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11. "All persons, living and dead, are purely coincidental."
In Vonnegut's final novel, 1997's Timequake, he interacts freely with Kilgore Trout and other fictional characters after the end of a "timequake," which forces humanity to re-enact an entire decade. (Trout winds up too worn out to exercise free will again.) Vonnegut writes his own fitting epigram for this fatalistic book: "All persons, living and dead, are purely coincidental," which sounds more funny than grim. Vonnegut surrounds his characters—especially Trout—with meaninglessness and hopelessness, and gives them little reason for existing in the first place, but within that, they find liberty and courage.
Even when Vonnegut dared to propose a utopian scheme, it was a happily dysfunctional one. In Slapstick, Wilbur Swain wins the presidency with a scheme to eliminate loneliness by issuing people complicated middle names (he becomes Wilbur Daffodil-11 Swain) which make them part of new extended families. He advises people to tell new relatives they hate, or members of other families asking for help: "Why don't you take a flying fuck at a rolling doughnut? Why don't you take a flying fuck at the mooooooooooooon?" Of course, this fails to prevent plagues, the breakdown of his government, and civil wars later in the story.
13. "So it goes."
Unlike many of these quotes, the repeated refrain from Vonnegut's classic Slaughterhouse-Five isn't notable for its unique wording so much as for how much emotion—and dismissal of emotion—it packs into three simple, world-weary words that simultaneously accept and dismiss everything. There's a reason this quote graced practically every elegy written for Vonnegut over the past two weeks (yes, including ours): It neatly encompasses a whole way of life. More crudely put: "Shit happens, and it's awful, but it's also okay. We deal with it because we have to."
14. "I have been a soreheaded occupant of a file drawer labeled 'science fiction' ever since, and I would like out, particularly since so many serious critics regularly mistake the drawer for a urinal."
Vonnegut was as trenchant when talking about his life as when talking about life in general, and this quote from an essay in Wampeters, Foma & Granfalloons is particularly apt; as he explains it, he wrote Player Piano while working for General Electric, "completely surrounded by machines and ideas for machines," which led him to put some ideas about machines on paper. Then it was published, "and I learned from the reviewers that I was a science-fiction writer." The entire essay is wry, hilarious, and biting, but this line stands out in particular as typifying the kind of snappishness that made Vonnegut's works so memorable.
15. "We must be careful about what we pretend to be."
In Mother Night, apolitical expatriate American playwright Howard W. Campbell, Jr. refashions himself as a Nazi propagandist in order to pass coded messages on to the U.S. generals and preserve his marriage to a German woman—their "nation of two," as he calls it. But in serving multiple masters, Campbell ends up ruining his life and becoming an unwitting inspiration to bigots. In his 1966 introduction to the paperback edition, Vonnegut underlines Mother Night's moral: "We are what we pretend to be, so we must be careful about what we pretend to be." That lesson springs to mind every time a comedian whose shtick relies on hoaxes and audience-baiting—or a political pundit who traffics in shock and hyperbole—gets hauled in front of the court of public opinion for pushing the act too far. Why can't people just say what they mean? It's a question Don Imus and Michael Richards—and maybe someday Ann Coulter—must ask themselves on their many sleepless nights.
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