Vonnegut
23 creative works found
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To the known ends we are (WARNING! Deep Poem)
by C.C. ArshagraExcited as Doom giving a toast –“To inevitable pain! / Lest the poor wake to think …
Inspired by RedBubble artist / paul d robertson’s writing: / ‘The truth about suicide’ Dedicated to Kurt Vonnegut / Author of the book Mother Night
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To the known ends we are (Same poem In First Person)
by C.C. ArshagraExcited as Doom giving a toast –“To inevitable pain! Lest / The poor wake to think …”
This poem was Inspired by RedBubble artist Paul D Robertson and his writing: The truth about suicide. It is Dedicated to Kurt Vonnegut / Author of Mother Night / Please visit Paul’ page. The piece refered to here is listed in his writings. You will not be disappointed! Lest the fright of nakedness ofends you. His URL ( get thelink thing down latter)
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I'm on a book cover :)
by earthairfireI got confirmation today that one of my images is to be used …
I got confirmation today that one of my images is to be used on the cover of a reprint of a 1979 classic novel – Jailbird, by Kurt Vonnegut. I’m thrilled on so many levels – especially as he’s an author who I love! Just thought I’d share my news ::) Tim
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Do you read Vonnegut? http://en.wikipedia.org/wiki/Ice-nine
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The author with book, reading glasses, and mug.
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Extracts from my reading - I
by nancyamesI will occasionally be posting brief quotations from my collection of many years for the enjoyment of other bubblers, with references of …
I will occasionally be posting brief quotations from my collection of many years for the enjoyment of other bubblers, with references of course – just pieces of good, interesting writing. / #1. / John D. MacDonald, THE DECEIVERS, 1958 “Okay. So we chalk it off to the summer night, beer, proximity and so on. And we don;t let it happen again.” / “That’s right. We stay sensible about it. We’ve got ethical responsibilities.” / “And right now, Cindy, we’re demonstrating one of the big fat flaws in the logic of the western world. All of us try to attack emotional problems with logic. And logic with emotions. Emotion is more of a physical problem. It’s as though… you see a man drowning and you stand on the bank and explain to him the mechanics of the flutter-kick.” / —-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—- / #2. / Kurt Vonnegut, HOCUS POCUS, 1990 The year is 2001 now. / If all had gone the way a lot of people thought it would, Jesus Christ would have been among us again, and the American flag would have been planted on Venus and Mars. / No such luck! At least the world will end, an event anticipated with great joy by many. It will end very soon, but not in the year 2000, which has come and gone. From that I conclude that God Almighty is not heavily into numerology. / —-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—- / #3. / Richard Brautigan, in THE PILL VERSUS THE SPRINGHILL MINE DISASTER, 1968 Your Necklace is Leaking Your necklace is leaking / and blue light drips / from your beads to cover / your beautiful breasts / with a clear African dawn. / —-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-
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Bosch meets Vonnegut in the Temple of Hooves. Together they swear fealty to the last Ceryneian Hind, beloved companion of the virgin Artemis, thus mitigating Fate’s tyranny, as the Goddess dials back from Golden Era Greek time coordinates to 30,053 B.C.E.; and hence, bids her minions render sacred images of ocher and charcoal on the cave walls of Cro-Magnon consciousness. autumn leaves / a flock of ewes driven / by the wind This tawny fractal-based digital painting is yours for a mere pittance (considering the broad scale of a failing economy), and will surely grace any vestibule, whether of slaughterhouse or dry ice emporium. Quality prints available. / .
