46 pages • 1 hour read
Kurt Vonnegut Jr.A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Norman Mushari positions himself to benefit from the Rosewater Foundation, valued at over $87 million. Mushari is small in stature and of Lebanese descent. After graduating from Cornell Law School, he becomes the youngest member of the law firm McAllister, Robjent, Reed, and McGee, which the elderly partner Thurmond McAllister supervises. Mushari attempts to manipulate the line of succession in the Rosewater Foundation when finds a loophole in the foundation’s rules stating that any officer deemed “insane” can be ousted.
Eliot Rosewater—son of Senator Lister Ames Rosewater and the current president of the Rosewater Foundation—is eccentric and rumored to be “mentally incompetent.” Eliot inherited the foundation in 1947. His potential successor, Fred Rosewater, is a distant cousin whom Mushari hopes to represent. Mushari’s success would allow him to manipulate Fred and control the dispersal of the funds. Mushari begins his investigation 17 years after Eliot takes control of the foundation, when Eliot is 46 years old.
Mushari discovers a letter in the firm’s safe that Eliot has written to whoever succeeds him. The letter details the history of the Rosewater fortune and the family, beginning with Noah Rosewater in the Civil War and concluding with Eliot. Eliot recommends kindness and generosity, and he urges his successor to befriend the impoverished. After reading the letter, Mushari contacts Eliot’s wife, Sylvia, who is divorcing Eliot. As part of the legal discovery, Mushari asks her to send any letters Eliot has written to her; she sends him 53 letters.
Chapter 2 provides Eliot’s early history. He was born in Washington, DC, in 1918. After attending Loomis and Harvard Law School, he served honorably with the marines in World War II, rising to the rank of captain. Near the end of the war, he is diagnosed with “combat fatigue.” While convalescing in Paris, he meets Sylvia, the daughter of wealthy philanthropists, whom he marries.
Back in America, Eliot resumes his legal studies, specializing in international law, and becomes president of the Rosewater Foundation. He drinks heavily but never seems drunk. His alcohol consumption does not initially interfere with his, but this changes as Eliot’s behavior becomes increasingly eccentric. In Milford, Pennsylvania, Eliot invades a room of science-fiction writers and gives a rambling speech. Mushari has the drunken speech on tape, in which Eliot extolls the writers as the only ones who take the world’s big issues seriously; he values their willingness to speculate about humanity’s trajectory.
Eliot’s favorite writer is science fiction author Kilgore Trout, who works as a stock clerk. Although Trout is a prolific author, he is unknown outside the science fiction community. Eliot reads a copy of Trout’s novel 2BR02B, in which Trout describes a world where humans have “conquered” diseases. Automation dominates society, and without the prospect of death, ethical suicide parlors become popular. In the story, one dying man says that when he finally meets God, he wants to ask: “What in the hell are people for?” (22).
After the Milford incident, Eliot hitchhikes to a bar in Swarthmore, where he offers to buy drinks for all volunteer firefighters. Eliot tells the bar patrons that he used to belong to a volunteer fire department. The truth is that as a boy, Eliot was the honorary mascot of the Volunteer Fire Department of Rosewater. Eliot makes an intoxicated speech about the violent power of oxygen, explaining how the element has the potential to combine with any earthly matter. He believes that he and the firefighters are bound together to protect Earth from oxygen. After his speech, he spends the night in jail on a drunk and disorderly charge.
A month later, he begins trading his expensive wardrobe for work clothes and cheap suits. When told about his son’s eccentricities, Eliot’s father says that Eliot has a “spine” and that there is no need to worry. Eliot begins psychoanalysis to help him stop drinking, but a year later, the therapist discharges him as “untreatable.” The therapist tells Sylvia that Eliot blames himself for the death of his mother and that this is a source of emotional trauma. Eliot’s mother died in a sailing accident when he was 19, but he was not at fault.
At the end of the chapter, Eliot and Sylvia attend a performance of the opera Aida, which the Rosewater Foundation has funded. Eliot is well-behaved until the opera’s final scene, during which he yells at the characters on stage, disrupting the performance. In the scene, the two actors gasp their last breaths as they suffocate. Eliot seriously recommends that they stop singing and assures them that he knows about oxygen.
Mushari learns that Eliot disappeared on the night of the Aida performance. Ten days later, Sylvia receives a letter from Eliot addressed to Ophelia. In the letter, Eliot reminds her that she asked for a divorce and compares himself to Hamlet. Eliot vividly describes Elsinore fire trucks and compares them to tigers. The letter does not read as if it were written by someone of sound mind, but Mushari is disappointed that it does not provide definitive evidence of Eliot’s mental “instability.”
