For an anti-war novel, it is certainly unconventional to start with ' Listen: Billy Pilgrim has come unstuck in time' and end with 'Poo-tee-weet'.
When trying to approach something as majorly catastrophic and overturning as the destruction of Dresden, the writer, instead of finding it easy for himself to write about it, was stuck, ' neither of us could come up with anything good'. All that they could come up with were stories concerning details, though in no way unimportant, were certainly trifle comparing with the whole picture. Thus, a story about a slaughter-house was wrapped up around a man named Billy Pilgrim, who became unstuck in time.
Modern classics baffle me sometimes. They seem to share a tendency to avoid the big picture,the important, and focus instead on those daily details,the trifles,the absurd. 在最应该充满戏剧冲突的地方，我们看到的是平静。当那一对innkeeper得知Dresden已经化为废墟，而面前的正是一些美国敌军俘虏时，他们难道不是有一切理由有各种情绪化的发泄和愤怒吗？他们没有，在巨大的悲剧面前，他们平静地开店，平静地接纳着那些美国战俘，在最后不忘说“Good night，Americans,sleep well"。另外那一对德国夫妇，在一片巨大的废墟中，仍在关心马受伤的蹄子。在面对巨大的伤痛时，人似乎呈现出避重就轻的趋向。
但是，仔细想来，似乎又不仅仅是避重就轻那么简单。当历史铺天盖地地将你席卷时，作为一个普通人，我们的感知方式是那么的局限，我们只能从个人微小的视角去切入。我们没有能力愤怒，我们只能疲倦地跋涉在路上，甚至累到恳求被生活落在后面，无知无觉地睡去。面对slaughter-house，面对刻意忽视我们的官方话语，我们只好坚持说，我曾经见证过，so it goes.