The Deft Touch of Catch 22:
Heller's Harmonious Unison of Comedy and Tragedy
Since the dawn of literature and drama, comedy and tragedy have always been partitioned into separate genres. Certainly most tragedies had comedic moments, and even the zaniest comedies were at times serious. However, even the development of said tragicomedies left the division more or less intact. Integrating a total comedy and a total tragedy into a holistic union that not only preserved both features, but also blended them into a new and harmonious entity remained elusive. That is, until Catch-22. Using his unique style and structure, Joseph Heller masterfully manages to interlay humor and terror, comedy and tragedy, and reveals in the process the perversions of the human character and of society gone mad.
The first stroke of Heller's deft touch is his presentation of outrageous characters, acting outrageously. From the first chapter, we are presented with a slew of unbelievable characters whose actions and ideologies are uproariously funny, and horrifically disturbing. In fact, the manner in which the reader recognizes the character's dual nature will serve as the first example of Heller's amalgamation of comedy and tragedy. Dunbar's theory of life is first received with a burst of laughter from the audience. Life is short, and Dunbar wishes to extend it as much as possible. If time flies when one is having fun, then conversely, time must slow when one is bored. Dunbar endeavors to make his life as boring as possible, thus increasing the length of its passing. Indeed, it is understandable why such an attitude should elicit a laugh, but the further implications are horrific. Society's emphasis on life over meaning comes as a shocking revelation to the audience. Heller further reinforces that idea with characters such as Doc Daneeka, who values self-preservation and money over responsibility and friendship, and Milo who values self-improvement and fortune over the lives of thousands of others. The motif that follows gives us characters that are, above all else, more interested in self (Cathcart, Mrs. Daneeka, Duckett, the Old Man, Peckem, etc.). Though they are initially humorous, their nature is ultimately revealed to be false and horrific, arousing disgust and pity, a brilliant combination of comedy and tragedy.
The perversion of society is revealed further in a second m...
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...r is the first to make his departure, flying into a cloud and never returning. The unreasonable logistics of his demise are certain to garner laughs. Likewise, Kid Sampson's gruesome death at the blades of a propeller-- followed by McWatt's suicide-- is sadistically funny. The absurdity of Dunbar being "disappeared" cloaks its awful truth. Even life and death can be at the whim of the army bureaucracy, as demonstrated by Mudd's "life", and Daneeka's "death". At the outset these deaths are indeed comically absurd, but the basic horror of it is enough to make one nauseous. Absurdity represents one of Heller's most skillful blends of comedy and tragedy in the entire novel.
Though seemingly irreconcilable genres, horror and tragedy are nimbly fused into a whole creation by Heller's unique style and structure. Heller creates situations where the audience laughs, and then must look back in horror at what they were laughing at. Through brilliant characterizations, superb irony, mind-boggling paradoxes, and ingenious absurdity, Heller manages interlay humor and terror, comedy and tragedy into a beautiful whole as Catch-22.
Catch-22’s nonlinearity not only forms this piece of literature into a higher-level novel with its intricate plots and timelines, but Heller’s style also accompanies the satirical comedy of the book, leading it to be a classic example of a satirical novel, and the term “catch-22” is still used today. Without the unique chronology, Heller’s most famous novel, often regarded as one of the greatest literary works of the twentieth century, would just be another war novel. The web of events, characters, and settings envelops the reader throughout the novel, providing a unique experience unlike many other books. Albeit somewhat confusing, Catch-22 is a masterpiece of comedy, a complex satire of war, and a criticism of bureaucracy that makes exquisite use of its bewildering nature. Do not steal.
At what point do the qualities of an antihero become heroic? Joseph Heller’s Catch-22 follows the experiences of protagonist and noted antihero Captain John Yossarian, a bombardier of the 256th Squadron of the Air Force stationed on the island of Pianosa during World War II. Frequently opposed by the immoralities and illogic of war and military bureaucracy and haunted by the deaths of men in his squadron, Yossarian is overcome by the paranoia that “they‘re trying to kill [him]” (26), and constantly avoids his militant duties in effort to stay alive. Due to his seemingly foremost concern of self-preservation, avoidance of responsibilities and cowardice, Yossarian is commonly perceived as an antihero. However, the goodness of his character is revealed through his moral consideration of others, the way his fellow men admire him, and his reactions to the corruption he discovers in the military system. Thus, although Yossarian does not possess the typical characteristics of a traditional hero, his inherent concern for the well-being of others and defiant acts ultimately prove his heroism.
Catch-22 is a black comedy novel about death, about what people do when faced with the daily likelihood of annihilation. For the most part what they do is try to
Paul Haggis in his 2004 film Crash and Joseph Heller in his novel Catch-22 each explore the theme and value of time in both mediums, resulting in various similarities between the sequence of time and its meaning to the story. The most striking similarity between Crash and Catch-22 is the structure and use of repetition in time. Neither narrative follows the standard sequences of time, although at some points it may appear so. The repetition of the same events through different character perspectives in Catch-22, and the repetitive pattern of action and reaction in Crash emphasizes the vicious circle of military inefficacy and unnecessary death, and of racism and counter-racism, respectively. Haggis in Crash, and Heller in Catch-22, both demonstrate
Catch 22 by Joseph Heller is a complex and intricate novel. Heller uses many themes, does not have the story line in chronological order and often uses irony in his descriptions. Many of the themes can be compared to other literature. One of the themes that can be compared is fear in war. The idea is that the evils and cruelty of war can make a grown man go back into a "fetal" state. This can be seen in The Ball Turret Gunner by Randall Jarrell and can be compared to the metaphor used in chapter five of Catch 22. In this chapter Yossarian talks about the tight crawl space which led to the plexiglass bombardier’s compartment.
