The Kurt Vonnegut Museum & Library
Indianapolis, IN

By Laura Beadling

Like many, I found and loved Kurt Vonnegut somewhere in my miserable teenage years. Slaughterhouse-Five is now one of my favorite novels to teach, whether in Great American Books or Science Fiction Literature, and at least some of my students have had similar reactions. When the Kurt Vonnegut Library and Museum moved to its new location in downtown Indy, I knew I had to go, and, late in December 2019, my husband and I packed up the dogs and headed west from Youngstown.

Slaughterhouse-Five showcases Vonnegut’s finely tuned eye for evocative juxtapositions. Structurally, the book strings together short vignettes from across protagonist Billy Pilgrim’s life, which is fitting given his assertion that he’s “come unstuck in time,” as the first page tells us. The narrative ping pongs between Billy’s sad youth, his hellish experiences in World War II, his humdrum breakdowns in Illium, NY, and his domestic contentment as an exhibit in a Tralfamadorian zoo with porn star and fellow captive Montana Wildhack.

The trip from Youngstown to downtown Indy is also filled with jarring incongruities. After several hours of flat sameness on I-70 West, suddenly you’re in the city. As we drove through downtown, we passed the gigantic blue curved-glass Marriott Hotel and a minute later a small homeless encampment under an overpass. Less than five minutes later, we pulled into a spot just off Indiana Avenue, right outside the museum.

The most striking artifact inside the museum was the icebox from Vonnegut’s childhood home. Such an incongruous object to include in a museum dedicated to a writer, especially a writer of science fiction and satire. It can’t have been easy to install either. The giant thing, made of painted wood and a number of serious-looking metal fasteners, looked murderously heavy and was, also incongruously, topped by a jaunty toy Tralfamadorian. My eyes went back to it again and again.

The museum building itself is lovely, brick with a second floor patio and plenty of windows situated in a lively neighborhood. I noticed that the Madame C.J. Walker Building was across the street, so we took a walk around the area, one of Indy’s six Cultural Districts. Although the Walker Building is closed on the weekends, we appreciated the beautiful detail on the flatiron-shaped brick structure. On it, a number of intricate, Art Deco-esque terra cotta ornaments depict African art motifs. Both buildings sit quite near to Indy’s Canal Walk, which is a pretty promenade alongside an old industrial canal that cuts through downtown.

The visit made me think about structures and organization. Given the lack of a chronologically coherent narrative, Slaughterhouse-Five relies on purposeful juxtapositions between the vignettes to create meaning. Museums are similar, deliberately placing objects to illuminate connections and disjunctions. City blocks can sometimes do the same, although not always intentionally. The placement of the museum on Indiana Avenue, once a thriving residential and commercial African American neighborhood, is an example. Although few of Vonnegut’s characters were African American, he was an outspoken lover of jazz, and Indiana Avenue boasted over 33 jazz clubs at its height. Furthermore, each building offers different but important programming throughout the year. The Walker Legacy Center offers a wide variety of African American art, history, and cultural programs. Alongside its usual focus on banned books and freedom of speech, the Vonnegut Museum’s particular focus this year is on civic engagement.

Whether inside the museum or throughout the city, these juxtapositions can, like jazz, be improvisational and surprising and beautiful. I’m sure Vonnegut would approve.

Laura Beadling was born and raised in Youngstown, Ohio where she now teaches literature, film, and screenwriting at Youngstown State University. She realizes now that she should have bought the plush toy Trafalmadorian on offer at the Vonnegut Museum’s gift shop as it would be a good addition to her office collection of tchotchkes.

Photo by Neil Teixeira, courtesy of Kurt Vonnegut Museum & Library.

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