Greed for Power and Money in Catch-22 Although Catch-22 is a novel that entirely takes place at war, the book uses comedy to emphasize the physical and emotional pain of war. The novel shows us how people are changed by war and how their focuses are changed through different experiences. Many of the people in the book are disgusted by their commanding officers and the conditions around them. Joseph Heller served in the war and witnessed crazy occurrences and met strange people like those in the book. By reading the novel, we can see that he strongly disliked war.
Catch-22 was definitely a catch! This “law” was the main metaphor of how crazy war really was and of the military authority. Joseph Heller used this catch in a humorous way, basically making it a loophole preventing any soldier from leaving the war. “Insane or not, the young men are indirectly forced to engage in combat and fight for a war they do not know about” (http://epubl.itu.se). He uses much black humor throughout the book, to relieve the horrors of war, death, and so on.
This is ironic because the reader expects the police to arrest Yossarian’s friend for murder. Heller also names a pilot “Kraft”, but he is inexperienced at flying. Using irony enhances the feeling of confusion and absurdity (Clemens 1). Catch-22 is a social satire in which Heller ridicules the military and big business. For example, one of the military’s top generals has an extreme obsession with parades and eventually schedules fake parades that will never happen just for the fun of it.
Catch-22 Essay In Joseph Heller’s Catch-22, many of the character are conformists or conform to something one way or another. Major Major tries to act like the other men but still ends up being hated by everyone for no real reason besides being a major. Yossarian was in Pianosa and was just dealing with strangers shooting at him. He followed orders. However, he questioned why they had to do the things they were doing in the first place, why he had to kill people he didn’t know before they killed him first.
New York: W. W. Norton & Company, 1987. Murfin, Ross and Surpryia M. Ray. The Bedford Glossary of Critical and Literary Terms. Boston: Bedford Books, 1998.
In the words of Vonnegut, “they made war look stylish, reasonable and fun.” Another interesting thing that Vonnegut does is that he frequently uses the phrase “So it goes,” after every death or mention of dying in the novel. He uses the phrase very often, and after a certain amount of time, it begins to remind the reader that the reader is powerless to stop all the killing that is going on. Vonnegut uses irony very often to strengthen the readers’ contempt for war. Edgar Derby, the well-liked high sc... ... middle of paper ... ...me soldiers refuse to fire a shot due to the great personal conflict within them to kill another human being. Normal human beings cannot kill in cold blood.
Meursault hence stays “impenetrable, even from a vantage point of the absurd” (85). As readers, we can see that “his fictional density is the only thing that can make him acceptable to us” (85). Overall, Camus’ The Stranger becomes the complete absurd work through the inappropriate uses of messages. We can show that he is not successful in making the straightforward messages because he does not clearly develop his point of the novel. This is how he illogically structures his novel by making aimless thematic point.
Sadly, no one realizes a person’s significance until they die. Only remembering how they lived rather than acknowledging their existence when they were alive. O’Brien uses a lot of imagery and sensory detail in his stories, many of which make me wonder if these stories are in fact fiction. “His jaw was in his throat, his upper lips and teeth were gone, his one eye was shut, his other eye was a star shaped hole…” pg. 124 The detail of the dead soldier’s body almost seems illusory; as if it was made for the sole purpose of frightening the reader and letting them know the horrors of war.
Works Consulted Camus, Albert. The Stranger. New York: Random House, Inc., 1988. -- The Fall Translated by Justin O'Brien New York: A Vintage Book, 1986. Akeroyd, Richard H. The Spiritual Quest of Albert Camus.