"Yossarian walked in lonely torture, feeling estranged..." (413)
"It was a man's world and she and everyone younger had every right to blame him and everyone older for every unnatural tragedy that befell them..." (405)
"...How many good people were bad people? When you added them all up and then subtracted, you might be left with only children, and perhaps Albert Einstein and an old violinist or sculptor somewhere." (413)
"Catch-22 did not exist, he was positive of that, but it made no difference. What did matter was that everyone thought it existed, and that was much worse, for there was no object to ridicule or refute, to accuse, criticize, attack, amend, hate, revile, spit at, rip to shreds, trample upon, or burn up." (409)
"No one in the sullen, cowering crowd seemed to care enough about the stunned and beaten boy to interfere [...] Yossarian crossed quickly to the other side..." (415)
"'Not me. They aren't going to put good old Aarfy in jail. Not for killing her.'" (418)
"They arrested Yossarian for being in Rome without a pass." (419)
The following is an edited and slightly rewritten blog from Elizabeth O'Roark who took the class...seven years ago? It's good enough to keep reprinting.
The bleakness of this book keeps getting bleaker: Yossarian can't stop thinking of the dead and suffering around him finally: "Nately's whore was on his mind, as were Kraft and Orr and Nately and Dunbar and Kid Sampson and McWatt and all the poor and stupid and diseased people he had seen in Italy, Egypt and North Africa and knew about in other areas of the world, and Snowden and Nately's whore's kid sister were on his conscience, too" (404). And in "The Eternal City" he appears to have entered...what? When Yossarian walks around the city looking for the kid sister, he can't walk fifty feet without seeing a woman being raped or a child being beaten. At one point he even walks on human teeth, but all he does is cross the street. He listen's to the woman's cries of "Pleeshe don't!"(414) and keeps walking. He doesn't want to intervene, he just wants to go about his business, which is, ironically, to save Nately's whore's kid sister.
None of these crimes are given a second look, but once Yossarian is found in Rome without a pass, he is arrested immediately. The police could care less about Michaela who Aarfy raped and murdered (and who was called "filthy things in dulcet, ingratiating voices" by the men who frequented the brothel [417]), but when Yossarian defies the rules of the army base, it is a problem. You can rape, you can murder, but just don't be disrespectful or insubordinate to the people who are really in charge. When you defy Colonel Cathcart and the others, it could insight unrest among the soldiers and then they would lose power. Going back to Chapter 36, we have another trial that reminds us of the trial of Clevinger back in Chapter 8, except this time, with Chaplain Tappmann on trial, the effect is less humorous than ominous, with an officer in charge who wears no rank and has no name, and says, "Why would we be questioning you if you weren't guilty?" (384). The Chaplain is guilty of course for being Washington Irving and censoring letters. In Rome, "Help, police!" could be a cry for protection from the police (416). Nearly every character we've met (and many we haven't because you didn't have to read the parts they were in) is dead or disappeared—except for the people in charge. Scheisskopff is now in command. Bombing missions are now at 80. And in a book published nearly 60 years ago, we have hints of the black site prisons and extraordinary rendition, not to mention reminders of Abu Ghraib, that came into being with our Global War on Terror under George W. Bush, and we have police that are too often the enemy. There's a reason this book never feels old. No doubt Heller read Kafka. And what would he think of our President?
Obviously, this wasn't the way to read this book. I save it for the end of the year because it is the most difficult book of the class—but no one planned on a global pandemic and on-line school. I apologize for all the ways I didn't teach this book well these last six weeks. At the least, you've had an introduction to one of the great novels of the twentieth century. Seniors, when you go to college you can drop into conversations tidbits of the book and impress your professors and classmates. Juniors, you can drop a reference into a college essay—if there ever was a time to cite Catch-22, this is it. But this wasn't great, and I'm sorry.
1. The Eternal City: why? What struck you about it and why is it here, do you think?
2. The brothel is emptied by MPs and carabinieri (Italian police) and the poor old woman says their reason was "Catch-22." "'They don't have to show us Catch-22,' the old woman answered. 'The law says they don't have to'" (407). So with this, define "Catch-22" as we now—near the book's conclusion—see it and know it?
