Skip to main content

The Other Three Musketeers

Readers don’t know much about Valencia, but they do know that she eats candy.

Early in the book, when Valencia visits Billy in the veterans’ hospital, the first proper description of her focuses on her eating habits “She was as big as a house because she couldn’t stop eating. She was eating now. She was eating a Three Musketeers Candy Bar” (107). Later in that scene readers are notified that “Billy’s fiancée had finished her Three Musketeers Candy Bar. Now she was eating a Milky Way” (110). Then when Billy gets on the plane that later crashes, “Outside the plane, the machine named Valencia Merble Pilgrim was eating a Peter Paul Mound Bar and waving bye-bye” (154).

The specificity of the types of candy is what made these passages stand out to me but I’m not sure why Vonnegut includes them. All three candies are made by large corporations (Mars and Hershey’s). They are all still popular and well-known candies today. They are emblems of the American culture of decadent and uniform mass consumption. How this emblem fits into the larger themes of the book is unclear to me.

Vonnegut could be trying to show that after the war (and the hunger he experienced in it) Billy has become disillusioned with American culture in a small way. Billy is harshly critical of Valencia’s appearance and by extension the eating habits he blames it on: “Billy didn’t want to marry ugly Valencia” (107). However, I think it is more likely that Billy is buying into American culture including beauty and behavioral standards for women in the same way he’s cool with the Lion Club and his son being a green beret.

It is also possible that Vonnegut is showing his own disillusionment with American culture. The Three Musketeers candy calls to mind Roland Weary’s three musketeers, a romantic idea of war that Vonnegut outright mocks. Vonnegut could also be mocking American consumer culture through mocking an idealized diet. Yet for the most part Vonnegut seems to be okay with consumer capitalism. At least when the narrator visits East Germany, he doesn’t value communism any more than capitalism.

Vonnegut could also be using the candy to try to make Valencia a weak character. In the scene in the veteran’s hospital, Vonnegut makes Valencia eating candy out to be a failing of self-control. In the scene by the plane, the Mound Bar is immediately followed by Valencia “waving bye-bye,” the combination of candy and that phrase make her seem juvenile.

The role of candy is complicated by the experience of the narrator in chapter one. The woman writing the article the narrator reports on asks the narrator about the veteran who got smashed in an elevator: “’Did it bother you?’ she said. She was eating a Three Musketeers Candy Bar” (9). Here the candy bar also shows the writer’s heartlessness. She can ask direct questions about a tragic event that she knows the reporter might have personal connections to and doesn’t care enough to give it her full attention, instead focusing partly on the pleasurable experience of eating a candy bar.

The scene with the writer also could show a disconnect between the returned soldier and American culture. The candy bar is still and emblem of American culture. The narrator calls the female writers “beastly girls” and so is obviously upset by them (9). That Vonnegut chooses to portray how beastly they were using the emblem of American culture could show some sort of disillusionment with it. The consumption of the candy bar also follows a mention that women writers “had taken over the jobs of men who’d gone to war,” which links it pretty directly to a cultural change (9).

I think the writer’s and Valencia’s experiences are connected, especially given that they eat the same type of candy: “a Three Musketeers Candy Bar.” Yet in one case the candy shows the consumer is hard-boiled and in the other it shows that she’s weak and I’m not sure how those messages can fit together. I think the negative attitude the narrator and Billy have towards the candy could show a disillusionment with American decadent mass-consumption culture but I’m not sure what role this plays in an anti-war novel. What do you guys think?

Comments

  1. Both senses of the "Three Musketeers" in the novel (the candy and Roland's group) are just fakers that can't approach the literary Three Musketeers. Roland uses the name to create an air of camaraderie and confidence, when they have neither. The candy bar just uses the name to sound cool and sell more candy. If there actually were a group that could reasonably claim the name "Three Musketeers," it would go against the novel's anti-war premise.

    -Reed

    ReplyDelete

Post a Comment

Popular posts from this blog

How does Odysseus feel about his men? Bonus: a lot of questions about class

We’ve discussed a lot to what extent we think Odysseus is a reliable narrator. The main piece of evidence for his reliability is that he includes details about the way he treated his crew that reflect badly on him. Today in class I suggested that he could include these details to make lies seem more realistic and someone suggested that Odysseus probably just truly feels bad about his men’s deaths. But that started me thinking about the weird dynamic of Odysseus’s relationship with his crew so I looked back in the book to see how he talks about his men and their deaths. I presented on book eleven, so I immediately thought of Elpenor. Elpenor certainly seems important to Odysseus since Odysseus mentions him three times: when he first died, when he’s in the underworld, and when he’s actually buried. Odysseus’s attention to Elpenor both in burying him with all the proper rituals and in describing his death in detail in his story shows that Odysseus has some level of affection for him

The Pantasote Top

In describing Coalhouses’s Model T, Doctorow repeatedly mentions the custom pantasote top. When we first meet Coalhouse the narrator mentions the top: “His car shone. The brightwork gleamed. There was a glass windshield and a custom pantasote top” (155). When his car is vandalized by the firemen “the custom pantasote top was slashed to ribbons” (180). When Conklin repairs the car, the end result is “a shining black Model T Ford with a custom pantasote roof” (295). We talked about how the car is a symbol of wealth and status and so the mention of the custom top (a fancy addition) at the end of so many descriptions of the car reminds us of that. But what actually is a pantasote top? When the car is being repaired “The Pantasote Company delivered a top” so from the book we know that it’s a brand name top (295). I also googled pantasote and it appears to be both the name of a company and the name of the particular material the company used to make car tops.

Flowers in Mrs. Dalloway

Flowers abound in Mrs. Dalloway . Parts of the plot are flower centric. The book begins with Clarissa going to buy flowers. Later on she reflects on the unique way Sally arranges flowers and how Sally kissed her after picking a flower. Richard brings Clarissa flowers when he comes home. Flowers are also just briefly mentioned throughout the book. When Peter follows a woman to her house his thoughts about Clarissa are interrupted by “The house was one of those flat red houses with hanging flowers of vague impropriety. (…) Well, I’ve had my fun; I’ve had it, he thought, looking up at the swinging basket of pale geraniums.” (53). It’s odd that Peter focuses on the flowers at all, given that his thoughts are mostly consumed by Clarissa and the other woman but it’s also interesting that Peter notes the specific type of flower. Later Peter thinks about Sally and flowers: “Who was it who had done that? (…) Somebody who had written him a long, gushing letter quite lately about