Weeks 1–2: Player Piano

Vonnegut's first novel, Player Piano, was first published by Charles Scribners and Sons in 1952, only two years after he first started placing stories in "slicks" — popular weekly magazines that catered to large audiences and provided writers with ample and lucrative opportunities to see their stories in print. This early financial success provided the motivation Vonnegut needed to quit his public relations job at General Electric in Schenectady, NY and move to Cape Cod to pursue writing full-time, however the periodical market dried up not long thereafter. Here's Vonnegut's own description of that time period, from the preface to Bagombo Snuff Box:

There was a crazy seller’s market for short stories in 1950. There were four weekly magazines that published three or more things in every issue. Six monthlies did the same.

I got me an agent. If I sent him a story that didn’t quite work, wouldn’t quite satisfy a reader, he would tell me how to fix it. Agents and editors back then could tell a writer how to fine-tune a story as though they were pit mechanics and the story were a race car. With help like that, I sold one, and then two, and then three stories, and banked more money than a year’s salary at GE.

I quit GE and started my first novel, Player Piano. It is a lampoon on GE. I bit the hand that used to feed me. The book predicted what has indeed come to pass, a day when machines, because they are so dependable and efficient and tireless, and getting cheaper all the time, are taking the halfway decent jobs from human beings. [...]

But three years after I left Schenectady, advertisers started withdrawing their money from magazines. [...] One monthly that had brought several of my stories, Cosmopolitan, now survives as a harrowingly explicit sex manual.

Vonnegut in 1952.

Player Piano revisits themes that should be familiar after today's readings, namely, as the cover copy reads, "America in the Coming Age of Electronics," and just as importantly, the place of humans within this technocratic society, and aside from general nuclear anxieties, much of Vonnegut's interest in rapidly-advancing technology was born of his experience at GE, as filtered through a mild sibling rivalry with his pragmatic brother, Bernard, a star scientist for the organization who, among other achievements, discovered a process for cloud seeding. The humanist vs. scientist dynamic was an active one in the Vonnegut family — for example, influenced by Bernard's analytic nature, Vonnegut's father would force him to major in chemistry at Cornell, turning down a dream job in journalism. Likewise, there's an interesting analogue in Vonnegut's longtime association with the science-fiction genre — something he disdained as an attempt to marginalize his writing and diminish the sharpness of his social commentary.  Writing on the topic in The New York Times in 1965, he observes:

Years ago I was working in Schenectady for General Electric, completely surrounded by machines and ideas for machines, so I wrote a novel about people and machines, and machines frequently got the best of it, as machines will. (It was called Player Piano, and it's coming out in hard covers again next spring.) And I learned from the reviewers that I was a science-fiction writer.

I didn't know that. I supposed that I was writing a novel about life, about things I could not avoid seeing and hearing in Schenectady, a very real town, awkwardly set in the gruesome now. I have been a sore-headed occupant of a file-drawer labeled ''science- fiction'' ever since, and I would like out, particularly since so many serious critics regularly mistake the drawer for a tall white fixture in a comfort station. 

The way a person gets into this drawer, apparently, is to notice technology. The feeling persists that no one can simultaneously be a respectable writer and understand how a refrigerator works, just as no gentleman wears a brown suit in the city.

If you're wondering what Utopia 14 is, by the way, it was Bantam's 1954 attempt to cash in on the popularity of science fiction pulp novels, rebranding Player Piano to appeal to that market (note the futuristic city/machine/spaceship thingy[?], the alien-like creatures, the unforgiving landscape, the enigmatic hero). Vonnegut was justifiably angered by this, however the book wasn't republished under its original title until 1966, after the success of Cat's Cradle.

General Electric would also greatly influence Cat's Cradle, in which Dr. Felix Hoenikker was based on Nobel Prize-winner Irving Langmuir (one of Bernard's colleagues), and while GE is proud to acknowledge that (scroll down), they aren't as eager to own up to the more critical depiction in Player Piano.

Here's our reading schedule for the week:

• Fri. August 26: chapters 1–8
• Mon. August 29: chapters 9–18
• Weds. August 31: chapters 19–25
• Fri. September 2: chapters 26–35

and here are a few supplemental links:

• Granville Hicks' New York Times review of Player Piano: [link]
• "The Invention of Kurt Vonnegut" — a discussion of the author's time at GE: [link]
• Vonnegut on science fiction, GE and Player Piano (from a 1973 Playboy interview): [link]
• Vonnegut on Player Piano, "technology and cheesy little religions" (from a 1973 interview with Robert Scholes): [link]
• Wikipedia entry on ENIAC, the world's first general-purpose computer, developed at the University of Pennsylvania in 1947 (and most likely a real-world analogue for EPICAC): [link]