Az Eszterházy Károly Tanárképző Főiskola Tudományos Közleményei. 1994. [Vol. 2.] Eger Journal of American Studies. (Acta Academiae Paedagogicae Agriensis : Nova series ; Tom. 22)

STUDIES - Donald E. Morse: The Joyful Celebration oflJfe. Kurt Vonnegut's Affirmative Vision in Galapagos and Bluebeard

the present, in which humans appear anything but "lovable," while at the same time intimating that through the right use of thinking and feeling humankind and planet earth could prevent ecocide. As contemporary science fiction Vonnegut maintains his novel "had to be responsible in terms of the theory of evolution, the theory of natural selection.

.. [since good science fiction will] make people think intelligently about science and what it can or cannot do. That's what we must do now" ("Serenity," 30—1). This didactic aim, in part, leads Vonnegut to reject the kind of themes and values found in much of the more traditional science fiction. According to the literary historian, James Gunn, most if not all science fiction is rooted in the belief that through thinking human beings can indeed save the planet and the species; that through technology a way will be found out of the current ecological dilemma; that progress is not only possible, but probable through science; and that finally: The farther into space one travels the less significant become the passions and agonies of man, and the only matter of importance in the long morning of man's struggle to survive is his survival so that his sons could be seeded among the stars, an Bretnor, 199) Vonnegut says a resounding "No!" to any such unearthly faith in populating future worlds. Beginning with Player Piano (1952) and The Sirens of Titan (1959) and continuing through Galapagos—and into the nonscience fiction novel, Bluebeard

—he continually satirizes such absence of values and neglect of the heart necessitated by shifting the fictional focus away from individual responsibility to colonizing unknown worlds. Years ago when asked whether he felt there was such a thing as progress

— General Electric, for whom he worked for a number of years used to boast, "Progress Is Our Most Important Product"

—or if he thought things were getting better, Vonnegut replied: "I don't have the feeling [that we are going somewhere]." This theme of the lost or never found sense of direction is present in all of Vonnegut's work including his future fiction which helps 111