Breakfast Of Champions

Kurt Vonnegut's writing always had an informal, conversational tone to it, as if he were a wise Grandfather dispensing bittersweet lessons about life instead of a legendary professional novelist. With Breakfast Of Champions, he made the leap to full on meta-fictional conceits, inserting himself as a character and making crude-yet-charming drawings to accompany the text. It wasn't enough that he talk directly to the reader; in Champions there's a scene where he, as narrator/writer, and he, as a character in the novel, worry together about whether or not they'll commit suicide like his Mother did.

So, it's an uplifting book.

Though the aforementioned drawings are perhaps better known than the book itself, especially the simplistic asterisk-looking asshole (see below) which inspired the Red Hot Chili Peppers' logo, it's important to point out how they complement the often emotionless and literal descriptions Vonnegut gives of things in the world. It reveals how ridiculous and arbitrary they are while also showing that we take a lot of things for granted and don't question them. The bits about penis sizes and women's measurements read like scientific reports, as if to say that it's meaningless data and not something to fixate on. Likewise, the bits about how Vonnegut-esque writer Kilgore Trout refers to mirrors as "leaks" and how people name things what they do because they "like the sound of it" still ring true in this era of slang terms and ridiculous names for companies and products.

Written during a mid-life crisis, Breakfast Of Champions is as bleak and self-reflexive as Vonnegut ever got. With poignant passages undercut by his severe depression and characters borrowed from his other works, the novel is in many ways the most quintessential book Vonnegut ever wrote. One could also make the case that it has the most contrived, meandering, and plot-less premise of any book Vonnegut ever wrote...though that's by necessity. Many scenes seem thrown in just so he can hold forth on this or that subject, but then again, that was often the appeal of Vonnegut's style: that thrilling sense of an uncle or Grandpa telling you dirty jokes and irreverently mocking American society.

It's rare that fiction writers put so much of themselves into a novel without things crossing over into parody or pretension. It speaks both to his personable prose, full of repeated phrases and concepts, and to his disregard for telling a story in a linear order that the silly moments or matter-of-fact plot contrivances feel more like a whimsical god toying with his or her creations than they do self-parody or artsy fartsy, post-modern nonsense.

Hunter S. Thompson's Fear And Loathing In Las Vegas was published a couple years before Breakfast Of Champions and I think of them as parallel commentaries on American society during the early 70s. Yes, I think of both as being timeless works, too, but they also perfectly capture that time when the hippie movement was dying out and the self-centered cynicism of the full-on 70s was just beginning. Where Thompson sought escape and revelation in drugs and the counter-culture lifestyle, taking swipes at mainstream society and bemoaning the death of the 60s dream, Vonnegut came from the perspective of neither the hippies nor the 'silent majority' that Nixon spoke to. His problem was that bag drugs already existed in his mind, and the revelation that bad chemicals could make people do horrible things beyond their control seemed to bother him tremendously. He implies, to some extent, that we are like the robots who lack free will in the short story that sets off the main action of the plot.

Still, Breakfast Of Champions works not because it has anything concrete to say about the nature of man, free will, or American society. It works because it feels so personal and so raw. Vonnegut doesn't hold back and goes even further than Thompson, demonstrating that all of society was rotten to the core, that mankind was a blight on the Earth, and so on. It's odd to think that this was his follow-up to the beloved classic Slaughterhouse-Five, since bleak ruminations on suicide and lists of the precise measurements of different character's body parts and sex organs are not exactly the kind of material that holds a newly won audience. However, it would be difficult to imagine him as the cantankerous old cult hero he went on to become without books like Breakfast Of Champions.

Album Of The Week/Primer Part 4: Radiohead- OK Computer

Kurt Vonnegut wrote five novels before Slaughterhouse-Five and eight after, yet it's the work he will be remembered for always. You may personally prefer other books of his (for me, Breakfast Of Champions is his best), critics may claim that other of his books are underrated and/or that Slaughterhouse-Five is overrated, but it doesn't change the fact that it's a novel that belongs to dictionary entries, short biographies, and lists of "best books ever" or some such thing. It belongs to eternity; it has been and will be taught in schools. Moreover, it was the book that made Kurt Vonnegut a household name, gaining him fame and, if not fortune, then a comfortable life.

Radiohead made two albums before OK Computer and four after, yet it's the work they will be remembered for always. You may personally prefer other albums of their's (for me, Kid A is their best), critics may claim that other of their albums are underrated and/or that OK Computer is overrated, but it doesn't change the fact that it's an album that belongs to dictionary entries, short biographies, and lists of "best albums ever" or some such thing. It belongs to eternity; it has been and will be enjoyed and studied extensively by music listeners and critics. Moreover, it was the album that made Radiohead a household name, giving them fame, semi-fortune, and an uncomfortable life (as evidence by the documentary Meeting People Is Easy and the direction of Kid A and Amnesiac).

I really don't think there's an original angle to approach OK Computer from, review-wise, unless you're just including healthy doses of your history with the album. Like other "best albums ever", such as those by The Beatles, Pink Floyd, Led Zeppelin, and Bob Dylan, it has been praised, torn down, re-appraised, overrated, underrated, and absorbed into the human psyche. Just as you can hear disparate influences in the music of OK Computer (the band have acknowledged Miles Davis's late 60s to mid 70s electronic phase, Can, The White Album, and Ennio Morricone), it would be difficult to imagine the development of popular and 'underground' music without this album. Arguably Kid A had more to do with inspiring artists to do whatever they felt like during this decade, to follow their inspiration even if it meant alienating fans and critics, but almost everyone has heard OK Computer and understands what it did and still does.

There is everything in the world to say about this album and yet nothing to say. I mean, I still use 'GregRadiohead' as a username online and I've probably listened to OK Computer more than anything else in my life; it'll always be with me, physically, mentally, and spiritually. So, while I could write thousands of words about this album--about its sounds, themes, ideas, what it makes me feel and imagine--I am paralyzed by the possibilities. Even to start with surface things like its perfect pacing and sequencing would carry me off into the verbose night. Anyway, that misses the point. Like I said, this album has been built up and knocked down time and again: rated, overrated, and underrated by all manner of people. It feels futile to pretend there's anything interesting, critically, to say about it.

Yet this, too, misses the point. I don't need an interesting critical thing to say, and you don't need to read it. The only thing you need to do with OK Computer in 2009 is listen to it. Forget all the debates and discourse. Try to hear this album with the freshest ears possible. Remember what makes it so good. Remember the incredible songs, sounds, ideas, and emotions, as powerful and lasting as any "committed to tape" (as the liner notes say) in the history of rock music. Remember that, yes, bands can keep getting artier and more experimental and yet get better at the same time.

If, as I suggested in another review, The Bends can be seen as Radiohead accepting their fate to be one of the best bands of all time, then OK Computer is them not only trying to live up to this but going all the way. To quote Charles Bukowski: "If you're going to try, go all the way. There is no other feeling like that. You will be alone with the gods. And the nights will flame with fire. You will ride life straight to perfect laughter. It's the only good fight there is..."