For other uses, see Catch-22 (disambiguation).
Catch-22 is a satiricalnovel by American author Joseph Heller. He began writing it in 1953; the novel was first published in 1961. Often cited as one of the most significant novels of the twentieth century, it uses a distinctive non-chronological third-person omniscient narration, describing events from the points of view of different characters. The separate storylines are out of sequence so the timeline develops along with the plot.
The novel is set during World War II, from 1942 to 1944. It mainly follows the life of CaptainJohn Yossarian, a U.S. Army Air ForcesB-25bombardier. Most of the events in the book occur while the fictional 256th Squadron is based on the island of Pianosa, in the Mediterranean Sea, west of Italy. The novel looks into the experiences of Yossarian and the other airmen in the camp, who attempt to maintain their sanity while fulfilling their service requirements so that they may return home.
The development of the novel can be split into segments. The first (chapters 1–11) broadly follows the story fragmented between characters, but in a single chronological time in 1944. The second (chapters 12–20) flashes back to focus primarily on the "Great Big Siege of Bologna" before once again jumping to the chronological 'present' of 1944 in the third part (chapter 21–25). The fourth (chapters 26–28) 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. The sixth and final part (chapter 32 on) remains in the story's present, but takes a much darker turn and spends the remaining chapters focusing on the serious and brutal nature of war and life in general. Previously the reader had been cushioned from experiencing the full horror of events, but in the final section, the events are laid bare. 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 of most of Yossarian's friends (Nately, McWatt, Mudd, Kid Sampson, Dobbs, Chief White Halfoat and Hungry Joe), culminating in the unspeakable horrors of Chapter 39, in particular the rape and murder of Michaela, who represents pure innocence. In Chapter 41 the full details of the gruesome death of Snowden are finally revealed. Despite this, the novel ends on an upbeat note with Yossarian learning of Orr's miraculous escape to Sweden and Yossarian's pledge to follow him there.
Many events in the book are repeatedly described from differing points of view, so the reader learns more about each event from each iteration, with the new information often completing a joke, the setup of which was told several chapters previously. The narrative's events are out of sequence, but events are referred to as if the reader is already familiar with them so that the reader must ultimately piece together a timeline of events. Specific words, phrases, and questions are also repeated frequently, generally to comic effect.
Much of Heller's prose in Catch-22 is circular and repetitive, exemplifying in its form the structure of a Catch-22. Circular reasoning is widely used by some characters to justify their actions and opinions. 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 apparently logical irrationality pervades the book.
While a few characters are most prominent, notably Yossarian and the Chaplain, the majority of named characters are described in detail with fleshed out or multidimensional personas to the extent that there are few if any "minor characters."
Although its non-chronological structure may at first seem random, Catch 22 is highly structured. It is founded on a structure of free association, ideas run into one another through seemingly random connections. For example, Chapter 1 entitled "The Texan" ends with "everybody but the CID man, who had caught a cold from the fighter captain and come down with pneumonia." Chapter 2, entitled "Clevinger", begins with "In a way, the CID man was pretty lucky because outside the hospital the war was still going on." The CID man connects the two chapters like a free association bridge and eventually Chapter 2 flows from the CID man to Clevinger through more free association links.
Yossarian comes to fear his commanding officers more than he fears the Germans attempting to shoot him down and he feels that "they" are "out to get him." Chief among the reasons Yossarian fears his commanders more than the enemy is that as he flies more missions, Colonel Cathcart increases the number of required combat missions before a soldier may return home; he reaches the magic number only to have it retroactively raised. He comes to despair of ever getting home and is greatly relieved when he is sent to the hospital for a condition that is almost jaundice. In Yossarian's words:
- The enemy is anybody who's going to get you killed, no matter which side he's on, and that includes Colonel Cathcart. And don't you forget that, because the longer you remember it, the longer you might live.