People often shudder at the thought of the Holocaust. During this gruesome time nearly six million Jews, and an additional five million non- Jewish victims, including gypsies, homosexuals, and handicapped, were inhumanely murdered by the Nazis. There was no escape from the brutality of the German dictator, Adolf Hitler. The Holocaust was Hitler’s effort to exterminate any person he believed to be inferior. Anyone deemed fit for the title was lugged away to concentration camps, then sentenced to obligatory labor or demise. Now, imagine this as a comedy. The notion that such an event could be portrayed as a comedy seems unfathomable. However, director Robert Benigni is able to take this occurrence and apply a comedic sense in order to set the
The films Young Frankenstein and One Flew over the Cuckoo’s Nest can be viewed as a critical analysis of society’s issues and dysfunctions in the form of satire and parody using humor. While Young Frankenstein, Mel Brooks cinematic version of the gothic novel, Mary Shelley’s Frankenstein, uses parody in the form of Horatian satire, which is achieved through gentle ridicule and using a tone that is indulgent, tolerant, amused and witty. The film One Flew over the Cuckoo’s Nest, the adaptation of the Ken Kesey novel, uses a form of satire called Juvenalian satire which is demonstrated in the form of attacks on vice and error with contempt and indignation. Horatian satire will produce a humor response from the reader instead of anger or indignation as Juvenalian satire. Juvenalian satire, in its realism and its harshness, is in strong contrast to Horatian satire (Kent and Drury).
“The alternating play of humor and horror creates a dramatic tension throughout that allows the book to be labeled as a classic both of humor and of war. With the humor in Catch-22 we are forced to conclude is only secondary. Where Heller comes through in unalleviated horror is where the message lies. The books humor does not alleviate the horror it heightens it by contrast.” (Riley, Carolyn & Phyllis Carmel Mendelson).
Drama, and Writing. Ed. X.J. Kennedy and Dana Gioia. 6th ed. New York: Pearson-Prentice, 2010. 40-49. Print.
Catch-22, by Joseph Heller, is a fictitious novel that depicts life on an American bomber squadron on Pianosa, an island off the coast of Italy, during the closing years of World War II. A bombardier by the name of Yossarian, the main character in the story, is joined by many others to create a comic drama unlike any other. But aside from the entertainment, Heller uses Catch-22 to satirize many aspects of everyday life that consist of hypocrisy, corruption, and insanity. From the laziness of policeman to the fake happiness brought about by money, the novel is painted with a great number of points targeted against the faults of modern society. However, along with these smaller targets, a majority of the Heller’s satire in the novel is aimed specifically at the imperious bureaucracy in the military, the current nature of man, and the corruption of religion; all of which accentuate the senselessness of war itself. Through Yossarian, who is conscience of what is sane, along with characters who are not, Heller emphasizes his ridicule by making what is appropriate seem peculiar and what is ludicrous seem common, ultimately giving the reader a viewpoint that proves astonishingly effective.
Thoughtful laughter is a technique used frequently in satirical pieces in literature. It allows for the audience to enjoy the wittiness of a work, later ponder on the meaning, and then apply the message to reality. Thoughtful laughter is often an inner experience that can only be achieved by authors who write meticulously. Two examples of satirical works in literature that display this concept explicitly are Voltaire’s Candide and C.S. Lewis’ The Screwtape Letters. Both authors explore the depths of satire and simultaneously deliver an important message to readers through skillful technique.
Edward Blake, aptly named The Comedian viewed twentieth century life through a darkly tinted humorous lens. He viewed life as an absurd and meaningless notion, where all actions were ultimately driven by an innately selfish nature. Through his experiences in war, he becomes a “ruthless, cynical and nihilistic” man who is “capable of deeper insights than the others” in the room (Reynolds, 106). The Comedian's derives his power from a complete an utter disregard for humanity. Though he fights crime and has been conjured by the press into a patriotic symbol of war and victory, he thrives on chaos and destruction. He claims t...
In Art Spiegelman’s Maus, the audience is led through a very emotional story of a Holocaust survivor’s life and the present day consequences that the event has placed on his relationship with the author, who is his son, and his wife. Throughout this novel, the audience constantly is reminded of how horrific the Holocaust was to the Jewish people. Nevertheless, the novel finds very effective ways to insert forms of humor in the inner story and outer story of Maus. Although the Holocaust has a heart wrenching effect on the novel as a whole, the effective use of humor allows for the story to become slightly less severe and a more tolerable read.
The popular American Poet, Billy Collins, is playing a significant role in the evolution of poetry. His writing style evokes an array of emotions for the reader. Every stanza in his poetry passes the satirical standard that he generated for himself over his career. Collins swiftly captivates his readers through his diverse use of figurative language. More specifically, his use of vivid imagery paired with humorous personification and extended metaphors create his unique style of satirical poetry. This developed form of writing appeals to a large crowd of people because the generally accessible topics that he discusses are fairly easy to resonate for the common man. However, his poetry offers an interesting perspective on what otherwise would be simplistic ideas. The main themes and concepts that are being presented in each of his writings are revered and coveted by the general population. An appealing aspect of his writing is his ability to directly convey the main idea within the poem. As a result, the reader can understand the meaning of his work with ease. The typical beginning of his work gives the reader a slight taste of what is to come. Billy Collins’ unique writing style and various trademarks directly influenced by his ability to propagate an array of emotions for the reader, his humorous tone, and the accessibility of the topics he describes within his poetry.
Kurt Vonnegut uses a combination of dark humor and irony in Slaughterhouse-Five. As a result, the novel enables the reader to realize the horrors of war while simultaneously laughing at some of the absurd situations it can generate. Mostly, Vonnegut wants the reader to recognize the fact that one has to accept things as they happen because no one can change the inevitable.