Catch-22 is the most serious
funny book ever written.
It is a completely serious account of what combat is like, and the
reactions of war-fighters (in this case bomber crews) to being repeatedly sent
out expecting they will eventually be killed. It is also an accurate, if
satirically exaggerated, account of the black market economy and evasion of
bureaucratic rules that happens in prolonged periods of stalemate on remote
military bases.
It is hilariously funny describing self-contradicting loops,
endlessly repeating, while everyone knows that's what they are doing. The
seriousness and the funny-ness blend together because that is the psychological
reaction of troops under that kind of inescapable stress-- plunging into
absurdity as a necessary form of gallows humour. Mark de Rond's Doctors at War is a serious description
of the same dilemma at a forward military hospital during the Afghanistan war. Catch-22 carries it to the point of
hallucination.
Other funny books are nowhere near this kind of seriousness. P.G.
Wodehouse's Jeeves and Bertie Wooster are loveably silly. Evelyn Waugh has
real-life prototypes but their absurdities and personal atrocities are relieved
by picturesquely outrageous characters and turns of plot. Action-adventure
movies of the Indiana Jones type use a steady stream of humor so that what
would be real-life sadism and carnage are just slapstick. Tristram Shandy is about loveable eccentrics, told by an endlessly
digressive narrator, a nice version of Catch-22.
Don Quixote is a bitter-sweet satire,
but nothing really horrible happens. Lots of serious novels are enlivened by
social satire or the author's sarcastic tone, but one seldom laughs out loud
reading Thackeray, Trollope, or Hemingway. Catch-22
makes laugh-out-loud scenes out of the worst realities.
The plot, to the extent it has one, is that the Colonel in charge
of a bomber group keeps raising the number of missions that his men must fly
before they are eligible to be sent home. At first it's 25 missions, than 30,
then 40, then 50, 55, 60. Yossarian, a Captain whose job is bombadier-- he sits
in the nose of the plane, steers it to its target, and drops the bombs-- meets
each required number of missions, only to find that he now has to fly more.
Eventually he realizes that his glory-seeking commanding officer will never let
him reach the quota, and that he going to die like other men he has seen killed
around him.
The book starts out plunged into the absurdities that Yossarian
protests against and engages in to get out of flying more missions, like
staying in the hospital wearing a bathrobe. It is well into the middle of the
book before we find out what Yossarian has been going through on his bombing
missions. The book jumps back-and-forth in time, like Proust's À la
recherche du temps perdu, another novel more concerned with psychology than
sequence -- but in this case obsessed with the horrific effects of memory and
anticipation.
"Heavy flack
was everywhere! He had been lulled, lured and trapped, and there was nothing he
could do but sit there like an idiot and watch the ugly black puffs smashing up
to kill him. There was nothing he could do until the bombs dropped but look
into the bomsight, where the fine cross-hairs were glued magnetically over the
target exactly where he had placed them. He was trembing steadily as the plane
crept ahead. He could hear the hollow boom-boom-boom-boom
of the flak pounding all around him in over-lapping measures of four, the
sharp, piercing crack! of a single shell exploding very close by. His head was
bursting with a thousand dissonant impulses as he prayed for the bombs to drop.
He wanted to sob. The engines droned on monotonously like a fat, lazy fly. At
last the indices on the bombsight crossed, tripping away the eight 500-pounders
one after the other. The plane lurched upward buoyantly with the lightened load.
Yossarian bent away from the bombsight crookedly to watch the indicator on his
left. When the pointer touched zero, he closed the bomb bay doors, and, over
the intercom, at the very top of his voice, shrieked:
'Turn right hard!'
McWatt responded
instantly. With a grinding howl of engines, he flipped the plane over on one
wing and wrung it around remorselessly in a screaming turn away from the twin
spires of flak Yossarian had spied stabbing toward them. Then Yossarian had
McWatt climb and keep climbing higher and higher until they tore free finally
into a calm, diamond-blue sky that was sunny and pure everywhere and laced in
the distance with long white veils of tenuous fluff. The wind strummed
soothingly against the cylindrical panes of the windows, and he relaxed
exultantly only until they picked up speed again and then turned McWatt left
and plunged him right back down, noticing with a transitory spasm of elation
mushrooming clusters of flak leaping open high above him and back over his
shoulder to the right, exactly where he could have been if he had not turned
left and dived...
