THE AMERICANS in the slaughterhouse had a very interesting visitor two days before Dresden was destroyed. He was Howard W. Campbell, Jr., an American who had become a Nazi. Campbell was the one who had written the monograph about the shabby behavior of American prisoners of war. He wasn’t doing more research about prisoners now. He had come to the slaughterhouse to recruit men for a German military unit called “The Free American Corps.” Campbell was the inventor and commander of the unit, which was supposed to fight only on the Russian front.

Campbell was an ordinary-looking man, but he was extravagantly costumed in a uniform of his own design. He wore a white ten-gallon hat and black cowboy boots decorated with swastikas and stars. He was sheathed in a blue body stocking which had yellow stripes running from his armpits to his ankles. His shoulder patch was a silhouette of Abraham Lincoln’s profile on a field of pale green. He had a broad armband which was red, with a blue swastika in a circle of white.

He was explaining this armband now in the cement-block hog barn.

Billy Pilgrim had a boiling case of heartburn, since he had been spooning malt syrup all day long at work. The heartburn brought

tears to his eyes, so that his image of Campbell was distorted by jiggling lenses of salt water.

“Blue is for the American sky,” Campbell was saying. “White is for the race that pioneered the continent, drained the swamps and cleared the forests and built the roads and bridges. Red is for the blood of American patriots which was shed so gladly in years gone by.”

Campbell’s audience was sleepy. It had worked hard at the syrup factory, and then it had marched a long way home in the cold. It was skinny and hollow-eyed. Its skins were beginning to blossom with small sores. So were its mouths and throats and intestines. The malt syrup it spooned at the factory contained only a few of the vitamins and minerals every Earthling needs.

Campbell offered the Americans food now, steaks and mashed potatoes and gravy and mince pie, if they would join the Free American Corps. “Once the Russians are defeated,” he went on, “you will be repatriated through Switzerland.”

There was no response.

“You’re going to have to fight the Communists sooner or later,” said Campbell. “Why not get it over with now?”

And then it developed that Campbell was not going to go unanswered after all. Poor old Derby, the doomed high school teacher, lumbered to his feet for what was probably the finest moment in his life. There are almost no characters in this story, and almost no dramatic confrontations, because most of the people in it are so sick and so much the listless playthings of enormous forces. One of the main effects of war, after all, is that people are discouraged from being characters. But old Derby was a character now.

His stance was that of a punch-drunk fighter. His head was down. His fists were out front, waiting for information and battle plan. Derby raised his head, called Campbell a snake. He corrected that. He said that snakes couldn’t help being snakes, and that Campbell, who could help being what he was, was something much lower than a snake or a rat—or even a blood-filled tick.

Campbell smiled.

Derby spoke movingly of the American form of government, with freedom and justice and opportunities and fair play for all. He said there wasn’t a man there who wouldn’t gladly die for those ideals.

He spoke of the brotherhood between the American and the Russian people, and how those two nations were going to crush the disease of Nazism, which wanted to infect the whole world.

The air-raid sirens of Dresden howled mournfully.

The Americans and their guards and Campbell took shelter in an echoing meat locker which was hollowed in living rock under the slaughterhouse. There was an iron staircase with iron doors at the top and bottom.

Down in the locker were a few cattle and sheep and pigs and horses hanging from iron hooks. So it goes. The locker had empty hooks for thousands more. It was naturally cool. There was no refrigeration. There was candlelight. The locker was whitewashed and smelled of carbolic acid. There were benches along a wall. The Americans went to these, brushing away flakes of whitewash before they sat down.

Howard W. Campbell, Jr., remained standing, like the guards. He talked to the guards in excellent German. He had written many popular German plays and poems in his time, and had married a famous German actress named Resi North. She was dead now, had been killed while entertaining troops in the Crimea. So it goes.

Nothing happened that night. It was the next night that about one hundred and thirty thousand people in Dresden would die. So it goes. Billy dozed in the meat locker. He found himself engaged again, word for word, gesture for gesture, in the argument with his daughter with which this tale began.

“Father,” she said. “What are we going to do with you?” And so on. “You know who I could just kill?” she asked.

“Who could you kill?” said Billy. “That Kilgore Trout.”

Kilgore Trout was and is a science-fiction writer, of course. Billy had not only read dozens of books by Trout—he has also become Trout’s friend, to the extent that anyone can become a friend of Trout, who is a bitter man.

