Go to the Writing Assignment on this
story.Plan on reading the story three times before you undertake to write on it. Devote your first reading just to finding out what happens. But as you do this, be asking yourself what you find yourself feeling as you discover what transpires.
In particular, what's funny? (More than one kind of thing?)
Are there amusing things about the story that are disturbing, troubling, as well?
Don't read further in this study guide until you have completed your initial reading of the story.
In your second reading of the story, pay special attention to the way the narrative is organized. What might be a useful way to think of its division into distinct sections? Do some of the larger sections divide into distinct subsections?
Is this a story that makes use of the general plot scheme of exposition / complication or rising action / climax / denouement or falling action? Is there a "precipitating incident" that sets in motion the rising action? Is the exposition taken care of at the beginning, or is some of it worked into the complication phase of the plot? Are there important turning points besides the one marked by the precipitating even and the climax? Does the story turn upon a recognition? Are there places where potential recognitions fail to take place, with important consequences ("missed recognitions").
Is this a story that makes use of some other scheme of organization?
When you finish your second reading of the story, see if you can outline it. You can work with a second sheet, or just try out various labels in the margin of the text itself.
Don't read further in this study guide until you have completed your second reading of the story.
In your third reading (you might want to give yourself a breather before undertaking it), be thinking about the choices Vonnegut has make concerning the point of view through which the stories events are conveyed to the reader.
What does he gain by framing Harrison Bergeron's rebellion with scenes in George and Hazel's living room, and conveying the events of the revolt, and its defeat, via the television?
What plot device does Vonnegut rely on in order to exploit this possibility? That is: what are we to imagine is Harrison Bergeron's motivation in showing up at the TV studio?
Do we ever get a direct inside view of the consciousness of Hazel, or do we infer it indirectly from what she says and does?
We do get direct inside views into George's experience. Locate each of these.
Why is each important?
What makes it impossible, on the other hand, for Vonnegut to tell the whole story from George's point of view?
Go to the Writing Assignment on this
story.
Suggestions are
welcome. Please send your comments to lyman@ksu.edu .
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copyright © 2000 by Lyman A.
Baker.
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This page last updated 09 November 2000.