In Unstuck in Time, Gregory Sumner guides us, with insight and passion, through a biography of fifteen of Kurt Vonnegut’s best known works, his fourteen novels starting with Player Piano (1952) all the way to an epilogue on his last book, A Man Without a Country (2005), to illustrate the quintessential American writer’s profound engagement with the "American Dream" in its various forms. Sumner gives us a poignant portrait of Vonnegut and his resistance to celebrating the traditional values associated with the American Dream: grandiose ambition, unbridled material success, rugged individualism, and "winners" over "losers." Instead of a celebration of these values, we read and share Vonnegut’s outrage, his brokenhearted empathy for those who struggle under the ethos of survival-of-the-fittest in the frontier mentality—something he once memorably described as "an impossibly tough-minded experiment in loneliness." Heroic and tragic, Vonnegut’s novels reflect the pain of his own life’s experiences, relieved by small acts of kindness, friendship, and love that exemplify another way of living, another sort of human utopia, an alternative American Dream, and the reason we always return to his books.

Kurt Vonnegut’s masterpiece, Slaughterhouse-Five is “a desperate, painfully honest attempt to confront the monstrous crimes of the twentieth century” (Time). Selected by the Modern Library as one of the 100 best novels of all time Slaughterhouse-Five, an American classic, is one of the world’s great antiwar books. Centering on the infamous World War II firebombing of Dresden, the novel is the result of what Kurt Vonnegut described as a twenty-three-year struggle to write a book about what he had witnessed as an American prisoner of war. It combines historical fiction, science fiction, autobiography, and satire in an account of the life of Billy Pilgrim, a barber’s son turned draftee turned optometrist turned alien abductee. As Vonnegut had, Billy experiences the destruction of Dresden as a POW. Unlike Vonnegut, he experiences time travel, or coming “unstuck in time.” An instant bestseller, Slaughterhouse-Five made Kurt Vonnegut a cult hero in American literature, a reputation that only strengthened over time, despite his being banned and censored by some libraries and schools for content and language. But it was precisely those elements of Vonnegut’s writing—the political edginess, the genre-bending inventiveness, the frank violence, the transgressive wit—that have inspired generations of readers not just to look differently at the world around them but to find the confidence to say something about it. Authors as wide-ranging as Norman Mailer, John Irving, Michael Crichton, Tim O’Brien, Margaret Atwood, Elizabeth Strout, David Sedaris, Jennifer Egan, and J. K. Rowling have all found inspiration in Vonnegut’s words. Jonathan Safran Foer has described Vonnegut as “the kind of writer who made people—young people especially—want to write.” George Saunders has declared Vonnegut to be “the great, urgent, passionate American writer of our century, who offers us . . . a model of the kind of compassionate thinking that might yet save us from ourselves.” More than fifty years after its initial publication at the height of the Vietnam War, Vonnegut’s portrayal of political disillusionment, PTSD, and postwar anxiety feels as relevant, darkly humorous, and profoundly affecting as ever, an enduring beacon through our own era’s uncertainties.

The story of Kurt Vonnegut and Slaughterhouse-Five, an enduring masterpiece on trauma and memory Kurt Vonnegut was twenty years old when he enlisted in the United States Army. Less than two years later, he was captured by the Germans in the single deadliest US engagement of the war, the Battle of the Bulge. He was taken to a POW camp, then transferred to a work camp near Dresden, and held in a slaughterhouse called Schlachthof Fünf where he survived the horrific firebombing that killed thousands and destroyed the city. To the millions of fans of Vonnegut’s great novel Slaughterhouse-Five, these details are familiar. They’re told by the book’s author/narrator, and experienced by his enduring character Billy Pilgrim, a war veteran who “has come unstuck in time.” Writing during the tumultuous days of the Vietnam conflict, with the novel, Vonnegut had, after more than two decades of struggle, taken trauma and created a work of art, one that still resonates today. In The Writer’s Crusade, author Tom Roston examines the connection between Vonnegut’s life and Slaughterhouse-Five. Did Vonnegut suffer from Post-Traumatic Stress Disorder? Did Billy Pilgrim? Roston probes Vonnegut’s work, his personal history, and discarded drafts of the novel, as well as original interviews with the writer’s family, friends, scholars, psychologists, and other novelists including Karl Marlantes, Kevin Powers, and Tim O’Brien. The Writer’s Crusade is a literary and biographical journey that asks fundamental questions about trauma, creativity, and the power of storytelling.

In making her selection for Pharos Editions, Dana Spiotta tells us how drawn she was by the work of Raymond Mungo. "[He] writes . . . about his own joy and his own pain, he is particularly good when he describes the land around him and how it feels on his body." Indeed, if Henry David Thoreau had downed a handful of liberty caps before penning Walden it would have read much like Mungo's Total Loss Farm, a rollicking memoir of the late 1960's back–to–the–earth movement. Written in a limber prose style formed by the tempo of the times, Mungo takes us into the cultural tsunami of a failed radical politics as it broke on the shoals of a drug–fueled personal freedom and washed inland across the farmlands of Vermont, leaving a trail of damage and redemption in its wake. Total Loss Farm attracted widespread critical and commercial attention in 1970, when the "back–to–the–land" hippie commune movement first emerged. The book's first section, "Another Week on the Concord and Merrimack Rivers," appeared as the cover article in the May 1970 issue of Atlantic Monthly. The hardcover first edition from Dutton was quickly followed by paperback editions from Bantam, Avon, and Madrona Publishers, keeping the book in print for several decades. Very recently, Dwight Garner in the New York Times Book Review cited Total Loss Farm as "the best and also the loopiest of the commune books."