While the military's enemies are Germans, none appear in the story as an enemy combatant. This ironic situation is epitomized in the single appearance of German personnel in the novel, who act as pilots employed by the squadron's Mess Officer, Milo Minderbinder, to bomb the American encampment on Pianosa. This predicament indicates a tension between traditional motives for violence and the modern economic machine, which seems to generate violence simply as another means to profit, quite independent of geographical or ideological constraints. Heller emphasizes the danger of profit seeking by portraying Milo without "evil intent." Milo's actions are portrayed as the result of greed, not malice.
Further information: List of Catch-22 characters
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Heller wanted to be a writer from an early age. His experiences as a bombardier during World War II inspired Catch-22; Heller later said that he "never had a bad officer." In a 1977 essay on Catch-22, Heller stated that the "antiwar and antigovernment feelings in the book" were a product of the Korean War and the 1950s rather than World War II itself. Heller's criticisms are not intended for World War II but for the Cold War and McCarthyism.
The influence of the 1950s on Catch-22 is evident through Heller's extensive use of anachronism. Though the novel is ostensibly set in World War II, Heller intentionally included anachronisms like loyalty oaths and computers (IBM machines) to situate the novel in the context of the 1950s. Many of the characters are based on or connected to individuals from the 1950s:
- Milo Minderbinder's maxim "What's good for M&M Enterprises is good for the country" alludes to the former president of General MotorsCharles Erwin Wilson's statement before the Senate "What's good for General Motors is good for the country."
- The question of "Who promoted Major Major?" alludes to Joseph McCarthy's questioning of the promotion of Major Peress, an army dentist who refused to sign loyalty oaths.
Czech writer Arnošt Lustig recounts in his book 3x18 that Joseph Heller told him that he would never have written Catch-22 had he not first read The Good Soldier Švejk by Jaroslav Hašek.
In 1998, some critics raised the possibility that Heller's book had questionable similarities to Louis Falstein's 1950 novel, Face of a Hero. Falstein never raised the issue between Catch-22's publication and his death in 1995 and Heller claimed never to have been aware of the obscure novel. Heller said that the novel had been influenced by Céline, Waugh and Nabokov. Many of the similarities have been stated to be attributable to the authors' experiences, both having served as U.S. Army Air Forces aircrew in Italy in World War II. However, their themes and styles are different.
Strictly speaking, a "Catch-22" is "a problematic situation for which the only solution is denied by a circumstance inherent in the problem or by a rule." For example, losing something is typically a conventional problem; to solve it, one looks for the lost item until one finds it. But if the thing lost is one's glasses, one cannot see to look for them — a Catch-22. The term "Catch-22" is also used more broadly to mean a tricky problem or a no-win or absurd situation.
In the book, Catch-22 is a military rule typifying bureaucratic operation and reasoning. The rule is not stated in a general form, but the principal example in the book fits the definition above: If one is crazy, one does not have to fly missions; and one must be crazy to fly. But one has to apply to be excused, and applying demonstrates that one is not crazy. As a result, one must continue flying, either not applying to be excused, or applying and being refused. The narrator explains:
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 were 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. (p. 56, ch. 5)
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' explanation of one of Catch-22's provisions: "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." Another character 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 force with specious and spurious 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 tail gunner Sammy Singer.
Catch-22 contains allusions to many works of literature. Howard Jacobson, in his 2004 introduction to the Vintage Classics publication, wrote that the novel was "positioned teasingly ... between literature and literature's opposites – between Shakespeare and Rabelais and Dickens and Dostoevsky and Gogol and Céline and the Absurdists and of course Kafka on the one hand, and on the other vaudeville and slapstick and Bilko and Abbott and Costello and Tom and Jerry and the Goons (if Heller had ever heard of the Goons)." One critic argues that it is Kafka's influence that can be seen most strongly in the novel: "Like Kafka's heroes, Yossarian is riddled with anxiety and caught in an inexorable nightmare – in his case created by Colonel Cathcart and the inevitability of his raising the number of missions he has to fly."
The idea for Catch-22 was based on Joseph Heller's personal experience in World War II. The feelings that Yossarian and the other bomber pilots felt were taken directly from problems he suffered while on duty. Heller flew 60 bombing missions from May to October in 1944. Heller was able to make it out of the war, but it took until 1953 before he could start writing about it. The war experience turned Heller into a "tortured, funny, deeply peculiar human being".
