I’m embarrassed to admit it, but I didn’t “get” Catch-22 the first time I read it. That was some twenty years ago, may be I was too young then. Halfway through my third read a few weeks ago, I suddenly realized – it was a caricature!
Caricatures are visual; or so I thought. Catch-22, cependant, is a literary caricature, the only one of its kind I have read. Looking for a story line in it that ridicules the blinding craziness of a cruelly crazy world is like looking for anguish in Guernica. It is everywhere and nowhere. Where shall I begin? I guess I will jot down the random impressions I got over my multiple reads.
Catch-22 includes one damning indictment on the laissez-faire, enterprise-loving, marché libre, capitalistic philosophy. It is in the form of the amiable, but ultimately heartless, Milo Minder Binder. With inconceivable pricing tactics, Milo’s enterprise makes money for his syndicate in which everybody has a share. What is good for the syndicate, donc, has to be good for everybody, and we should be willing to suffer minor inconveniences like eating Egyptian cotton. During their purchasing trips, Yossarian and Dunbar have to put up with terrible working conditions, while Milo, mayor to countless towns and a deputy Shaw to Iran, enjoys all creature comforts and finer things in life. Mais, fret not, tout le monde a une part!
It is hard to miss the parallels between Milo and the CEOs of modern corporations, begging for public bailouts while holding on to their private jets. But Heller’s uncanny insights assume really troubling proportions when Milo privatizes international politics and wars for everybody’s good. If you have read The Confessions of an Economic Hitman, you would be worried that the warped exaggerations of Heller are still well within the realm of reality. The icing on the cake comes when someone actually demands his share — Milo gives him a worthless piece of paper, with all pomp and ceremony! Remind you of your Lehman minibonds? Life indeed is stranger than fiction.
But Milo’s exploits are but a minor side story in Catch-22. The major part of it is about crazy Yossarian’s insanity, which is about the only thing that makes sense in a world gone mad with war and greed and delusions of futile glory.
Yossarian’s comical, yet poignant dilemmas put the incongruities of life in an unbearably sharp focus for us. Why is it crazy to try to stay alive? Where is the glory in dying for some cause when death is the end of everything, including the cause and the glory?
Along with Yossarian, Heller parades a veritable army of characters so lifelike that you immediately see them among your friends and family, and even in yourself. Prendre, par exemple, the Chaplin’s metaphysical musings, Appleby’s flawless athleticism, Orr’s dexterity, Colonel Cathcart’s feathers and black-eyes, General Peckam’s prolix prose, Doc Daneeka’s selfishness, Aarfy’s refusal to hear, Nately’s whore, Luciana’s love, Nurse Duckett’s body, la 107 year old Italian’s obnoxious words of wisdom, Major Major’s shyness, Major — de Caverley’s armyness — each a masterpiece in itself!
On second thought, I feel that this book is too big a chef d’oervre for me to attempt to review. All I can do is to recommend that you read it — at least twice. And leave you with my take-away from this under-rated epic.
Life itself is the ultimate catch 22, inescapable and water-tight in every possible way imaginable. The only way to make sense of life is to understand death. And the only way to understand death is to stop living. Don’t you feel like letting out a respectful whistle like Yossarian at this simple beauty of this catch of life? Je fais!