Kurt Vonnegut’s Slaughterhouse-Five, a metafiction, is a nonlinear novel which calls the realist novels into question. It makes readers see the reality as a fabric in and through which they live. It examines the world and human subject which is constituted through ideological, discursive, and linguistic processes. Metafiction is a self-referential writing about the novel itself which exposes the limitations and contradictions of the novel. The realist novels underpin and bolster the modern discourse by interpellating individuals to the positions in the ideological practices of a society. Examining the process in which a novel is written through, Slaughterhouse-Five suggests that the novel and the world is not so much a ‘work’ as a ‘text’ which opens linguistic signs, facts, and voices up to nonlinear/multilinear crosses, movements, and collisions. In this textual space, the modern white male discourse and the transcendental subject privileged and conveyed by the modern discourse is demystified. The world and reality as constructs of signifying process lead us to learn the real condition of us in the society. Denying the linear realist narrative tradition and its presuppositions, Slaughterhouse-Five helps us to refuse the modern coercive subject and recover our own voice and subjectivity.

Kurt Vonnegut’s Slaughterhouse-Five, a metafiction, is a nonlinear novel which calls the realist novels into question. It makes readers see the reality as a fabric in and through which they live. It examines the world and human subject which is constituted through ideological, discursive, and linguistic processes. Metafiction is a self-referential writing about the novel itself which exposes the limitations and contradictions of the novel. The realist novels underpin and bolster the modern discourse by interpellating individuals to the positions in the ideological practices of a society. Examining the process in which a novel is written through, Slaughterhouse-Five suggests that the novel and the world is not so much a ‘work’ as a ‘text’ which opens linguistic signs, facts, and voices up to nonlinear/multilinear crosses, movements, and collisions. In this textual space, the modern white male discourse and the transcendental subject privileged and conveyed by the modern discourse is demystified. The world and reality as constructs of signifying process lead us to learn the real condition of us in the society. Denying the linear realist narrative tradition and its presuppositions, Slaughterhouse-Five helps us to refuse the modern coercive subject and recover our own voice and subjectivity.

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