After publication in 1961, Catch-22 became very popular among teenagers at the time. Catch-22 seemed to embody the feelings that young people had toward the Vietnam War. A common joke was that every student who went off to college at the time took along a copy of Catch-22. The popularity of the book created a cult following, which led to more than eight million copies being sold in the United States. On October 26, 1986, professor and author John W. Aldridge wrote a piece in the New York Times celebrating the 25th anniversary of the publishing of "Catch-22". He commented that Heller's book presaged the chaos in the world that was to come:
"The comic fable that ends in horror has become more and more clearly a reflection of the altogether uncomic and horrifying realities of the world in which we live and hope to survive."
Explanation of the novel's title
The title is a reference to a fictional bureaucratic stipulation which embodies forms of illogical and immoral reasoning. The opening chapter of the novel was originally published in New World Writing as Catch-18 in 1955, but Heller's agent, Candida Donadio, requested that he 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 Alive in Gematria; see Chai) and was relevant to early drafts of the novel which had a somewhat greater Jewish emphasis.
The title Catch-11 was suggested, with the duplicated 1 paralleling the repetition found in a number of character exchanges in the novel, but because of the release of the 1960 movie Ocean's Eleven, this was also rejected.Catch-17 was rejected so as not to be confused with the World War II film Stalag 17, as was Catch-14, apparently because the publisher did not feel that 14 was a "funny number." 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.
Publication and movie rights
Catch-22 was sold to Simon & Schuster, where it had been championed by editor Robert Gottlieb, who along with Nina Bourne, would edit and oversee the marketing of the book. Gottlieb was a strong advocate for the title along with Peter Schwed and Justin Kaplan. Henry Simon, a vice-president at Simon & Schuster, found it repetitive and offensive. The editorial board decided to contract the book when Heller agreed to revisions—he signed for $1,500.
Officially published on 10 October 1961, the hardcover sold for $5.95. The book was not a best-seller in hardcover in the United States. Though it sold 12,000 copies by Thanksgiving, it never entered the New York Times Bestseller List. Catch-22 received good notices and was nominated for the National Book Award in March 1962. (Heller lost out to Walker Percy's The Moviegoer.) It went through four printings in hardcover, but only sold well on the East Coast. The book never established itself nationally until it was published in paperback for 75 cents.:224–230
Upon publication in Great Britain, the book became the #1 best-seller.:233 Don Fine of Dell Paperbacks bought the paperback reprint rights to Catch-22 for $32,000. Between the paperback's release in September 1962 and April 1963, it sold 1.1 million copies.:238–240 In August 1962, Donadio brokered the sale of movie rights to Columbia Pictures for $100,000 plus $25,000 to write a treatment or a first draft of a screenplay.:234
The initial reviews of the book ranged from very positive to very negative. There were positive reviews from The Nation, ("the best novel to come out in years"), the New York Herald Tribune ("A wild, moving, shocking, hilarious, raging, exhilarating, giant roller-coaster of a book") and The New York Times ("A dazzling performance that will outrage nearly as many readers as it delights"). On the other hand, The New Yorker, ("doesn't even seem to be written; instead, it gives the impression of having been shouted onto paper", "what remains is a debris of sour jokes") and a second review from the New York Times ("repetitive and monotonous. Or one can say that it is too short because none of its many interesting characters and actions is given enough play to become a controlling interest") disliked it. One commentator of Catch-22 recognized that "many early audiences liked the book for just the same reasons that caused others to hate it" The book had a cult following though, especially among teenagers and college students. Heller remarks that in 1962, after appearing on the Today show he went out drinking with the host at the time, John Chancellor, who handed him stickers that Chancellor got privately printed reading "YOSSARIAN LIVES". Heller also said that Chancellor had been secretly putting them on the walls of the corridors and executive bathrooms in the NBC building.
Although the novel won no awards upon release, it has remained in print and is seen as one of the most significant American novels of the 20th century. Scholar and fellow World War II veteran Hugh Nibley said it was the most accurate book he ever read about the military. Since its release in 1961, the book has sold 10 million copies.