Trout lives in a rented basement in Ilium, about two miles from Billy’s nice white home. He himself has no idea how many novels he has written—possibly seventy-five of the things. Not one of them has made money. So Trout keeps body and soul together as a circulation man for the Ilium Gazette, manages newspaper delivery boys, bullies and flatters and cheats little kids.

Billy met him for the first time in 1964. Billy drove his Cadillac down a back alley in Ilium, and he found his way blocked by dozens of boys and their bicycles. A meeting was in progress. The boys were harangued by a man in a full beard. He was cowardly and dangerous, and obviously very good at his job. Trout was sixty-two years old back then. He was telling the kids to get off their dead butts and get their daily customers to subscribe to the fucking Sunday edition, too. He said that whoever sold the most Sunday subscriptions during the next two months would get a free trip for himself and his parents to Martha’s fucking Vineyard for a week, all expenses paid.

And so on.

One of the newspaper boys was actually a newspaper girl. She was electrified.

Trout’s paranoid face was terribly familiar to Billy, who had seen it on the jackets of so many books. But, coming upon that face suddenly in a home-town alley, Billy could not guess why the face was familiar. Billy thought maybe he had known this cracked messiah in Dresden somewhere. Trout certainly looked like a prisoner of war.

And then the newspaper girl held up her hand. “Mr. Trout—” she said, “if I win, can I take my sister, too?”

“Hell no,” said Kilgore Trout. “You think money grows on

trees?”

Trout, incidentally, had written a book about a money tree. It had twenty-dollar bills for leaves. Its flowers were government bonds. Its fruit was diamonds. It attracted human beings who killed each other around the roots and made very good fertilizer.

So it goes.

Billy Pilgrim parked his Cadillac in the alley, and waited for the meeting to end. When the meeting broke up, there was still one boy Trout had to deal with. The boy wanted to quit because the work was so hard and the hours were so long and the pay was so small. Trout was concerned, because, if the boy really quit, Trout would have to deliver the boy’s route himself, until he could find another sucker.

“What are you?” Trout asked the boy scornfully. “Some kind of gutless wonder?”

This, too, was the title of a book by Trout, The Gutless Wonder. It was about a robot who had bad breath, who became popular after his halitosis was cured. But what made the story remarkable, since it

was written in 1932, was that it predicted the widespread use of burning jellied gasoline on human beings.

It was dropped on them from airplanes. Robots did the dropping. They had no conscience, and no circuits which would allow them to imagine what was happening to the people on the ground.

Trout’s leading robot looked like a human being, and could talk and dance and so on, and go out with girls. And nobody held it against him that he dropped jellied gasoline on people. But they found his halitosis unforgivable. But then he cleared that up, and he was welcomed to the human race.

Trout lost his argument with the boy who wanted to quit. He told the boy about all the millionaires who had carried newspapers as boys, and the boy replied: “Yeah—but I bet they quit after a week, it’s such a royal screwing.”

And the boy left his full newspaper bag at Trout’s feet, with the customer book on top. It was up to Trout to deliver these papers. He didn’t have a car. He didn’t even have a bicycle, and he was scared to death of dogs.

Somewhere a big dog barked.

As Trout lugubriously slung the bag from his shoulder, Billy Pilgrim approached him. “Mr. Trout—?”

“Yes?”

“Are—are you Kilgore Trout?”

“Yes.” Trout supposed that Billy had some complaint about the way his newspapers were being delivered. He did not think of himself as a writer for the simple reason that the world had never allowed him to think of himself in this way.

“The—the writer?” said Billy. “The what?”

Billy was certain that he had made a mistake. “There’s a writer named Kilgore Trout.”

“There is?” Trout looked foolish and dazed. “You never heard of him?”

Trout shook his head. “Nobody—nobody ever did.”

Billy helped Trout deliver his papers, driving him from house to house in the Cadillac. Billy was the responsible one, finding the houses, checking them off. Trout’s mind was blown. He had never met a fan before, and Billy was such an avid fan.

Trout told him that he had never seen a book of his advertised, reviewed, or on sale. “All these years,” he said, “I’ve been opening the window and making love to the world.”

“You must surely have gotten letters,” said Billy. “I’ve felt like writing you letters many times.”

Trout held up a single finger. “One.” “Was it enthusiastic?”

“It was insane. The writer said I should be President of the World.”

It turned out that the person who had written this letter was Eliot Rosewater, Billy’s friend in the veterans’ hospital near Lake Placid. Billy told Trout about Rosewater.

