Throughout Kurt Vonnegut's career, unorthodox management of time became one of the many defining characteristics of his fictional works (Allen 37). Although The Sirens of Titan (1959) is only his second novel, this trademark is still prevalent. When delving into science fiction, it is often helpful to incorporate ideas from other works in the same genre. This concept is exemplified by the “megatext,” an aspect of science fiction that involves the reader's application of genre knowledge to a new encounter (Evans xiii). Working within the megatext, Ursula K. Le Guin's The Dispossessed (1974) provides an insightful avenue into the exploration of time management and its consequences in Vonnegut's The Sirens of Titan. This argument will be built, first, with an outline of the plot of Sirens. , which is especially necessary considering its sprawling nature. After this overview, the connection between The Dispossessed and Sirens will be explored in depth regarding time management in each novel. This primarily involves a discussion of the sequential and simultaneous time perspectives detailed in The Dispossessed and their application to mermaids. Where the two works diverge lies in the reconciliation between these two perspectives. In The Dispossessed, reconciliation lies more in the realm of mathematics and theory. In Sirens, the character Winston Niles Rumfoord serves as the most tangible manifestation of the relationship between Sequence and Simultaneity. How Rumfoord reconciles these two perspectives will be explored through his founding of the All-Indifferent Church of God, his existential attitudes, and the parallels that can be drawn with other mythologies and traditions. A lot happens in The Sire..... .middle of paper......soon. When he entered the chronosynclastic infundibulum, he and his dog Kazak were converted to wave phenomena, which gave rise to an existence that spanned space as well as time. In essence, he was forced to adopt a simultaneous perspective. What makes Rumfoord's case particularly compelling is that he is capable of materializing and interacting with other beings. These beings do not share his simultaneous vision. To communicate coherently with them, he must adapt his knowledge and experience to a sequential mindset or “punctual way of speaking” as Rumfoord calls it (20). Interestingly, Rumfoord's description of the time bears a striking resemblance to the comparison in Shevek's book. Connect the experience of time to the roller coaster. He can see the shape of it, "every dip and twist," but the cyclist still must, eventually, climb up and go around (54).