In the same way as the consistently unstable structure of the narrative and syntax, (of that illustrated in the extract) is suddenly changed in Chapter 39, so too does Yossarian’s perspective alter as the novel develops. The juxtaposition of his ‘respectful whistle’∗ with his later ‘cursing… for there was no object or text to… rip to shreds, trample upon or burn up’ acutely emphasises Yossarian’s appeal for an objective morality in a world determined by the subjective logic of Catch 22. This sense of horror is directly derived from the fact that initially Yossarian saw the catch in terms of its ‘perfect pairs of parts'*, as a clever intellectual trick, it is at this stage ephemeral and distant in its ‘elliptical precision’. Here the diction is ambiguous and yet scientific, as perhaps the reflection upon its ‘spinning reasonableness’ illustrates best. This oxymoron is applicable here because the catch is approached in an intellectual and not practical way. The conjunction with the nonsensical flies in Appleby’s eyes further detaches the cause, Catch 22, from the effect that is described so vividly later in the novel. This initial conversation about the catch, the narrative of which contains no information about the physical location of the characters, contrasts sharply with the rich description of physical characteristics of Rome where 'insipid mist lay swollen the air'. Instead of alluding to the catch's value as an ideal 'like good modern art'*, the later similes graphically describe 'tomblike' streets, and 'yellow bulbs' that 'sizzled in the dampness like wet torches'. This dramatic shift to a narrative that is crudely littered with adjectives, can be seen as representative of the physical effect of Catch 22 so that 'nothing warped seemed bizarre any more.' It is here that 'shocking'* gritty realism eclipses the 'graceful' intellectualism that is catch 22.
This shift does initially seem sudden, however if read closely, the extract does perhaps subtly allude to this. Yossarian's admiration for the 'perfect pair of parts' highlights the catch as a clever intellectual trick that is effective, rather as in Nineteen Eighty Four, because 'people believe that it exists'. This alliteration delivers the catch as a device employed with little care for the individual human by conveying a sense of scientific precision. It is this sterile and scientific aspect of Catch 22 that Yossarian admires and, by doing so, reveals its vacuous nature as merely trick of logic. This point is further reinforced by the immediate discussion of the flies in Appleby’s eyes. While the statement is clearly ludicrous, its internal consistency means that it cannot be wholly dismissed, therefore acting as a parody to satirise the possible manipulation of logic that is equally evident in the previous discussion of Catch 22. Yossarian’s subsequent reflection that ‘it made as much sense as anything else’, can perhaps be seen as a further ironic indictment of the similar faults of both examples within the extract, rather the apathy that it initially appears to connote.
While both in the extract and novel the pliability of logic is highlighted, the primary medium for this exposé is through outlining falsehood in the war. It is here that the critique becomes truly satirical. The use of Catch 22 to suppress the men attempting to evade duty reflects the manipulative nature of figures such as Cathcart, however the analysis of Appleby reveals lines that are more poignant. Throughout the novel Appleby both believes in and represents 'the American Way of Life'. Names, perhaps epitomised by the fact that Major Major is indeed a Major, are very much representative of the character. Rather as Dickens's characters are almost caricatured by names such as 'Gradgrind' and 'Uriah Heap' being indicative of their actions, so too can 'Appleby' be seen as having overtones of a simple American. This in turn sharply contrasts with the Assyrian name of ‘Yossarian’ that is perhaps suggestive of his stronger awareness of personal concerns and safety. This point has particular relevance when seen in conjunction with Orr's questioning of Appleby's sense and logically in that 'how can he see he's got flies in his eyes if he's got flies in his eyes?'* While the complexity of the sentence mirrors the actual nonsensical nature of the conversation, it can also be seen to allude to the blinding influence of patriotism, highlighting the fact that it is perhaps as illogical as the arguments of Yossarian that the Army seeks to dismiss.
While the manipulation of logic by the Army to form Catch 22 does overtly criticise the mechanisms of war, it would be wrong to suggest the novel explicitly attacks War 'de facto'. The novel was seized upon for its anti war slant during the Vietnam war, however to view it as solely serving this purpose is but a naive appreciation of the text. Aspects of war are directly satirised, as through Milo's immoral capitalist opportunism. This is as a result of the exposé of other vices such as immorality and in particular, the abuse of logic. 'Catch 22' is not a stereotypical novel that goes from the sublime to the ridiculous but instead illustrates abuses of logic by employing the ridiculous. Heller achieves this, as with the 'flies in Appleby's eyes', by taking metaphors to the level of hyperbolic absurdities to exemplify the manipulation of logic that is Catch 22. The text is littered with such examples, exemplifying the process that leads to Yossarian's eventual confrontation of the realities in the 'night that was filled with horrors' in Rome.
R. Kelly
Bibliography
“Catch 22” Corgi Press (1955) Heller, Joseph
Seiden, Melvin. “The Hero and His War.” The Nation, (1961)
Hicks, Granville. “Medals for Madness.” Saturday Review, (1961)
Karl, F. R., “American Fictions” (1983)
Orwell, George “Nineteen Eighty Four” (1992)
Atwood, Margaret “The Handmaid’s Tale”, Vintage(1996)
Dickens, Charles “Little Dorrit”, Penguin Books (1981)
∗ Quotes from extract will be denoted by *