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Extracts from my reading V
by nancyames(These quotations are selected to be suitable for Remembrance Day, Nov. 11) 13. / Hugh Kingsmill, in his introduction to “The Poisoned …
(These quotations are selected to be suitable for Remembrance Day, Nov. 11) 13. / Hugh Kingsmill, in his introduction to “The Poisoned Crown”, 1944 What is divine in man is elusive and impalpable, and he is easily tempted to embody it in a collective form – a church, a country, a social system, a leader – so that he may realize it with less effort and serve it with more profit. Yet, as even Lincoln proved, the attempt to externalize the kingdom of heaven in a temporal shape must end in disaster. It cannot be created by charters or constitutions, nor established by arms. Those who set out for it alone will reach it together and those who seek it in company will perish by themselves. / —-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—- 14. / Kurt Vonnegut Jr., “Slaughterhouse Five”, 1966 Billy looked at the clock on the gas stove. He had an hour to kill before the saucer came. He went into the livng-room, swinging the bottle like a dinner-bell, turned on the television. He came unstuck in time slightly, saw the late movie backwards, then forward again. It was a war movie about American bombers in the Second World War and the gallant men who flew them. Seen backwards by Billy, the story went like this: American planes, full of holes and wounded men and corpses, took off backwards from an airfield in England. Over France, a few German fighter planes flew at them backwards, sucked bullets and shell fragments from some of the planes and crewmen. They did the same for wrecked American bombers on the ground, and those planes flew backwards to join the formation. The formation flew backwards over a German city that was in flames. The bombers opened their bomb bay doors, exerted a miraculous magnetism which shrunk the fires, gathered them into cylindrical steel containers, were stored neatly in racks. The Germans below had miraculous devices of their own, which were long, steel tubes. They used them to suck more fragments from the crewmen and planes. But there were still a few wounded Americans, though, and some of the bombers were in bad repair. Over France, though, the German fighters came up again, made everything and everybody as good as new. When the bombers got back to their base, the steel cylinders were taken from the racks and shipped back to the United States of America, where factories were operating night and day, dismantling the cylinders, separating the dangerous contents into minerals. Touchingly, it was the women who did this work. The minerals were then shipped to specialists in remote areas. It was their business to put them into the ground, to hide them cleverly, so they would never hurt anybody ever again. The American flyers turned in their uniforms, became high school kids. And Hitler turned into a baby, Billy Pilgrim supposed. That wasn’t in the movie. Billy was extrapolating. Everybody turned into a baby and all humanity, without exception, conspired to produce two perfect people named Adam and Eve, he supposed. / —-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—- 15. / William Butler Yeats, “The Second Coming”, 1920 Turning and turning in the widening gyre, / The falcon cannot hear the falconer; / Things fall apart; the centre cannot hold; / Mere anarchy is loosed upon the world, / The blood-dimmed tide is loosed, and everywhere / The ceremony of innocence is drowned; / The best lack all conviction, while the worst / Are full of passionate intensity. Surely some revelation is at hand; / Surely the Second Coming is at hand. / The Second Coming! Hardly are those words out / When a vast image out of Spiritus Mundi / Troubles my sight; somewhere in the sands of the desert / A shape with lion body and the head of a man, / A gaze blank and pitiless as the sun, / Is moving its slow thighs, while all about it / Reel shadows of the indignant desert birds. / The darkness drops again; but now I know / That twenty centuries of stony sleep / Were vexed to nightmare by a rocking cradle, / And what rough beast, its hour come round at last, / Slouches toward Bethlehem to be born? / —-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—
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Bebelplatz
by bellmuskerInk is like blood….it leaves stains
Alles, was uns begegnet, läßt Spuren zurück. / (Everything we encounter leaves traces behind.) / Johann Wolfgang von Goethe Every author in some way portrays himself in his works, even if it be against his will. / Johann Wolfgang von Goethe
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One for the Vonnegut fans amongst us. I’d like to imagine they sold these shirts at the zoo where Billy was put on display. If you don’t know what I’m on about, please rush out and buy yourselves a copy of Slaughterhouse Five by Kurt Vonnegut Jr.
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Musings at Midnight
by William AdlerPerhaps then I could forget. Perhaps then I could finally forget how cliche that previous sentence’s style was, and too the ideas of most…
ENJOY. And enjoy spontaneous Caps Lock. Kind of an interior monologue of sorts.
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A simple line drawing of Kurt Vonnegut one of my favourite authors. Not my usual style of drawing but quite liked the way it came out. I stamped it in photoshop just to bring out the lines as I did the original on non bleached recycled paper.
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Based on a title from Kurt Vonnegut, this drawing was made with Inks, Watercolor and colored pencil on Arches 140 lb. hot press watercolor paper.
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Based on a title from a Kurt Vonnegut short story, this drawing was made with colored pencil on rag paper.
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Based on a title from a Kurt Vonnegut short story, this drawing was made with inks, watercolor and colored pencil on rag paper.
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Based on a title from a Kurt Vonnegut short story, this drawing was made with inks, watercolor and colored pencil on rag paper.
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Based on a title from a Kurt Vonnegut short story, this drawing was made with inks, watercolor and colored pencil on rag paper.
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Based on a title from a Kurt Vonnegut short story, this drawing was made with inks, watercolor and colored pencil on 140 lb hot-press rag paper.
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Based on a title from a Kurt Vonnegut short story collection, this drawing was made with inks, watercolor and colored pencil on rag paper.
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Obviously this was done as a tribute to my favorite author, it all grows out of his small signature in the middle. It was drawn with watercolor, inks, and colored pencil on 140 lb hot-press rag paper.
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Ode to my favorite author Kurt Vonnegut. Black and White Acrylic and Charcoal on Bristol paper.
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oil
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