Catch-22
Catch-22 is a satirical, historical novel by the American author Joseph Heller, first published in 1961. The novel, set during the later stages of World War II from 1943 onwards, is frequently cited as one of the great literary works of the Twentieth century.[2]
The novel follows Yossarian, a U.S. Army Air Forces B-25 bombardier, and a number of other characters. Most events occur while the airmen of the fictional Fighting 256th (or "two to the fighting eighth power") Squadron are based on the island of Pianosa, west of Italy. Many events in the book are repeatedly described from differing points of view, so the reader learns more about the event from each iteration, with the new information often completing a joke, or setup, the punchline of which was told several chapters previous. The narrative often describes these events out of sequence, and are referred to as if the reader already knows about them.
Contents [hide]
1 Explanation of the novel's title
2 Concept
3 Synopsis
4 Major themes
5 Characters
6 Influences
7 Allusions/references to other works
7.1 Iliad and Odyssey
7.2 Crime and Punishment
7.3 Other works
8 Literary significance and criticism
9 Rankings
10 Adaptations
11 Release details
12 See also
13 Notes and references
14 External links
[edit]Explanation of the novel's title
The title, "Catch-22," is a reference to a bureaucratic catch, which embodies multiple forms of illogical and immoral reasoning seen throughout the book; and which itself is an absurd joke: namely, that bureaucratic nonsense has gotten to such a high level that even the catches are codified with numbers. The name of this catch, since it embodied much of what Heller points out as wrong, was a perfect title for the novel.
A magazine excerpt from the novel was originally published as Catch-18, but Heller's publisher, Candida Donadio, requested that it change the title of the novel so it would not be confused with another recently published World War II novel, Leon Uris's Mila 18. The number 18 has special meaning in Judaism (it means 'life' in Gematria) and was relevant to early drafts of the novel which had a somewhat greater Jewish emphasis.[3]
There was a suggestion for the title Catch-11, with the duplicated 1 in parallel to the repetition found in a number of character exchanges in the novel, but due to the release of the 1960 movie Ocean's Eleven this was also rejected. Catch-14 was also rejected apparently because the publisher did not feel that 14 was a "funny number." Catch-17 was also rejected so as not to be confused with the World War II film Stalag 17. So eventually the title came to be Catch-22, which, like 11, has a duplicated digit with the 2 also referring to a number of déjà vu like events common in the novel.[3]
[edit]Concept
Further information: Catch-22 (logic)
Among other things, Catch-22 is a general critique of bureaucratic operation and reasoning. Resulting from its specific use in the book, the phrase "Catch-22" is common idiomatic usage meaning "a no-win situation" or "a double bind" of any type. Within the book, "Catch-22" is a military rule, the self-contradictory circular logic that, for example, prevents anyone from avoiding combat missions. In Heller's own words:
There was only one catch and that was Catch-22, which specified that a concern for one's safety in the face of dangers that were real and immediate was the process of a rational mind. Orr was crazy and could be grounded. All he had to do was ask; and as soon as he did, he would no longer be crazy and would have to fly more missions. Orr would be crazy to fly more missions and sane if he didn't, but if he was sane he had to fly them. If he flew them he was crazy and didn't have to; but if he didn't want to he was sane and had to. Yossarian was moved very deeply by the absolute simplicity of this clause of Catch-22 and let out a respectful whistle.
"That's some catch, that Catch-22," Yossarian observed.
"It's the best there is," Doc Daneeka agreed.
Much of Heller's prose in Catch-22 is circular and repetitive, exemplifying in its form the structure of a Catch-22. Heller revels in paradox, for example: The Texan turned out to be good-natured, generous and likable. In three days no one could stand him, and The case against Clevinger was open and shut. The only thing missing was something to charge him with. This atmosphere of apparent logical irrationality pervades the whole book.
Other forms of Catch-22 are invoked throughout the novel to justify various bureaucratic actions. At one point, victims of harassment by military police quote the MPs as having explained one of Catch-22's provisions so: Catch-22 states that agents enforcing Catch-22 need not prove that Catch-22 actually contains whatever provision the accused violator is accused of violating. An old woman explains: Catch-22 says they have a right to do anything we can’t stop them from doing.
