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A Marxist Critique Of Vonnegut's Harrison Bergeron

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A Marxist Critique of Vonnegut’s “Harrison Bergeron” The 1961 short story by Kurt Vonnegut, “Harrison Bergeron,” details a dystopian future in which the mediocre and average are lionized, and the exceptional in society are marginalized and treated as though they are handicapped and/or criminal. The plot of “Harrison Bergeron” revolves around the plight of its title character, an adolescent boy who is 7’1” tall, extremely good looking, and has a genius-level I.Q., to boot. In the story, Harrison has been placed in jail in order to protect society from his exceptionality. In the society of 2081 America that Vonnegut depicts, the United States government has installed a fascist government that punishes people for falling above the norm in any instance. As the story progresses, the reader learns that Harrison’s mother is actually of below average intelligence, and this has rendered her into an “ideal citizen.” Harrison’s father, on the other hand, possesses above average intelligence and is subject to constant monitoring by the government, so as to ensure that he does not use his superior abilities to act outside of the norm, in any way. Ultimately, “Harrison Bergeron” is a Marxist critique of the late capitalist society of the twentieth century United States, which celebrates the “average” and the “mediocre,” while demonizing innovation. In “Harrison Bergeron,” it becomes clear very soon that the society depicted in the story does not favor exceptional human qualities of any kind, be they related to intelligence, physical ability, or outward appearance. For instance, as the Bergeron family watches a ballet dance recital, the manner in which they determine which dancer is the best-looking is by the “hideousness” of the mask that the dancer is forced to wear. As the excerpt reads: “’Ladies and Gentlemen,” said the ballerina, reading the bulletin. She must have been extraordinarily beautiful, because the mask she wore was hideous. And it was easy to see that she was the strongest and most graceful of all the dancers, for her handicap bags were as big as those worn by the two hundred pound men” (Vonnegut n/a). When examining this passage through a Marxist theoretical lens, it becomes clear that Vonnegut is

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