Called “our finest black-humorist” by The Atlantic Monthly, Kurt Vonnegut was one of the most influential writers of the 20th century. Now his first and last works come together for the first time in print, in a collection aptly titled after his famous phrase, We Are What We Pretend To Be.

The corridor of the Fine Arts Building was deserted, save for two figures at the far end, two men approaching slowly. Rose was about to go into the classroom, where she'd left her purse, when she saw a sign on the door - a crude sign in pencil, on a ragged sheet of paper. "Collapse of Western Civilization - Dr. Norbert Beilstein," it said. "Visitors welcome."

Kurt Vonnegut Jr. was known for blending satire, black comedy and science fiction, and that is exactly what he does in this little gem of of a story from 1962. The title is pronounced "2 B R naught 2 B" and references the famous pharse, 'To be or not to be" in Shakespeare's Hamlet. The story takes place in afuture when diseases and aging have been eliminated and, as a result, the government has taken measures to insure population control.

According to Kurt Vonnegut's alter ego, the old science fiction writer Kilgore Trout, a global timequake will occur on February 13, 2001, at 2:27 p.m. It will be the moment when the universe suffers a crisis of conscience: Should it go on expanding indefinitely or collapse and make another great big BANG? For its own cosmic reasons, it decides to back up a decade to 1991, giving the world a 10-year case of deja vu, making everybody and everything do exactly what they'd done during the past decade.

I had an uncle who left his hometown and the family business there to become a fine actor. His talent was a minor one, but a pretty one. It lasted for 15 years and was gone. He came home with the ashes of it and died 20 years later, poor and, as it happened, drunk.

Welcome to the Monkey House is a collection of Kurt Vonnegut's shorter works. Originally printed in publications as diverse as The Magazine of Fantasy and Science Fiction and The Atlantic Monthly, what these superb stories share is Vonnegut's audacious sense of humor and extraordinary range of creative vision.

Traumatized by the bombing of Dresden at the time he had been imprisoned, Pilgrim drifts through all events and history, sometimes deeply implicated, sometimes a witness. He is surrounded by Vonnegut's usual large cast of continuing characters (notably here the hack science fiction writer Kilgore Trout and the alien Tralfamadorians, who oversee his life and remind him constantly that there is no causation, no order, no motive to existence).

Eugene Debs Hartke describes an odyssey from college professor to prison inmate to prison warden back again to prisoner in another of Vonnegut's bitter satirical explorations of how and where (and why) the American dream begins to die. Employing his characteristic narrative device - a retrospective diary in which the protagonist retraces his life at its end, a desperate and disconnected series of events here in Hocus Pocus show Vonnegut with his mask off and his rhetorical devices unshielded.

Kurt Vonnegut’s eldest daughter, Edith, was cleaning out her mother’s attic when she stumbled upon a dusty, aged box. Inside, she discovered an unexpected treasure: more than 200 love letters written by Kurt to Jane, spanning the early years of their relationship.

The New York Times best seller from the author of Slaughterhouse-Five—a “gripping” posthumous collection of Kurt Vonnegut’s previously unpublished work on the subject of war and peace. A fitting tribute to a literary legend and a profoundly humane humorist, Armageddon in Retrospect is a collection of 12 previously unpublished writings. Imbued with Vonnegut's trademark rueful humor and outraged moral sense.

Perhaps the most autobiographical (and deliberately least disciplined) of Vonnegut's novels, Slapstick (1976) is in the form of a broken family odyssey and is surely a demonstration of its eponymous title. The story centers on brother and sister twins, children of Wilbur Swain, who are in sympathetic and (possibly) telepathic communication and who represent Vonnegut's relationship with his own sister who died young of cancer almost two decades before the book's publication.

In this self-portrait by an American genius, Kurt Vonnegut writes with beguiling wit and poignant wisdom about his favorite comedians, country music, a dead friend, a dead marriage, and various cockamamie aspects of his all-too-human journey through life. This is a work that resonates with Vonnegut's singular voice: the magic sound of a born storyteller mesmerizing us with truth.

Meet Rabo Karabekian, a moderately successful surrealist painter who we meet late in life and see struggling (like all of Vonnegut's key characters) with the dregs of unresolved pain and the consequences of brutality. Loosely based on the legend of Bluebeard (best realized in Bela Bartok's one-act opera), the novel follows Karabekian through the last events in his life that is heavy with women, painting, artistic ambition, artistic fraudulence, and as of yet unknown consequence.

With cutting wit, fierce conviction, and surprising empathy, Vonnegut explores a diverse range of topics including society, politics, sex, literature, and mortality. Fans who believe they've read all of Vonnegut's work will be delighted to find the author speaking frankly about timely and relevant new topics - with an amusing yet insightful style that's instantly recognizable.

Kurt Vonnegut presents in Fates Worse than Death a veritable cornucopia of his thoughts on what could perhaps best be summed up as "anti-theology", a manifesto for atheism that details Vonnegut's drift from conventional religion, even a tract evidencing belief in the divine held within each individual self--the deity within each individual person present in a universe that otherwise lacks any real order.