This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections ...
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
Product dimensions: 7.44 (w) x 9.69 (h) x 0.17 (d)
Meet the Author
Joseph Heller’s debut novel Catch-22 will always be remembered as a brilliantly scathing indictment of war and one of the great absurdist comedies of 20th century American literature. However, it also created a painful catch-22 for its author at the expense of his subsequent works, which he would eventually explore in his final novel Portrait of an Artist as an Old Man.
Sometimes life traps you in an unfortunate situation that is impossible to escape from because of a set of inherently absurd rules. Take Joseph Heller, for example. The very first novel he published was among the most biting, powerful, hilarious examples of contemporary literature, a genuine classic of 1960s anti-war literature. Yet, Heller was forever trapped by that novel, unable to achieve similar success with his subsequent works no matter how fine they may have been. Both that painful predicament and that auspicious debut novel are known as Catch-22, and one hopes that an absurdist such as Joseph Heller had to at least appreciate that irony a little.
Catch-22 (1961) was somewhat based on Heller's own experiences as a B-25 bombadier in the Twelfth Air Force during World War II. It is the story of John Yossarian, a malingering bombardier stationed in Italy during the war. He lives in constant terror of being killed, so he flies each of his missions with the sole goal of returning alive. Unfortunately, Colonel Cathcart keeps increasing the number of missions he must undertake in order to complete his service. Yossarian's only way out is to prove that he is insane. Of course, the only way he can do that is to willingly take the most dangerous missions the air force has to offer. Yossarian's ridiculous, unwinnable situation is the Catch-22 from which the novel gets its name.
Heller uses Yossarian's situation as a means to satirize and criticize the military and dehumanizing bureaucracies in general. The novel follows a disorienting logic of its own, owing more to Lewis Carroll's Wonderland than any war-themed novel before it. Consequently, Heller's unique approach to his subject had a deep influence on writers such as Kurt Vonnegut (Slaughterhouse Five) and Tom Robbins (Villa Incognito). In 1970, Catch-22 was adapted into a star-studded feature film by director Mike Nichols (Who's Afraid of Virginia Woolf? ; The Graduate). Although many viewed the film as a disappointment, it had its fair share of highly inspired sequences, and in all fairness, the whimsical structure of the novel does not easily lend itself to the cinematic medium.
With a genuine classic on his hands, Heller then took his time producing his second novel. Something Happened did not appear until 1974, but it continued many of the themes present in Catch-22. This time around he directed his poison pen at the dehumanizing effects of the big-business world. Heller's tangy blend of pessimism and humanism would be the driving force behind the majority of his work that followed, including Good as Gold, Closing Time (a sequel to Catch-22), and the play We Bombed New Haven. However, none of his subsequent efforts came close to matching the success or influence of Catch-22, a fact that irked Heller until his death. His final novel, the posthumously published Portrait of an Artist as an Old Man, explored this very theme as writer Eugene Pota struggles to decide upon a subject for his final novel.
Despite his own misgivings about his career, Joseph Heller will forever be remembered as a giant in American literature, even if it is only due to his first novel... and that's the kind of Catch-22 in which most writers would kill to be trapped.
Good To Know
Heller often supplemented his income by taking screenwriting jobs. He worked on screenplays for the films Sex and the Single Girl and Casino Royale, and even worked on the television show McHale's Navy under the pseudonym "Max Orange."
Heller's great abhorrence of war transcended his novels and plays. During the ‘60s, he was very involved in the movement against the war in Vietnam.
Although Catch-22 is regarded as an American classic, it did not truly nab public attention until receiving glowing notices in Great Britain a year after its U.S. debut.