Although he continued writing, including a sequel novel Closing Time, Heller’s later works were inevitably overshadowed by the success of Catch-22. When asked by critics why he’d never managed to write another novel as good as his groundbreaking work, Heller would retort with a smile “Who has?”
- The Modern Library ranked Catch-22 as the 7th (by review panel) and 12th (by public) greatest English-language novel of the 20th century.
- The Radcliffe Publishing Course rank Catch-22 as number 15 of the 20th century's top 100 novels.
- The Observer listed Catch-22 as one of the 100 greatest novels of all time.
- TIME puts Catch-22 in the top 100 English-language modern novels (1923 onwards, unranked).
- The Big Read by the BBC ranked Catch-22 as number 11 on a web poll of the UK's best-loved book.
This list covers the first and most recent printed publications by the original publisher Simon & Schuster as well as all other formats. Other print publishers include Dell, Corgi, Vintage, Knopf, Black Swan, Grasset & Fasquelle and Wahlström & Widstrand.
The original manuscript is held by Brandeis University.
- 1961, Simon & Schuster ISBN 0-671-12805-1, pub date June 1961, Hardback
- 1961, Simon & Schuster ISBN 0-440-51120-8, advance Paperback with signed bookplate
- 1978, Franklin Library ISBN 0-8124-1717-8, signed limited edition Leather Bound
- 1996, Simon & Schuster ISBN 0-684-83339-5, pub date September 1996 Paperback
- 1999, Simon & Schuster ISBN 0-684-86513-0, pub date October 1999, Hardback
- 1980, Books On Tape ISBN 0-7366-8962-1, unabridged Audio Cassette reader Wolfram Kandinsky
- 1984, Caedmon AudioISBN 0-694-50253-7, Audio Cassette
- 1990, Books On Tape ISBN 0-7366-9085-9, unabridged Audio CD reader Jim Weiss
- 1994, DH Audio ISBN 0-88646-125-1, abridged edition Audio Cassette reader Alan Arkin
- 2007, Caedmon ISBN 978-0-06-126246-3, unabridged Audio CD reader Jay O. Sanders
- 2008, Hachette Audio ISBN 978-1-4055-0387-7, unabridged Audio CD reader Trevor White
- ^"Paul Bacon cover artist". Solothurnli.com. Retrieved 11 March 2011.
- ^ ab"What is Catch-22? And why does the book matter?". BBC News. 12 March 2002. Retrieved 11 March 2011.
- ^ abClinton S. Burhans, Jr. Spindrift and the Sea: Structural Patterns and Unifying Elements in Catch 22. Twentieth Century Literature, Vol. 19, No. 4, pp. 239–250, 1973. JSTOR online access
- ^Joseph Heller, Catch 22 (Simon & Schuster, New York. 1996), p. 24
- ^Joseph Heller, Catch 22 (Simon & Schuster, New York. 1996), p. 25
- ^Heller, Joseph (1961). Catch-22. New York: Simon & Schuster. p. 124.
- ^ abPodgorski, Daniel (27 October 2015). "Rocks and Hard Places Galore: The Bureaucratic Appropriation of War in Joseph Heller's Catch-22". The Gemsbok. Your Tuesday Tome. Retrieved 21 February 2016.
- ^ abcdSorkin, Adam J. (1993). Conversations with Joseph Heller. Jackson, MO: University Press of Mississippi. p. 150. ISBN 0-87805-635-1.
- ^DM Craig. From Avignon to Catch-22. War, Literature, and the Arts 6, no. 2, 1994 pp27-54.
- ^Heller, Joseph (1977). "Reeling in Catch-22". In Lynda Rosen Obst. The Sixties. New York: Random House/Rolling Stone Press. pp. 50–52.
- ^Zenny Sadlon. "Personal testimony by Arnošt Lustig". Zenny.com. Retrieved 11 March 2011.
- ^Gussow, Mel (29 April 1998). "Critic's Notebook; Questioning the Provenance of the Iconic Catch-22". The New York Times. Retrieved 1 April 2010.