Eliot travels to Vashti, Texas, and is arrested after making a speech about revolution at a firehouse. He posits that the aim of the military is to clean up “poor Americans” so that “rich Americans” can bear the sight of them. He then goes to New Vienna, Iowa, and writes to Sylvia on the local fire department’s stationery. Eliot assures her that he has not touched alcohol in 16 hours and now knows where he must go.
At the end of the chapter, Syliva waits with a recorder for Eliot to telephone her. Eliot calls and eventually tells her that he is in his hometown of Rosewater, Indiana. His plan is to remain there, relocate the foundation’s headquarters, and take care of the townspeople. He describes the town’s failing industry and world-weary citizens and explains his newfound purpose: “I realize that they can’t even care about themselves any more—because they have no use. […] I’m going to love these discarded Americans, even though they’re useless and unattractive. That is going to be my work of art. (43).
Chapter 4 begins with a brief description of Rosewater County and the town of Rosewater, which is in the county’s center. Some parts of town are impoverished while the affluent people live in a neighborhood called Avondale. They are primarily Rosewater Corporation employees.
Eliot and Sylvia move into the Rosewater mansion, and Eliot thinks of them as the “King and Queen.” Eliot instructs Sylvia to receive all “prosperous visitors” and gifts gratefully but with a cool indifference, which makes the rich neighbors feel snubbed. Soon the couple begins entertaining the less well-off people of Rosewater, holding “lavish banquets for morons, perverts, starvelings and the unemployed” (49). The wealthy residents of Avondale become incredulous of and embittered by Eliot’s attention to people from a lower socioeconomic class. After living in Rosewater for five years, Sylvia has a mental health crisis and burns down the local firehouse. The people of Avondale are gleeful at her downfall. Eliot and Fire Chief Charley Warmergran admit Sylvia to a psychiatric hospital under the care of Dr. Ed Brown. Dr. Brown coins the term “samaritrophia,” which means “hysterical indifference to the troubles of those less fortunate than oneself” (51), to categorize Sylvia’s “disease.” Vonnegut creates the satirical term to pathologize the wealthy’s lack of compassion.
Mushari reads Dr. Brown’s confidential treatise, giving Vonnegut the opportunity to include much of the text in the chapter. Dr. Brown believes that he has cured Sylvia, or “Mrs. Z,” with shock treatments. He has “calmed” her “samaritrophic collapse,” and she no longer shares Eliot’s moral burdens. The doctor also presumes that “Mr. Z,” as he refers to Eliot in the paper, is so caring that if he developed samaritrophia, he would kill himself or others. During Eliot’s visits, Sylvia displays symptoms of paranoia. Eliot sends her to Switzerland for further treatment after she experiences another emotional collapse in July of 1964. On her doctor’s advice, she decides not to return to Rosewater and begins divorce proceedings as part of her recovery.
Back in America in the present day, Sylvia meets Senator Lister, McAllister, and Mushari to legalize the divorce. Eliot refuses to leave Rosewater and does not attend. The Senator believes that Eliot’s compassion is a “booze problem,” insisting that his son would not care about “the maggots” if he were sober. The Senator also laments that Eliot never had a child who could serve as the heir to the foundation. McAllister reminds them that there is another branch of Rosewaters in Pisquontuit, Rhode Island. The Senator does not deem them worthy of the family fortune because they occupy a lower socioeconomic class.
In Rosewater, Eliot opens an office for the foundation in a dingy attic above a lunchroom and liquor store. On each window outside are the words: “ROSEWATER FOUNDATION. HOW CAN WE HELP YOU?” (62).
Every surface in Eliot’s office is covered with tax documents, cans, cigarette butts, and paperwork. He tacks up magazine pictures of people and baby animals. He removes the lettering from one of the windows and replaces it with a poem by William Blake:
The Angel that presided o’er my birth said,
‘Little creature, form’d of Joy & Mirth,
Go love without the help of any Thing on Earth‘ (64).
As the Senator and McAllister talk, the Senator confides that he wishes he and Eliot were dead. To secure the foundation’s money, McAllister suggests that Sylvia and Eliot reconcile, but Sylvia refuses. Following her second recovery, Sylvia now grapples with “worthlessness” and “shame.” She defends the people Eliot helps and maintains that Eliot is doing something beautiful. She explains that she is not worthy to join Eliot’s cause.
Eliot has slowly given away his wardrobe, reducing it to only one shirt, one suit, and one pair of shoes. He has two telephones in his office: one is red, and the other is black. The red telephone rings when people wish to report fires. After a call, Eliot pushes a red button that sounds the fire alarm. The black telephone is for people who call the foundation.
