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Bluebeard, published in 1987, is Vonnegut's meditation on art, artists, surrealism, and disaster.
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, which are heavy with women, painting, artistic ambition, artistic fraudulence, and as of yet unknown consequence. Vonnegut's intention here is not so much satirical (although the contemporary art scene would be easy enough to deconstruct), nor is it documentary (although Karabekian does carry elements of Jackson Pollock and Mark Rothko). Instead Vonnegut is using art for the same purpose he used science fiction clichés in Slaughterhouse-Five: as a filter through which he can illuminate the savagery, cruelty, and essentially comic misdirection of human existence.