"The plane
zoomed upward again in a climb that was swift and straining, until he leveled
it out with another harsh shout at McWatt and wrenched it around once more in a
roaring, merciless forty-five-degree turn that sucked his insides out in one
enervating sniff and left him floating fleshless in mid-air until he leveled
McWatt out again just long enough to hurl him back to the right and then down
into a screeching dive. Through endless blobs of ghostly black smoke he sped,
the hanging smut wafting against the smooth plexiglass nose of the ship like an
evil, damp, sooty vapor against his cheeks. His heart was hammering again in
arching terror as he hurtled upward and downward through the blind gangs of
flak charging murderously into the sky at him, then sagging inertly. Sweat
gushed from his neck in torrents and poured down over his chest and waist with
the feeling of warm slime. He was vaguely aware for an instant that the planes
in his formation were no longer there, and then he was aware only of himself.
His throat hurt with a raw slash from the strangling intensity with which he
shrieked each command to McWatt. The engines rose to a deafening, agonized,
undulating bellow each time McWatt changed direction. And far out in front the
bursts of flak were still swarming into the sky from new batteries of guns
poking around for accurate altitude as they waited sadistically for him to fly
into range.
The plane was
slammed again with another loud, jarring explosion that almost rocked it over
on its back, and the nose filled immediately with sweet clouds of blue smoke. Something was on fire! ... and suddenly, miraculously, they were out of
range. The flak ended. The guns stopped booming at them. And they were alive.
Behind him, men were
dying. Strung out for miles in a stricken, tortuous, squirming line, the other
flights of planes were making the same hazardous journey over the target,
threading their swift way through the swollen masses of new and old bursts of
flak like rats racing in a pack through their own droppings. One was on fire,
and flapped lamely off by itself, billowing gigantically like a monstrous
blood-red star. As Yossarian watched, the burning plane floated over on its
side and began spiraling down slowly in wide, tremulous, narrowing circles, its
huge flaming burden blazing orange and flaring out in back like a long,
swirling cape of fire and smoke. There were parachutes, one, two, three...
four, and then the plane gyrated into a spin and fell the rest of the way to
the ground, fluttering insensibly inside its vivid pyre like a shred of colored
tissue paper. One whole flight of planes from another squadron had been blasted
apart.
Yossarian sighed
barrenly, his day's work done. He was listless and sticky..." [168-73]
Another hundred pages along, Yossarian is standing naked in a
formation to receive a Distinguished Flying Cross medal from the commanding
general.
"'Why isn't he
wearing clothes?' General Dreedle demanded of Colonel Cathcart.
'Why isn't he
wearing clothes?' Colonel Cathcart demanded of Colonel Korn.
'Why isn't he
wearing clothes?' Colonel Korn demanded of Captain Wren.
'A man was killed in
his plane over Avignon last week and bled all over him,' Captain Wren replied.
'He swears he's never going to wear a uniform again.'
'A man was killed in
his plane over Avignon last week and bled all over him,' Colonel Korn reported
directly to General Dreedle. 'His uniform hasn't come back from the laundry
yet.'
'Where are his other
uniforms?'
'They're in the
laundry too.'
'What about his
underwear?' General Dreedle demanded.
'All his underwear's
in the laundry, too,' answered Colonel Korn.
'That sounds like a
lot of crap to me,' General Dreedle declared.
'It is a lot of
crap,' Yossarian said." [250-51]
The style is like the joke about a man with a banana in his ear.
Another man says, "You have a banana in your ear."
"What?"
"You have a
banana in your ear!"
"What?"
"YOU HAVE A
BANANA IN YOUR EAR!!"
"You'll have to
speak louder. I have a banana in my ear."
