Derek D. Miller, author of “Postmodernism inVonnegut’s Cat’s Cradle” is a literary criticism that visualizes the relation between postmodernism and Vonnegut’s Cat’s Cradle. This straightforward essay delves directly into the topics of truth, progress, and knowledge, three relatively unrelated themes, and uses humor (parody, irony, and satire) to establish their relative position in regards to postmodernism. Miller’s comparisons are no laughing matter, as he establishes his positions quite well though his evaluation of Vonnegut’s writings. Miller seems to step into a few pitfalls however. While his analysis is quite thorough, he tends to over evaluate and utilize excessive redundancy in various sections of his essay. These sections tend to jar the reader out of the essay’s otherwise natural flow and ebb. Thus, Miller may find himself in a bit of a jam as his reasoning falls ever so short as the reader’s attention is lost amidst a stream of repetition. Overall however, Miller’s claims are well supported and backed by well emphasized citations from the text, at least from Vonnegut’s end. Jim Powell’s Postmodernism for Beginners is allegedly used to focus the discussion regarding postmodern though, yet how is not readily present. In the scope of the entire essay, Powell is mentioned three times, and two of those said times were in a section of the text where the goal was to target the definitions of postmodernism with precision before continuing the discussion. That leaves Powell referenced only once in the remainder of the essay, and even then it further serves as an obtuse reference to the basis of postmodernism in addition to its purpose as fine tuning the reference material. In the cacophony of ideas presented by this essay, further, non-redundant, relation between the two texts would have allowed a freer exchange of information between the author and his audience. Perhaps as a side effect of the above statement, Miller identifies as a well versed authority on the subject at hand. Although he does not often attribute these ideas to Miller, his conclusions drawn from Vonnegut are remedied and supported by a firm foundation of postmodern definitions. His authority is further set in stone by his strict devotion to his thesis. He does not alter from his path with any unnecessary information or anecdotes and provides only that which strengthens his positions. The audience however, will likely find itself at a fork before long, entranced by his dedication yet forced away by his repetition. His message is overall alluring however and well established and thought out. Furthermore, there are no logical sirens announcing mistakes or misunderstanding, and his prose and examples are easily accessible by those who have not even read wither text (me included). His essay structure is also to be applauded, as he gradually delves deeper into Vonnegut’s work by moving from the lower forms of comedy to those at a higher tier. In doing so, Miller slowly raises the stakes with more delicate comparisons and establishes his point all the stronger. Miller can also be related to a bull in a tea shop; he holds back no punches and dives in from the get go yet refuses to leave the reader in the dark. Miller’s essay is certainly brilliant, and although it has its flaws, it stands out as a candle in the dark.
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