Ap Language And Composition

Catch-22: a logical paradox in which a individual needs something that can merely be acquired from non being in the state of affairs required for it. It is a more normally known as a “double bind” or “no-win situation” that employs a alone type of paradoxical round logic, aimed at maintaining a individual locked within set parametric quantities. Catch-22, a book of the same name, tells the narrative of John Yossarian, a fictional U.S. Air Force bombardier who is in active responsibility during World War II. Told through a series of flashbacks and descriptions of present events, the non-chronologically ordered narrative reflects the upset and nonsense of the U.S. Army ‘s administrative determinations and the logical false belief disputing Yossarian throughout his circuit, catch-22. This satirical war-fiction novel displays all the literary elements required for Joseph Heller to show all of his positions sing society, war, and logic.

When one first opens Catch-22, it is hard non to recognize the instantly recognizable genre of war-fiction and historical fiction. These normally incorporate existent struggles and wars, incorporating a wealth of historical significance. In add-on, Heller incorporates a definite sense of black, or dark/cringe, wit and sarcasm. An illustration of this from an outside beginning would be Dr. Strangelove or Monty Python. In the book, black comedy is used in tandem with Heller ‘s satirical authorship towards American bureaucratism in order to convey some carefreeness to the awful state of affairss that Yossarian experiences, every bit good as shed visible radiation on the world of war.

Heller utilizes a 3rd individual all-knowing point of position throughout the book, although he does concentrate chiefly on the ideas and actions of the chief character, John Yossarian. Without the omniscient point of view, the deepness of Catch-22 would non be in every bit great a capacity as it does with it. The narrative needs the explication of deep idea of multiple characters that merely a 3rd individual all-knowing position can supply. This can clearly be seen in the undermentioned quotation mark from the novel: “Outside the collapsible shelter, Colonel Whitcomb snickered… he endeavored to pin down and nurture the feeling in order to foretell, and possibly even command, what incident would happen following, ” ( Heller 209 ) . As the storyteller leap from one character ‘s ideas to another ‘s, the reader is able to pull a greater apprehension of the atrociousnesss seen on an mundane footing by the work forces.

The capable affair of Catch-22 is that of a lampoon of WWII. In this surrogate world, Germany ceased to be a menace sometime around 1943, and all support and clip became focused on Italy. Captain John Yossarian is stationed at a U.S. Army Air Force base on the island of Pianosa west of their current mark. He serves in the 256th B-25 Bombardier squadron, and has the undertaking of dropping bombs on enemy metropoliss. John possesses a wont of forging certain unwellnesss that are unrecognisable, and through the absurd medical pattern that the military physicians operate, he is able to avoid sensing with easiness. He does this to seek to return place to his household early on history of insanity or unwellness, but the paradoxes of multiple catch-22s support him in service. Alternatively of come oning chronologically, the narrative is told in a series of flashbacks, each concentrating on specific characters. The first set concerns itself with chiefly backgrounds and life narratives of all the characters, remaining for the most portion in the present twenty-four hours, 1943. The following describes the “Great Big Siege of Bologna, ” with the 1 after speaking about the growing of Milo ‘s mob, an organisation providing both sides of the war unbeknownst to either party. Finally, the narrative returns to present twenty-four hours when John is eventually considered for discharge but merely if he wrongfully sides with his two higher-ups for the remainder of his life. Alternatively of being discharged, he decides to try to get away. After three attempts, he finally gets off from the absurdness and nonsense of U.S. Air Force.

Catch-22 ‘s overall tone is one that is mocking and satirical of both war and bureaucratism. Although Heller ‘s tone can sometimes be really serious, it reverts back to the legion paradoxes and over-amplified qualities of the legion characters. This can easy be seen in the duologue between the illness-faking Yossarian and unlogical Doc Daneeka:

“ I ‘m inquiring you to salvage my life. ”
“ It ‘s non my concern to salvage lives, ” Doc Daneeka retorted dourly.
“ What is your concern? ”
“ I do n’t cognize what my concern is. All they of all time told me was to continue the moralss of my profession and ne’er give testimony against another doctor, ” ( Heller 87 ) .