Each chapter title is the name of an officer (e.g. LIEUTENANT
SCHEISSKOPF). It begins with a character sketch that morphs into a
conundrum. MAJOR MAJOR MAJOR MAJOR is
about a man from a family named Major who named him Major Major Major. When he
enlisted in the air force, this made trouble because he seemly outranked the
officers who were in charge of training. This was serious because Catch-22 says
you always must obey your superior officer, no matter what. The answer to the
conundrum, higher-ups decided, was to give him the rank of Major. As Major
Major Major Major, he was given an office but nothing in particular to do.
Outranking his subordinates, all their reports to higher up went through him
for his signature. Bored, he started signing official documents 'Washington
Irving', which got them rejected higher up and sent back for additional signatures
along the chain. Out of sheer embarrassment, Major Major ordered his sergeant
to tell everyone who wanted to see him that he was not seeing anyone while he
was in except when he was out. "I want to see Major Major." "You
can't see him now." "When can I get in to see him?' "When he's not
here."
Two other characters who frequently reappear are involved in
running the black market economy. Major _____ de Coverly (no one knows his
first name), is a white-haired old patriarch with a craggy face who everyone defers
to, and no one knows exactly what his duties are. Major _____ de Coverly is
always flying around renting apartments in liberated cities like Rome for rest
leave, separate quarters for officers and enlisted men in the rank-segregated
structure of the military. These quarters are well-stocked with food and drink,
and are brothels, staffed by money-seeking Italian women, often accompanied by
their penurious families. This leads to further banana-in-ear conundrums, like
the young officer who falls in love with a prostitute and tells her he wants to
marry her. She refuses because no one would marry her, since she a prostitute.
Milo Minderbinder is the officer in charge of mess hall. He is
always flying around the Mediterranean, buying and selling food, licquor, and
anything else that is for sale. He buys eggs in Malta at 7 cents each, and
sells them to squadron mess halls for 4 cents. After many mentions of this
paradox, we find that Milo Minderbinder is repeatedly buying things, selling
them to someone else, then buying them back. Why make it so complicated?
Because Milo makes money as a middle-man, taking a cut out of each transaction,
the more transactions the better. He offers a deal to the officers in charge of
the air bases, getting carte blanche for his operations. "Everyone gets a
cut," he assures them confidentially.
The extent of Milo Minderbinder's and Major _____ de Coverly's
operations is a fantasy extreme. But there are many realistic accounts of backstage dealings in war zones. One example
is James Michener's Tales of the South
Pacific, by a college professor assigned to paper-work duties by the Navy
in 1942-43, traveling all over the islands that were staging areas for brief,
intense battles but mostly consisted of waiting for something to happen. A
cleaned-up version became the Broadway musical and film, South Pacific. The patterns are the same: Right at the outset, we
meet Bloody Mary, a native woman who sells souvenirs for the sailors to send
back home; and Luther Billis, a fast-talking sailor who bends the rules,
supplies luxuries and can provide anything for a price. Off duty, officers and
enlisted men are segregated; and since the only women available on base are
nurses, they are made off limits by giving them officer rank. Early on in the
musical, we get this number, "There is Nothin' Like a Dame"
We got sunlight on
the sands,
We got moonlight on
the sea,
We got mangoes and
bananas
You can pick right
off a tree,
We got volleyball
and ping-pong
And a lot of dandy
games--
What ain't we got?
We ain't got dames!
We feel restless, we
feel blue,
We feel lonely and,
in brief,
We feel every king
of feelin'
But the feelin' of
relief.
We feel hungry as
the wolf felt
When he met Red
Riding Hood--
What don't we feel?
We don't feel good!
There are no books
like a dame
And nothin' looks
like a dame.
There are no drinks
like a dame,
Nothin' thinks like
a dame
Or attracts like a
dame,
There ain't a thing
that's wrong with
any man
here,
That can't be cured
by puttin' him near
A girly, womanly,
female, feminine dame!