“My God—I thought he was about fourteen years old,” said Trout.

“A full grown man—a captain in the war.”

“He writes like a fourteen-year-old,” said Kilgore Trout.

Billy invited Trout to his eighteenth wedding anniversary which was only two days hence. Now the party was in progress.

Trout was in Billy’s dining room, gobbling canapés. He was talking with a mouthful of Philadelphia cream cheese and salmon roe to an optometrist’s wife. Everybody at the party was associated with optometry in some way, except Trout. And he alone was without glasses. He was making a great hit. Everybody was thrilled to have a real author at the party, even though they had never read his books.

Trout was talking to a Maggie White, who had given up being a dental assistant to become a home-maker for an optometrist. She was very pretty. The last book she had read was Ivanhoe.

Billy Pilgrim stood nearby, listening. He was palpating something in his pocket. It was a present he was about to give his wife, a white satin box containing a star sapphire cocktail ring. The ring was worth eight hundred dollars.

The adulation that Trout was receiving, mindless and illiterate as it was, affected Trout like marijuana. He was happy and loud and impudent.

“I’m afraid I don’t read as much as I ought to,” said Maggie.

“We’re all afraid of something,” Trout replied. “I’m afraid of cancer and rats and Doberman pinschers.”

“I should know, but I don’t, so I have to ask,” said Maggie, “what’s the most famous thing you ever wrote?”

“It was about a funeral for a great French chef.” “That sounds interesting.”

“All the great chefs in the world are there. It’s a beautiful ceremony.” Trout was making this up as he went along. “Just before the casket is closed, the mourners sprinkle parsley and paprika on the deceased.” So it goes.

“Did that really happen?” said Maggie White. She was a dull person, but a sensational invitation to make babies. Men looked at her and wanted to fill her up with babies right away. She hadn’t had even one baby yet. She used birth control.

“Of course it happened,” Trout told her. “If I wrote something that hadn’t really happened, and I tried to sell it, I could go to jail. That’s fraud.”

Maggie believed him. “I’d never thought about that before.” “Think about it now.”

“It’s like advertising. You have to tell the truth in advertising, or you get in trouble.”

“Exactly. The same body of law applies.”

“Do you think you might put us in a book sometime?” “I put everything that happens to me in books.”

“I guess I better be careful what I say.”

“That’s right. And I’m not the only one who’s listening. God is listening, too. And on Judgment Day he’s going to tell you all the things you said and did. If it turns out they’re bad things instead of good things, that’s too bad for you, because you’ll burn forever and ever. The burning never stops hurting.”

Poor Maggie turned gray. She believed that, too, and was petrified.

Kilgore Trout laughed uproariously. A salmon egg flew out of his mouth and landed in Maggie’s cleavage.

Now an optometrist called for attention. He proposed a toast to Billy and Valencia, whose anniversary it was. According to plan, the barbershop quartet of optometrists, “The Febs,” sang while people drank and Billy and Valencia put their arms around each other, just glowed. Everybody’s eyes were shining. The song was “That Old Gang of Mine.”

Gee, that song went, but I’d give the world to see that old gang of mine. And so on. A little later it said, So long forever, old fellows and gals, so long forever old sweethearts and pals—God bless ’em—And so on.

Unexpectedly, Billy Pilgrim found himself upset by the song and the occasion. He had never had an old gang, old sweethearts and pals, but he missed one anyway, as the quartet made slow, agonized experiments with chords—chords intentionally sour, sourer still, unbearably sour, and then a chord that was suffocatingly sweet, and then some sour ones again. Billy had powerful psychosomatic responses to the changing chords. His mouth filled with the taste of lemonade, and his face became grotesque, as though he really were being stretched on the torture engine called the rack.

He looked so peculiar that several people commented on it solicitously when the song was done. They thought he might have been having a heart attack, and Billy seemed to confirm this by going to a chair and sitting down haggardly.

There was silence.

“Oh my God,” said Valencia, leaning over him, “Billy—are you all right?”

“Yes.”

“You look so awful.”

“Really—I’m O.K.” And he was, too, except that he could find no explanation for why the song had affected him so grotesquely. He had supposed for years that he had no secrets from himself. Here was proof that he had a great big secret somewhere inside, and he could not imagine what it was.

People drifted away now, seeing the color return to Billy’s cheeks, seeing him smile. Valencia stayed with him, and Kilgore Trout, who had been on the fringe of the crowd, came closer, interested, shrewd.