Yossarian comes to realize that Catch-22 does not actually exist, but because the powers that be claim it does, and the world believes it does, it nevertheless has potent effects. Indeed, because it does not exist there is no way it can be repealed, undone, overthrown, or denounced. The combination of brute force with specious legalistic justification is one of the book's primary motifs.
The motif of bureaucratic absurdity is further explored in 1994's Closing Time, Heller's sequel to Catch-22. This darker, slower-paced, apocalyptic novel explores the pre- and post-war lives of some of the major characters in Catch-22, with particular emphasis on the relationship between Yossarian and tailgunner Sammy Singer.
[edit]Synopsis
This section requires expansion.
The development of the novel can be split into multiple segments. The first (chapters 1-12) broadly follows the story in during present day time, though the story is fragmented between characters. The second (chapters 12-20) flashes back to focus primarily on the "Great Siege of Bologna" before once again jumping to the present in the third part (chapter 20-25). The fourth (chapters 25-28) flashes back to the origins and growth of Milo’s syndicate, with the fifth part (chapter 28-32) returning again to the narrative present but keeping to the same tone of the previous four. In the sixth and final part (chapter 32 on) while remaining in the present time the novel takes a much darker turn and spends the remaining chapters focusing on the serious and brutal nature of war and the world we live in. [4]
While the previous five parts develop the novel in the present and by use of flash-backs, it is in chapters 32-41 of the sixth and final part where the novel significantly darkens. Previously the reader had been cushioned from experiencing the full horror of events, but now the events are laid bare, allowing the full effect to take place. The horror begins with the attack on the undefended Italian mountain village, with the following chapters involving despair (Doc Daneeka and the Chaplain), disappearance in combat (Orr and Clevinger), disappearance caused by the army (Dunbar) or death (McWatt, Kid Sampson, Dobbs, Nately, Chief White Halfoat and Hungry Joe) of most of Yossarian’s friends, culminating in the unspeakable horrors of Chapter 41, in particular the rape and murder of Michaela, who represents pure innocence.[4]
[edit]Major themes
This section requires expansion.
One of the first themes developed in the novel is the question of what is right to do in a basic moral dilemma/social dilemma/prisoner's dilemma; where a person can cooperate with others to their collective greater payoff; or can sell them out by not cooperating, and reap even greater benefits as an individual. Yossarian is presented as having decided upon and relishing the immoral choice to such questions: "Yossarian throbbed with a mighty sense of accomplishment each time he gazed at [the officers' club building] and reflected that none of the work that had gone into it was his," which solidly casts Yossarian as an anti-hero. Yossarian (and Doc Daneeka) wonder 'why me' when it comes to taking risks when others aren't. To this, Major Danby asks Yossarian, "But suppose everybody on our side felt that way," to which Yossarian replies, "Then I’d certainly be a damned fool to feel any other way. Wouldn’t I?"
Another theme is the turning on their heads of our notions of what people generally think of as morally right or wrong, particularly patriotism and honor, which, because they are simplistic ideas, lead most of the airmen to accept abusive lies and petty rules of bureaucrats, though Yossarian is modeled whole-heartedly disregarding all such notions. When Major Major asks why he wouldn't fly more missions, Yossarian answers:
"I’m afraid."
"That’s nothing to be ashamed of," Major Major counseled him kindly. "We’re all afraid."
"I’m not ashamed,’ Yossarian said. ‘I’m just afraid."
Several themes flow into one another, for example, 'that the only way to survive such an insane system is to be insane oneself,' is partially a take on Yossarian's answer to the Social dilemma (that he would be a fool to be any other way); and another theme, 'that bad men (who sell out others) are more likely to get ahead, rise in rank, and make money,' turns our notions of what is estimable on their heads as well.
Heller suggests that bureaucracies, especially when run by bad or insane men, lead the members of the organization to trivialize important matters (e.g., those affecting life and death), and that trivial matters (e.g., clerical errors) assume enormous importance. Everyone in the book, even Yossarian at the beginning, is