This plays out guardedly in the plot. All the women, wives and
daughters of the French settlers, have been sent to a nearby island, which is
off limits to anyone but officers. Lt. Cable, the young romantic hero, is
talked into requisitioning a boat by Billis to go to Bali Hai, where he falls
in love with a beautiful young native girl. Why are the women sent away?
Michener gives the answer: the horny atmosphere of the naval base is rife with
rape. The other love story of the musical, between Nurse Nelly and a handsome
French planter, is much more sinister in Michener: a nurse out driving in a
jeep is liable to get ambushed, dragged into the bushes, and raped by
low-ranking sailors. There is a class war going on between the ranks; strongly
apparent in other eyewitness accounts such as Norman Mailer's WWII novel The Naked and the Dead; and James Jones'
From Here to Eternity (which also
includes a soldier falling in love with a prostitute.) Class war reached its
peak in the Vietnam War, when unpopular officers were getting
"fragged" by grenades thrown into their tents by their own men.
(James William Gibson, The Perfect War:
Technowar in Vietnam.)
In Catch-22, sexual
privilege and rank-hostility are more over-the-top:
"General
Dreedle is always accompanied by his nurse, who was as delectable a piece of
ass as anyone who saw her had ever laid eyes on... 'You should see her naked,'
General Dreedle chortled with croup relish, while his nurse stood smiling
proudly right at his shoulder. "Back at Wing she's got a uniform in my
room made of purple silk that's so tight her nipples stand out like bing
cherries. Milo got me the fabric.' ...
A few pages later, we find General Dreedle and
nurse in the briefing room when a major goes on monotonously describing for the
assembled airmen what batteries of flak they will encounter over Avignon.
Yossarian
"... moaned in deep despair that he might never see again
this lovely woman to whom he had never spoken a word and whom he now loved so
pathetically. He licked his parched, thirsting lips with a sticky tongue and
moaned in misery, loudly enough this time to attract the startled, searching
glances of the men sitting around him on the rows of crude wooden benches in
their chocolate-coloured coveralls and stiched white parachute harnesses...
'Ooooooooooooooooh,'
Yossarian moaned a fourth time, this time loudly enough for everyone to hear
him distinctly.
'Are you crazy?'
Nately hissed vehemently. 'You'll get into trouble.'
'Ooooooooooooooooh,'
Dunbar answered Yossarian from the opposite end of the room.
Nately recognized
Dunbar's voice. The situation was getting out of control, and he turned away
with a small moan. 'Ooh.'
'Ooooooooooooooooh,'
Dunbar moaned back at them.
'Ooooooooooooooooh,'
Nately moaned out loud in exasperation when he realized he had just moaned.
'Ooooooooooooooooh,'
Dunbar moaned back at him again.
'Ooooooooooooooooh,'
someone entirely new chimed in from another section of the room, and Nately's
hair stood on end.
Yossarian and Dunbar
both replied while Nately cringed and hunted about furtively for some hole in
which to hide and take Yossarian with him. A sprinkling of people were
smothering laughter. An elfin impulse possessed Nately and he moaned
intentionally the next time there was a lull. Another new voice answered. The
flavor of disobedience was tittilating. An eerie hubbub of voices was rising.
Feet were scuffled, and things began to drop from people's fingers-- pencils,
computers, map cases, clattering steel flak helmets. A number of men who were
not moaning were now giggling openly, and there was no telling how far the
unorganized insurrection of moaning might have gone if General Dreedle himself
had not come forward to quell it...
'That will be all,
men,' he ordered tersely, his eyes glaring with disapproval and his square jaw
firm, and that's all there was. 'I run a fighting outfit,' he told them
sternly, when the room had grown absolutely quiet and the men on the benches
were cowering sheepishly, 'and there'll be no more moaning in this group as
long as I'm in command. Is that clear?'
It was clear to
everybody but Major Danby, who was still concentrating on his wrist watch and
counting down the seconds aloud: '...four...three...two...one...time!' called
out Major Danby, and raised his eyes triumphantly to discover that no one had
been listening to him and that he would have to begin all over again. 'Ooooh,'
he moaned in frustration.
