Since the publication of his first short stories in the 1950s, Kurt Vonnegut has enjoyed much popular acclaim and has, since the 1970s, gained growing amounts of attention from the scholarly community. In the course of his career, he has become increasingly concerned with visual images. While such imagery occurs in his short fiction and novels, he has also written plays, in which ideas are visually represented on the stage. In recent years, he has devoted more and more of his time and energy to graphic art, producing paintings that are then silk screened. The contributors to this volume look at the visual images created by Vonnegut in his literary art, along with the images and representations of his thought that increasingly are being brought to life in other media.

Much of Vonnegut's present significance, his talents as a mythmaker, and his impulse toward visual imagery were anticipated by Leslie Fiedler in The Divine Stupidity of Kurt Vonnegut, published in the September 1970 issue of "Esquire." That essay is reprinted here as a prescient introduction to the volume. The essays that follow look at comic elements in Vonnegut's science fiction, the representation of authors in his works, and the translation of his writings into film. The book also examines Vonnegut's graphic art and includes photos of several of his works.

Since 1950, when his short stories first appeared, Kurt Vonnegut has published almost 50 short stories, 13 novels, two plays, and a teleplay. He has remained one of the shrewdest commentators--and often harshest critics--of American society, challenging the complacency of the Eisenhower years, watching the Kennedy's with admiration, and disliking Nixon. He has remained one of the most important chroniclers of American life, his message often foreboding though rarely gloomy. Yet he occupies an ambiguous place in American letters. The 14 essays in this collection seek to chronicle Vonnegut's career as it moves through changing times.

The volume opens with a chronology of Vonnegut's life and three interviews with him. The essays consider his career, combining interest and readability for the general reader with critical commentary for the more serious scholar. The essays consider Vonnegut's later work or are retrospectives reevaluating aspects of his career. Some discuss individual works, particularly later novels, but most consider the ways Vonnegut pursues a theme or technique, the ways his mind works both in the construction of the novels and in the ideas embodied in them. There is also an Appendix discussing Vonnegut's most recent creative enterprise, graphic art, with 12 illustrations of his most recent art work.