Billy Pilgrim returns home from the Second World War only to be kidnapped by aliens from the planet Tralfamadore, who teach him that time is an eternal present.

NEW YORK TIMES BESTSELLER • “For all those who have lived with Vonnegut in their imaginations . . . this is what he is like in person.”–USA Today In a volume that is penetrating, introspective, incisive, and laugh-out-loud funny, one of the great men of letters of this age–or any age–holds forth on life, art, sex, politics, and the state of America’s soul. From his coming of age in America, to his formative war experiences, to his life as an artist, this is Vonnegut doing what he does best: Being himself. Whimsically illustrated by the author, A Man Without a Country is intimate, tender, and brimming with the scope of Kurt Vonnegut’s passions. Praise for A Man Without a Country “[This] may be as close as Vonnegut ever comes to a memoir.”–Los Angeles Times “Like [that of] his literary ancestor Mark Twain, [Kurt Vonnegut’s] crankiness is good-humored and sharp-witted. . . . [Reading A Man Without a Country is] like sitting down on the couch for a long chat with an old friend.”–The New York Times Book Review “Filled with [Vonnegut’s] usual contradictory mix of joy and sorrow, hope and despair, humor and gravity.”–Chicago Tribune “Fans will linger on every word . . . as once again [Vonnegut] captures the complexity of the human condition with stunning calligraphic simplicity.”–The Australian “Thank God, Kurt Vonnegut has broken his promise that he will never write another book. In this wondrous assemblage of mini-memoirs, we discover his family’s legacy and his obstinate, unfashionable humanism.”–Studs Terkel

“Marvelous . . . [Vonnegut] wheels out all the complaints about America and makes them seem fresh, funny, outrageous, hateful and lovable.”—The New York Times In Breakfast of Champions, one of Kurt Vonnegut’s most beloved characters, the aging writer Kilgore Trout, finds to his horror that a Midwest car dealer is taking his fiction as truth. What follows is murderously funny satire, as Vonnegut looks at war, sex, racism, success, politics, and pollution in America and reminds us how to see the truth. “Free-wheeling, wild and great . . . uniquely Vonnegut.”—Publishers Weekly

A never-before-seen collection of deeply personal love letters from Kurt Vonnegut to his first wife, Jane, compiled and edited by their daughter “A glimpse into the mind of a writer finding his voice.”—The Washington Post “If ever I do write anything of length—good or bad—it will be written with you in mind.” Kurt Vonnegut’s eldest daughter, Edith, was cleaning out her mother’s attic when she stumbled upon a dusty, aged box. Inside, she discovered an unexpected treasure: more than two hundred love letters written by Kurt to Jane, spanning the early years of their relationship. The letters begin in 1941, after the former schoolmates reunited at age nineteen, sparked a passionate summer romance, and promised to keep in touch when they headed off to their respective colleges. And they did, through Jane’s conscientious studying and Kurt’s struggle to pass chemistry. The letters continue after Kurt dropped out and enlisted in the army in 1943, while Jane in turn graduated and worked for the Office of Strategic Services in Washington, D.C. They also detail Kurt’s deployment to Europe in 1944, where he was taken prisoner of war and declared missing in action, and his eventual safe return home and the couple’s marriage in 1945. Full of the humor and wit that we have come to associate with Kurt Vonnegut, the letters also reveal little-known private corners of his mind. Passionate and tender, they form an illuminating portrait of a young soldier’s life in World War II as he attempts to come to grips with love and mortality. And they bring to light the origins of Vonnegut the writer, when Jane was the only person who believed in and supported him supported him, the young couple having no idea how celebrated he would become. A beautiful full-color collection of handwritten letters, notes, sketches, and comics, interspersed with Edith’s insights and family memories, Love, Kurt is an intimate record of a young man growing into himself, a fascinating account of a writer finding his voice, and a moving testament to the life-altering experience of falling in love.

Inspired by a true anecdote, this larger-than-life tale of a presidential mishap is brimming with humor and over-the-top illustrations. "Blast!" said Taft. "This could be bad." George Washington crossed the Delaware in the dead of night. Abraham Lincoln saved the Union. And President William Howard Taft, a man of great stature -- well, he got stuck in a bathtub. Now how did he get unstuck? Author Mac Barnett and illustrator Chris Van Dusen bring their full comedic weight to this legendary story, imagining a parade of clueless cabinet members advising the exasperated president, leading up to a hugely satisfying, hilarious finale.

“Richly and often pertinently funny [with] a sure instinct for the carefully considered irrelevance . . . a great deal of incidental hilarity [and] inspired idiocy.”—The New York Times Happy Birthday Wanda June was Kurt Vonnegut’s first play, which premiered in New York in 1970 and was then adapted into a film in 1971. It is a darkly humorous and searing examination of the excesses of capitalism, patriotism, toxic masculinity, and American culture in the post-Vietnam War era. Featuring behind-the-scenes photographs from the original stage production, this play captures Vonnegut’s brilliantly distinct perspective unlike we have ever seen it before. “A great artist.”—The Cincinnati Enquirer