“You looked as though you’d seen a ghost,” said Valencia.

“No,” said Billy. He hadn’t seen anything but what was really before him—the faces of the four singers, those four ordinary men, cow-eyed and mindless and anguished as they went from sweetness to sourness to sweetness again.

“Can I make a guess?” said Kilgore Trout. “You saw through a

time window.”

“A what?” said Valencia.

“He suddenly saw the past or the future. Am I right?”

“No,” said Billy Pilgrim. He got up, put a hand into his pocket, found the box containing the ring in there. He took out the box, gave it absently to Valencia. He had meant to give it to her at the end of the song, while everybody was watching. Only Kilgore Trout was there to see.

“For me?” said Valencia. “Yes.”

“Oh, my God,” she said. Then she said it louder, so other people heard. They gathered around, and she opened it, and she almost screamed when she saw the sapphire with a star in it. “Oh, my God,” she said. She gave Billy a big kiss. She said, “Thank you, thank you, thank you.”

There was a lot of talk about what wonderful jewelry Billy had given to Valencia over the years. “My God—” said Maggie White, “she’s already got the biggest diamond I ever saw outside of a movie.” She was talking about the diamond Billy had brought back from the war.

The partial denture he had found inside his little impresario’s coat, incidentally, was in his cuminks box in his dresser drawer. Billy had a wonderful collection of cuminks. It was the custom of the family to give him cuminks on every Father’s Day. He was wearing Father’s Day cuminks now. They had cost over one hundred dollars. They were made out of ancient Roman coins. He had one pair of cuminks upstairs which were little roulette wheels that really worked. He had another pair which had a real thermometer in one and a real compass in the other.

Billy now moved about the party—outwardly normal. Kilgore Trout was shadowing him, keen to know what Billy had suspected or seen. Most of Trout’s novels, after all, dealt with time warps and extrasensory perception and other unexpected things. Trout believed in things like that, was greedy to have their existence proved.

“You ever put a full-length mirror on the floor, and then have a dog stand on it?” Trout asked Billy.

“No.”

“The dog will look down, and all of a sudden he’ll realize there’s nothing under him. He thinks he’s standing on thin air. He’ll jump a mile.”

“He will?”

“That’s how you looked—as though you all of a sudden realized you were standing on thin air.”

The barbershop quartet sang again. Billy was emotionally racked again. The experience was definitely associated with those four men and not what they sang.

Here is what they sang, while Billy was pulled apart inside:

’Leven cent cotton, forty cent meat,

How in the world can a poor man eat? Pray for the sunshine, ’cause it will rain. Things gettin’ worse, drivin’ all insane;

Built a nice bar, painted it brown; Lightnin’ came along and burnt it down:

No use talkin’, any man’s beat,

With ’leven cent cotton and forty cent meat. ’Leven cent cotton, a car-load of tax,

The load’s too heavy for our poor backs …

And so on.

Billy fled upstairs in his nice white home.

• • •

Trout would have come upstairs with him if Billy hadn’t told him not to. Then Billy went into the upstairs bathroom, which was dark. He closed and locked the door. He left it dark, and gradually became aware that he was not alone. His son was in there.

“Dad—?” his son said in the dark. Robert, the future Green Beret, was seventeen then. Billy liked him, but didn’t know him very well. Billy couldn’t help suspecting that there wasn’t much to know about Robert.

Billy flicked on the light. Robert was sitting on the toilet with his pajama bottoms around his ankles. He was wearing an electric guitar, slung around his neck on a strap. He had just bought the guitar that day. He couldn’t play it yet and, in fact, never learned to play it. It was a nacreous pink.

“Hello, son,” said Billy Pilgrim.

Billy went into his bedroom, even though there were guests to be entertained downstairs. He lay down on his bed, turned on the Magic Fingers. The mattress trembled, drove a dog out from under

the bed. The dog was Spot. Good old Spot was still alive in those days. Spot lay down again in a corner.

Billy thought hard about the effect the quartet had had on him, and then found an association with an experience he had had long ago. He did not travel in time to the experience. He remembered it shimmeringly—as follows:

He was down in the meat locker on the night that Dresden was destroyed. There were sounds like giant footsteps above. Those were sticks of high-explosive bombs. The giants walked and walked. The meat locker was a very safe shelter. All that happened down there was an occasional shower of calcimine. The Americans and four of their guards and a few dressed carcasses were down there, and nobody else. The rest of the guards had, before the raid began, gone to the comforts of their own homes in Dresden. They were all being killed with their families.

