Germany was down below, and the lights were on. I imagined dropping bombs on those lights, those villages and cities and towns.
O'Hare and I had never expected to make any money--and here we were now, extremely well-to-do.
"If you're ever in Cody, Wyoming," I said to him lazily, "just ask for Wild Bob."
O'Hare had a little notebook with him, and printed in the back of it were postal rates and airline distances and the altitudes of famous mountains and other key facts about the world. He was looking up the population of Dresden, which wasn't in the notebook, when he came across this, which he gave me to read:
On an average, 324,000 new babies are born into the world every day. During that same day, 10,000 persons, on an average, will have starved to death or died from malnutrition. So it goes. In addition 123,000 persons will die for other reasons. So it goes. This leaves a net gain of about 191,000 each day in the world. The Population Reference Bureau predicts that the world's total population will double to 7,000,000,000 before the year 2000.
"I suppose they will all want dignity," I said.
"I suppose," said O'Hare.
Billy Pilgrim was meanwhile traveling back to Dresden, too, but not in the present. He was going back there in 1945, two days after the city was destroyed. Now Billy and the rest were being marched into the ruins by their guards. I was there. O'Hare was there. We had spent the past two nights in the blind inn-keeper's stable. Authorities had found us there. They told us what to do. We were to borrow picks and shovels and crowbars and wheelbarrows from our neighbors. We were to march with these implements to such and such a place in the ruins, ready to go to work.
There were barricades on the main roads leading into the ruins. Germans were stopped there. They were not permitted to explore the moon.
Prisoners of war from many lands came together that morning at such and such a place in Dresden. It had been decreed that here was where the digging for bodies was to begin. So the digging began.
Billy found himself paired as a digger with a Maori, who had been captured at Tobruk. The Maori was chocolate brown. He had whirlpools tattooed on his forehead and his cheeks. Billy and the Maori dug into the inert, unpromising gravel of the moon. The materials were loose, so there were constant little avalanches.
Many holes were dug at once. Nobody knew yet what there was to find. Most holes came to nothing--to pavement, or to boulders so huge they would not move. There was no machinery. Not even horses or mules or oxen could cross the moonscape.
And Billy and the Maori and others helping them with their particular hole came at last to a membrane of timbers laced over rocks which had wedged together to form an accidental dome. They made a hole in the membrane. There was darkness and space under there.
A German soldier with a flashlight went down into the darkness, was gone a long time. When he finally came back, he told a superior on the rim of the hole that there were dozens of bodies down there. They were sitting on benches. They were unmarked.
So it goes.
The superior said that the opening in the membrane should be enlarged, and that a ladder should be put in the ho
le, so that the bodies could be carried out. Thus began the first corpse mine in Dresden.
There were hundreds of corpse mines operating by and by. They didn't smell bad at first, were wax museums. But then the bodies rotted and liquefied, and the stink was like roses and mustard gas.
So it goes.
The Maori Billy had worked with died of the dry heaves, after having been ordered to go down in that stink and work. He tore himself to pieces, throwing up and throwing up.
So it goes.
So a new technique was devised. Bodies weren't brought up any more. They were cremated by soldiers with flamethrowers right where they were. The soldiers stood outside the shelters, simply sent the fire in.
Somewhere in there the poor old high school teacher, Edgar Derby, was caught with a teapot he had taken from the catacombs. He was arrested for plundering. He was tried and shot.
So it goes.
And somewhere in there was springtime. The corpse mines were closed down. The soldiers all left to fight the Russians. In the suburbs, the women and children dug rifle pits. Billy and the rest of his group were locked up in the stable in the suburbs. And then, one morning, they got up to discover that the door was unlocked. World War Two in Europe was over.
Billy and the rest wandered out onto the shady street. The trees were leafing out. There was nothing going on out there, no traffic of any kind. There was only one vehicle, an abandoned wagon drawn by two horses. The wagon was green and coffin-shaped.
Birds were talking.
One bird said to Billy Pilgrim, "Poo-tee-weet?"
Slaughterhouse-Five is a work of fiction. Names, characters, places,
and incidents either are the product of the author's imagination or are used
fictitiously. Any resemblance to actual persons, living or dead,
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