- ^catch-22. 2012. In Merriam-Webster.com. Retrieved 8 March 2012, from http://www.merriam-webster.com/dictionary/catch%2022
- ^Random HouseISBN 978-0-09-947046-5Vintage Classics
- ^McDonald, Paul. Reading Catch-22. Humanities E-Books
- ^Bailey, Blake (26 August 2011). "The Enigma of Joseph Heller". New York Times. Retrieved 7 May 2012.
- ^Aldridge, John W. (26 October 1986). "The Loony Horror of it all - Catch-22 Turns 25". Sunday New York Times. Retrieved 1 March 2018.
- ^ abcdeEller, Jonathan R. (October 1992). "Catching a Market: The Publishing History of Catch-22". Prospects.
- ^ abN James. "The Early Composition History of Catch-22". In Biographies of Books: The Compositional Histories of Notable American Writings, J Barbour, T Quirk (edi.) pp. 262–290. Columbia: University of Missouri Press, 1996.
- ^ abcdDaugherty, Tracy (2011). Just One Catch: A Biography of Joseph Heller. New York: St. Martin's Press. ISBN 978-0312596859.
- ^"The Internet Public Library: Online Literary Criticism Collection". Ipl.org. Retrieved 11 March 2011.
- ^ abHeller, Joseph (1994). Catch-22. New York: Simon & Schuster. p. 11. ISBN 0-671-50233-6.
- ^Hugh Nibley and Alex Nibley, Sergeant Nibley PhD.: Memories of an Unlikely Screaming Eagle, Salt Lake City: Shadow Mountain, 2006, p. 255
- ^"Joseph Heller and his fiction. The first cut is the deepest". 8 October 2011. Retrieved 3 March 2017.
- ^"50th Anniversary of Joseph Heller's Catch-22". C-SPAN. 18 October 2011. Retrieved 8 January 2017.
- ^Randomhouse.comModern Library's 100 best novels of the 20th century
- ^Herbert Huber. "Radcliffe Publishing Course: the twentieth century's top 100 novels". Lesekost.de. Retrieved 11 March 2011.
- ^Robert McCrum (8 August 2006). "The Observer's greatest novels of all time". The Observer. UK. Retrieved 11 March 2011.
- ^"Time's top 100 English language modern novels". TIME. 16 October 2005. Retrieved 11 March 2011.
- ^The BBC'sBig Read
- ^Phythyon Jr., John. R. (2 March 2008). "Catch-22 a nearly perfect adaptation". The Lawrence Journal-World & News.
- ^Catch-22 (TV Movie 1973) on IMDb.
- ^Andreeva, Nellie (January 12, 2018). "Hulu Nabs 'Catch-22' Limited Series Starring George Clooney From Anonymous Content & Paramount TV". Deadline. Retrieved January 12, 2018.
- ^Heller archiveArchived 8 June 2010 at the Wayback Machine., Brandeis University.
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In Catch-22, Joseph Heller reveals the perversions of the human character and society. Using various themes and a unique style and structure, Heller satirizes war and its values as well as using the war setting to satirize society at large. By manipulating the "classic" war setting and language of the novel Heller is able to depict society as dark and twisted. Heller demonstrates his depiction of society through the institution of war (i.e. it's effects and problems during and after war). In the novel, the loss of individuality through the lives of the soldiers; the insanity of war and Heller's solution to insanity; and the idea of "there is always a catch" in life is shown to a dramatic extent. Heller's novel not only satirizes war, but all of society.
Catch-22 shows how the individual soldier loses his uniqueness not as much from the battlefield like other novels set during a war, but from the bureaucratic mentality. An example of this Lt. Scheisskopf's obsession with parades that he sees the men more as puppets than as human beings. At one point in the novel, he even wants to wire them together so their movements will be perfectly precise--just as mindless puppets would be. This theme also appears when Colonel Cathcart keeps increasing the number of missions his squadron must fly--not for military purposes, but to solely enhance his prestige. One other example of this theme is in the novel, when Yossarian is wounded. He is told to take better care of his leg because it is government property. Soldiers, therefore, are not even people, but simply property that can be listed on an inventory. In a bureaucracy, as Heller shows, individuality does not matter.