So it goes.

The girls that Billy had seen naked were all being killed, too, in a much shallower shelter in another part of the stockyards.

So it goes.

A guard would go to the head of the stairs every so often to see what it was like outside, then he would come down and whisper to the other guards. There was a fire-storm out there. Dresden was one big flame. The one flame ate everything organic, everything that would burn.

It wasn’t safe to come out of the shelter until noon the next day. When the Americans and their guards did come out, the sky was black with smoke. The sun was an angry little pinhead. Dresden was like the moon now, nothing but minerals. The stones were hot. Everybody else in the neighborhood was dead.

So it goes.

The guards drew together instinctively, rolled their eyes. They experimented with one expression and then another, said nothing, though their mouths were often open. They looked like a silent film of a barbershop quartet.

“So long forever,” they might have been singing, “old fellows and pals; So long forever, old sweethearts and pals—God bless ’em

—”

“Tell me a story,” Montana Wildhack said to Billy Pilgrim in the Tralfamadorian zoo one time. They were in bed side by side. They had privacy. The canopy covered the dome. Montana was six months pregnant now, big and rosy, lazily demanding small favors from Billy from time to time. She couldn’t send Billy out for ice cream or strawberries, since the atmosphere outside the dome was cyanide, and the nearest strawberries and ice cream were millions of light years away.

She could send him to the refrigerator, which was decorated with the blank couple on the bicycle built for two—or, as now, she could wheedle, “Tell me a story, Billy boy.”

“Dresden was destroyed on the night of February 13, 1945,” Billy Pilgrim began. “We came out of our shelter the next day.” He told Montana about the four guards who, in their astonishment and grief, resembled a barbershop quartet. He told her about the stockyards with all the fenceposts gone, with roofs and windows gone—told her about seeing little logs lying around. There were people who had been caught in the fire-storm. So it goes.

Billy told her what had happened to the buildings that used to form cliffs around the stockyards. They had collapsed. Their wood had been consumed, and their stones had crashed down, had tumbled against one another until they locked at last in low and graceful curves.

“It was like the moon,” said Billy Pilgrim.

The guards told the Americans to form in ranks of four, which they did. Then they had them march back to the hog barn which had been their home. Its walls still stood, but its windows and roof were gone, and there was nothing inside but ashes and dollops of melted glass. It was realized then that there was no food or water, and that the survivors, if they were going to continue to survive, were going to have to climb over curve after curve on the face of the moon.

Which they did.

The curves were smooth only when seen from a distance. The people climbing them learned that they were treacherous, jagged things—hot to the touch, often unstable—eager, should certain important rocks be disturbed, to tumble some more, to form lower, more solid curves.

Nobody talked much as the expedition crossed the moon. There was nothing appropriate to say. One thing was clear: Absolutely everybody in the city was supposed to be dead, regardless of what they were, and that anybody that moved in it represented a flaw in the design. There were to be no moon men at all.

American fighter planes came in under the smoke to see if anything was moving. They saw Billy and the rest moving down there. The planes sprayed them with machine-gun bullets, but the bullets missed. Then they saw some other people moving down by the riverside and they shot at them. They hit some of them. So it goes.

The idea was to hasten the end of the war.

Billy’s story ended very curiously in a suburb untouched by fire and explosions. The guards and the Americans came at nightfall to an inn which was open for business. There was candlelight. There were fires in three fireplaces downstairs. There were empty tables and chairs waiting for anyone who might come, and empty beds with covers turned down upstairs.

There was a blind innkeeper and his sighted wife, who was the cook, and their two young daughters, who worked as waitresses and maids. This family knew that Dresden was gone. Those with eyes had seen it burn and burn, understood that they were on the edge of a desert now. Still—they had opened for business, had polished the glasses and wound the clocks and stirred the fires, and waited and waited to see who would come.

There was no great flow of refugees from Dresden. The clocks ticked on, the fires crackled, the translucent candles dripped. And then there was a knock on the door, and in came four guards and one hundred American prisoners of war.

The innkeeper asked the guards if they had come from the city. “Yes.”

“Are there more people coming?”

And the guards said that, on the di cult route they had chosen, they had not seen another living soul.

• • •

The blind innkeeper said that the Americans could sleep in his stable that night, and he gave them soup and ersatz coffee and a little beer. Then he came out to the stable to listen to them bedding down in the straw.

“Good night, Americans,” he said in German. “Sleep well.”