'What was that?' roared General Dreedle
incredulously, and whirled around in a murderous rage upon Major Danby, who
staggered back in terrified confusion and began to quail and perspire. 'Who is this man?'
'M-major Danby,
sir,' Colonel Cathcart stammered. 'My group operations officer.'
'Take him out and
shoot him,' ordered General Dreedle.
'S-sir?'
"I said take
him out and shoot him. Can't you hear?'
'Yes, sir!' Colonel
Cathcart responded smartly, swallowing hard, and turned in a brisk manner to
his chauffeur and meterologist. 'Take Major Danby out and shoot him.'
'S-sir?' his
chauffer and meterologist stammered. 'I said take Major Danby out and shoot
him,' Colonel Cathcart snapped. 'Can't you hear?'
The two young
lieutenants nodded lumpishly and gaped at each other in stunned and flaccid
reluctance, each waiting for the other to initiate the procedure of taking
Major Danby outside and shooting him. Neither had ever taken Major Danby out
and shot him before."
It turns out nobody in the room full of air force personnel
carries a gun, and General Dreedle finally calms down: "You mean I can't
shoot anyone I want to?"
[252-55] It is not hard to
recognize a parody of General Patton, who had gotten in trouble in the Sicily
campaign by slapping a soldier who was crying in a hospital.
There are other parodies in the book. Captain Black, furious that
Colonel Cathcart has appointed Major Major squadron commander instead of
himself, spreads the rumor that Major Major is a Communist, since no one knows
anything about him. Captain Black starts a loyalty oath campaign, requiring everyone
who wants to draw their combat equipment must sign a loyalty oath, or even to
get food in the mess hall. Rival officers join in a contest over who can demand
the most loyalty oaths, esclating to huge piles of documents. The loyalty oath
campaign finally collapses when crusty old Major___ de Coverly bluntly crushes
it. (Senator Joe McCarthy vs. President Eisenhower)
Reading Catch-22 gets
you into the habit of digressing. Going back to military zone black markets,
there is a similarity between the Italian campaign and the South Pacific war
described by Michener-- and for that matter, the Vietnam war, where the black
market was so bad that South Vietnamese (ARVN) troops sold off massive amounts
of American armaments and foreign aid to the Viet Cong guerrillas. (Subject of
two exposé novels: Graham Greene's The
Quiet American, and Eugene Burdick and William Lederer's The Ugly American.) The common
denominator is that these were war zones with massive logistics and
administrative areas far from the front, where progress of the war felt
stagnant and military discipline shattered.
Italy was the sideshow, the forgotten front of the Second World
War. Upstaged by the blitzkreig and Churchill; Rommel and Montgomery in North
Africa, Stalingrad, D-Day, the Battle of the Bulge; Pearl Harbor, MacArthur in
the Philipines, the marines on Iwo Jima, the A-bombs on Hiroshima and Nagasaki.
After Patton's successful campaign in Sicily in 1943, the landing on the
mainland turned into a long, stalemated winter front until Rome was liberated
in June 1944; and another long slog northward, while the air force bombed
German logistics, never breaking through into the heavily populated Po Valley
until April 1945, when the war was all but over in Berlin. It is during this
period that the author of Catch-22,
Joseph Heller, was a bombadier. The repeated references in the book to the
deadly anti-aircraft defenses of Bologna date it as taking place during the
last 12 months of the war. It must have seemed especially debilitating when breakthroughs
were taking place everywhere but here.
Rear-area black markets have remained part of the military through
the present. The so-called "Fat Leonard" scandal made a stir in
California naval bases in the mid-2020s, about a procurement manager for the
Pacific Fleet supplying shore leaves and officers' clubs, including with
prostitutes. (I omit consideration here of military procurement scandals in
Ukraine during its long stalemated war with Russia.)
Looming above it all, remains the ultimate real life
Catch-22. War is full of absurdities.
But wars seems inescapable, even if only defending against aggressors, evil
regimes, and nuclear threat. And inescapably symmetrical, since the other side
sees us the other way around. Damned if you do, damned if you don't.