The paper focuses on the carnivalesque elements in Kurt Vonnegut's Slaughterhouse Five. The novel, based on Kurt Vonnegut's own experience in World War II, is an eye-witness account of a prisoner who survives the Allied forces firebombing of Dresden. Vonnegut has said that he always intended to write about the experience but found himself incapable of doing so for more than twenty years. Slaughterhouse Five, as a final product of Vonnegut's twenty years of hardship, becomes his most famous and widely studied work. Its style puts the reader in a thought- experiment where the novel can be perceived as an imaginary space where contradicting notions exist. The novel is unconventional in the sense that it has no beginning, middle or end - neither in terms of chronological time-scheme nor of plot development. There is also no suspense and none of the cause and effect relationships that one finds in realistic fiction. Vonnegut's pictures debunk the glorification of the advertised image through an act of degradation, an important aspect of the carnival. Vonnegut employs parody to highlight the shortfalls of man's ideology. This paradox of degradation centralizes in all works of parody, since parody attempts to rethink, redesign, and improve fixed conventions