One evening, he receives a call from a 68-year-old woman named Diana Moon Glampers who works as a maid at the Rosewater mansion. She has a fear of lightning and asks Eliot to keep her calm during the thunderstorm. She laments her unhappy life, but when she mentions suicide, Eliot dissuades her. Diana is extremely grateful for Eliot’s compassion: “You gave up everything a man is supposed to want, just to help the little people, and the little people know it. God bless you, Mr. Rosewater. Good night” (71).
From the onset, Vonnegut introduces the theme of American Capitalism and Socioeconomic Inequality. Vonnegut signals that the foundation’s money is meant to be a character: “A sum of money is a leading character in this tale about people, just as a sum of honey might properly be a leading character in a tale about bees” (1). In describing the Rosewater fortune as a character, Vonnegut implies that it has agency and will; people change when their access to money changes. Throughout the story, various characters reinforce the idea that money—and the subsequent problems money brings—is inseparable from human society and motivation. Just as one cannot conceive of bees whose labor does not produce honey, it is as difficult to imagine people who are not as equally involved in producing wealth. The supremacy of money in American society is one element of satire in the novel. Additionally, the Rosewater Foundation’s fortune symbolizes the economic gap between the working class and the aristocracy. The character of Senator Lister embodies the inherent hypocrisy of the upper class. In Chapter 2, the Senator ironically purports “sink-or-swim justice,” yet he inherited his wealth. Vonnegut uses satire, symbolism, and irony to highlight that in the pursuit of wealth, humans often sacrifice their humanity.
Questions surrounding Eliot’s mental competence create the primary tension in the novel and develop the theme of The Abstraction of Sanity. Mushari is the most mercenary character in the novel. He has no family connection to the Rosewaters and is indifferent toward them. Even though he wishes to prove Eliot “incompetent” to run the foundation, there is nothing malicious in his actions; he simply wants the financial windfall that representing Fred Rosewater could provide. Mushari is joyless and cold: “He never saw anything funny in anything so deeply immured was he by the utterly unplayful spirit of the law” (21). Vonnegut juxtaposes Mushari’s humorlessness with Eliot’s eccentric and carefree nature, showing the different approaches each brings to the control of the Rosewater fortune. Eliot’s letter to his successor is rambling and eccentric but also coherent and insightful. It reveals compassion and an insistence on generosity for its own sake. Eliot’s inebriated speeches to the science fiction writers and the firefighters are equally unusual, but they also contain valid insights about society. Eliot wishes to serve the people who do not live in Avondale, “for all that was healthy and busy and intelligent in Rosewater County shunned the county seat” (48). The irony is that the narrator is describing the wealthy as lacking in health, intelligence, and industry by implication.
Vonnegut uses Eliot’s worldview and Trout’s books to develop the theme of The Fear of Uselessness and Obsolescence. Eliot’s compassion for and desire to help the people of Rosewater serve two functions. His desire proves that Eliot is generous and altruistic, regardless of his motivations or mental capacities. For his adversaries, however, his outlook and actions are proof that he is legally unfit to manage the foundation. Generosity and philanthropy are pathologized in a society where “[h]onest, industrious, peaceful citizens [are] classed as bloodsuckers, if they [ask] to be paid a living wage” (9). For Eliot and those he seeks to help, challenging the capitalist system can have dire consequences. However, Eliot does not act out of what Dr. Brown’s paper describes as “Enlightened Self-interest” (52), the belief that doing good for the public is in one’s own best interest, which is one of the founding principles of American democracy. Eliot sees that society has deemed people who do not generate enough wealth as disposable: “The factory, the farms, the mines across the river—they’re almost completely automatic now. And America doesn’t even need these people for war” (43). Eliot decides to make it his life mission to care for these “discarded Americans” simply because they are unloved and not for personal gain. Although Sylvia is divorcing him, she cannot deny the nobility of his philanthropic outlook. She tells McAllister and the Senator, “Eliot is right to do what he’s doing. It’s beautiful what he’s doing. I’m simply not strong enough or good enough to be by his side anymore. The fault is mine” (68). Unlike Eliot, Sylvia’s character represents those who possess self-reflection but lack the compassion to act.
The brief appearance of the Kilgore Trout novel 2BR02B foreshadows the influence that Trout and his speculative fiction will have on Eliot. Suicide is a recurring motif, and Trout’s ethical “suicide parlors” further develop the theme of The Fear of Uselessness and Obsolescence. Trout’s metafiction begins the thematic expansion on human life and labor as superfluous and grows in prominence as the novel progresses.
By Kurt Vonnegut Jr.