Most war novels show that such things as lying, killing, adultery, and stealing are permissible if the ultimate goal is just--Catch-22 demonstrates this idea. For example, the men pleasure themselves with prostitutes in an apartment provided by the army. Also, one of the men steals life-raft supplies to trade. Despite the suppression of these important values, those such as honor and patriotism are also suppressed in the novel. The men fight for "what they had been told" was their country, but it's really only to make their officers look good. The officers at one point tell Yossarian that they are his "country". Here again, Heller shows the failures of a bureaucracy--how no values remain.
Whenever the men think they have found a solution to a problem, a catch defeats them. The men are grounded if they are insane, but if they recognize the insanity of their missions, they are sane--and must fly more missions. These men are trapped in a crazy world--each searching for his own solution. Each of them has their own unique and bizarre personal insanity (e.g. The bombardier, Havermeyer, zeroes straight in on targets, no matter how much antiaircraft fire peppers his plane. Other members of the squadron seem even crazier. Chief White Halfoat keeps threatening to slit his roommate's throat. Hungry Joe keeps everyone awake with his screaming nightmares. Corporal Snark puts soap in the men's food. Yossarian starts signing "Washington Irving" to letters he censors, and he goes naked for a few days--even when he is being awarded a medal.)--and as Heller suggests, the only sane response to a crazy situation is insanity. When Yossarian and his friends begin asking clever questions to disrupt boring educational sessions, Colonel Korn decides that only those who never ask questions may ask questions. When they want to discuss a problem with Major Major, they are allowed into his office only when he is out. Even when Yossarian is offered an apparently harmless deal that would allow him to go home as a hero, there is a catch. He must betray his friends by praising the officers who caused many of them to die. And as Heller shows, life is reduced to one frustrating paradox after another.
In form, Catch-22 is a social satire--it's a novel using absurd humor to discredit or ridicule aspects of our society. The target in Catch-22 is not just the self-serving attitudes of some military officers, but also the Air Force itself as a mad military bureaucracy. The humor in the novel along with descriptive styles such as:
Doc Daneeka, "roosted dolorously like a shivering turkey buzzard"; the mountains, blanketed in a "mesmerizing quiet," Yossarian, wet "with the feeling of warm slime," "lavender gloom clouding the entrance of the operations tent"
These descriptive styles help depart from pure realism--they serve to transcend physical reality by making sensations metaphors for states of mind and by attributing unusual qualities to objects, making the reader take a second look at familiar objects and feelings. These help to create new and altered perceptions of the world--common in satires as they try to solve the problem being satirized by having those satirized (the human character) realize its faults. One example of the absurd humor that helps to abandon realism for the reader are the deaths of some of the men--the war kills men in both expected and unexpected ways--some die through anti-aircraft fire, while others did in odd ways such as Clevinger whose plane disappeared in the clouds; Dunbar who simply disappears from the hospital; and Sampson who is killed by a propeller of one of the bombers--
this departure from pure realism (i.e. the exaggeration, the grotesque, the comic-like characters, the unusual deaths) is aimed to first make the reader laugh, then look back at horror at what amused them--and this is the technique Heller applies to satirize society.
One other obvious structural style that adds to the satirical purpose of the novel how it is organized--the novel is not organized chronologically--time is disjointed. This disjoining of time is used for effects in the novel such as deja vu to show that time equals mortality and to give the mind set and psychological impact of the men to the reader; but it primarily serves to confuse the reader--to have the reader take a second look--just as the descriptive sensation metaphors purposes.
Through various themes and structural and descriptive styles, Heller's Catch-22 is not the typical war story, but a satire. Heller gives us a different perception of war and society--such as the pointlessness of war and how when it is looked at closely hurts both the enemy and the allies--and from a greater perspective, how we humans inflict catastrophe on ourselves. Catch-22 ultimately makes us stop and think about the faults and tendencies of the human character.
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