The physician, who possesses the duty of salvaging lives as a military contracted professional, claims it is non his concern to handle his patients. Rather, he is carry throughing the bureaucratic will of the U.S. Air Force, as seen in, “never give testimony against another physician.” These defects in the system are what Heller targeted throughout the sarcasm of Catch-22, along with repeating illustrations of sloppiness or incompetency that Heller witnessed with his clip in the Air Force during WWII. The changeless switch between playful and serious tones is besides meant to be satirical of the absurdness of Catch-22 ‘s surrogate WWII and unqualified bureaucratism.

Heller, despite his wont of exchanging quickly between characters, merely includes one cardinal struggle throughout the book: the battle between Yossarian and the armed forces ‘s catch-22 paradoxes that keep him in active responsibility regardless of whatever feat he believes to hold found. By remaining in the infirmary ward often for bogus unwellnesss, he hopes to be discharged for at least one of them, but he learns from the physician that no 1 is of all time sent place for unwellness or hurt they claim to hold unless they die from the claimed hurt or unwellness ( Heller 47 ) . Subsequently, he tries once more escape by feigning that he is insane, but learns from the physician once more that he can non go forth the ground forces unless he asks to on the history of his insanity, while inquiring to be sent place proves he is sane ( Heller 108 ) . As he tries to detect loopholes in the armed forces ‘s system, each one he thinks is the ticket back place ends up crushed by the blemished logic of a catch-22. This struggle is made more hard for Yossarian when merely as he believes he will be able to go forth when he completes the needed sum of missions, Captain Cathcart bumps up the demand by another five missions as to maintain Yossarian in service.

This of all time increasing sum of missions is besides used by Heller as a symbol of wartime unfairness. Cathcart does this in order to be promoted to the prized rank of general, and exploits the variable mission demand in order to maintain his work forces more productive than that of other squadrons. This keeps him in the lead and in top place for his publicity at the disbursal of the work forces. Another reoccurring symbol that appears throughout the book is the infirmary, which is seen as an object of safety. Yossarian employs bogus illnesses/injuries in order to avoid combat responsibility and remain safe throughout the war. The infirmary is non safe nevertheless from the absurdness of the universe of Catch-22, as Heller shows lunacy catching the bulk of the patients. The last and arguably most of import symbol is the unlogical catch-22 statement. Representing Yossarian ‘s ne’er stoping battle with the military bureaucratism, the false belief comes to intend merely that “might makes right” in the concluding illustration of it when an Italian adult females provinces in response to the American bombardment tally on her whorehouse that, “…they have the right to make anything that we ca n’t halt them from making, ” ( Heller 374 ) .

Although there are many subjects present in Catch-22, the most prevailing one is the absolute power of bureaucratism. This is present in how they fight all conflicts within their ain version of WWII, as the 256th squadron is sent in to the most unsafe, hazardous state of affairss as per the determinations of an outside party. The work forces continue this behaviour even after the Allies basically win the war, in order for the group of administrative officials commanding their division to look better in their overall public presentation on the Italian forepart. Besides, Heller makes certain to demo that although the administrative officials are in charge, they are unlogical, using false belief such as catch-22 in order to command the soldiers. For illustration, Major Major will merely hold meetings with soldiers in his office when he is non present ( Heller 321 ) . This subject is meant to be similar of the warnings presented in both Orwell ‘s 1984 or Huxley ‘s A Brave New World, although throughout it is glazed over with lampoon and dark wit. While Orwell and Huxley concentrated more on a totalitarian province, Heller emphasized the issue of current twenty-four hours, turning bureaucratism that possesses the possible to command illogically alternatively of complete province obeisance. The subject of illogicalness opinion society is present in all of Joseph Heller ‘s literature, particularly the direct subsequence to Catch-22, Closing Time.

Overall, Joseph Heller ‘s Catch-22 nowadayss all of the literary elements required for to expose his position on society, war, and logic. His war-parody based in the unlogical catch-22 and the absurd bureaucratism makes for an interesting novel that presents a alone warning to society that is neither by and large expected nor easy recognized. When one contemplates a authorities with absolute power, they will usually believe of a collectivised province where all media and idea are controlled by a individual entity or a little group of people. Heller is able to make a alone world where it is non Large Brother that regulations the heads of the public, but instead an unlogical paradox that prevents advancement, invention, and flight.