3. Finally. This is the last blog of the year. That's 42 entries of about 200 words each, often more—let's say 320-400 words. That's around 13,650 words. That's a lot of writing. I always look forward to reading what you write; to teach and interact with young people as smart and insightful—and good humored and funny—as you all is the best part of teaching. Thank you. So as we did at the end of the fall, I'd like you to do this, something Thrower did when he taught. I would like you to acknowledge one of your classmates for what they did this year that you appreciated or learned from or enjoyed or that made the class better. Something you would feel comfortable acknowledging.
Due Tuesday by 10 PM.
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1. The thing that struck me the most about the Eternal City is both the city’s nickname and the fact that everywhere Yossarian looks he sees nothing but pain and suffering. As Heller makes a point of reminding us of the city’s “eternal” status, I think he is implying that the suffering Yossarian witnesses has existed, and will exist, for as long as this immortal city. Heller is saying that the suffering seen in the book has always existed and will always exist, and I think that Yossarian, who is trying to help someone other than himself for the first time in the book, is really realizing that for himself. For the first time in the story, he wants to help the people who are in pain, but at the same time feels as though he can’t.
ReplyDelete2. Catch-22 allows those in power to do pretty much whatever they like without question or challenge. It allows them to stay in power and exploit that power whichever way they want. It allows the Italian police to empty the brothel and throw the women out onto the street and makes it so they don’t have to explain themselves to the old woman. It allows Milo to smuggle whichever illegal goods he wants and to bomb his friends and allies.
3. I would like to acknowledge Javier. Whenever he added something to the class discussion it brought a whole new idea or angle to the situation, which made the discussion that much more interesting and thought-provoking. He was always able to add something that was incredibly interesting, and got people’s minds turning, which made the discussion continue with increased energy.
1. The Eternal City represents all of the contradictory absurdities that Heller has presented to his audience throughout the novel. The city itself is completely desolate, as its citizens are inhumanely brutalized and buildings fall into ruins. This horrifying scene does not appear to represent a city that should live forever. The term “eternal” is not the first adjective one would associate with the images that Yossarian describes in this chapter, and yet, upon further consideration, it could definitely apply. In a war of these proportions, suffering could be deemed eternal. The city itself could be perpetually in ruin, as its government ignores the violent streets and its people die off completely. Heller draws attention to this absurdity and then connects the two extremes to make an extremely powerful point.
ReplyDelete2. The novel itself talks a lot about the abuse/illegitimacy of power and authority. “Catch-22” represents a rule that forces people to adhere with authoritative power without actually having a reason to do so. In other words, “Catch-22” puts the characters in a position where they must be obedient for obedience’s sake, even though the rules they follow are absurd, even though they do not actually exist. This is definitely an intentional commentary on the way power is structured, and how futile it is as a concept when not used for the benefit of the greater good.
3. I want to acknowledge my dear Sarah for her constant sense of humor when it comes to the ridiculousness of the stories we read. I also admire her ability to embrace controversiality in the texts we cover. She shows me how easy it can be to make a powerful point while not taking yourself too seriously.
1. The Eternal City made me think of Vonnegut and how he would read the bible searching for tales of destruction and human brutality. Like the story of Sodom and Gomorrah, this chapter also holds vivid descriptions of a hell-like reality where rape and murder and cruelty lurk on every street corner. Rome was once the city where all of the American officers escaped to in order to relax and take a break from the war, yet now the war has arrived to destroy their paradise — the brutality and cruelty they inflicted upon others has finally caught up to them. By making Rome and all of its suffering “eternal,” Heller is drawing a bleak condemnation of humanity and its propensity for cruelty.
ReplyDelete2. I think that Catch-22 captures the impotence of language and the powerlessness of words, especially when faced with such death and destruction. For instance, as Snowden lies dying in the back of the plane Yossarian cannot think of adequate words to console him or lessen his pain, and simply mutters “There, there” over and over again. In many ways the ineffectiveness of language to comfort in the face of death and tragedy reminded me of the scene in Saving Private Ryan where the women are drafting the letters to the families of the deceased even though they know that words cannot bring someone back to life. It also made me think of the letter Ron Kovic included at the end of his novel. Yet while the scene from SPR or the letter in Born on the Fourth of July can both be viewed from different angles, I think that it is fairly clear that Heller is illustrating how words do not have the power we think they have and how they often reveal a truth that contradicts the original intention. Catch-22 also captures the very essence of the bureaucratic military of which Heller is so critical. In reality, catch-22 is only a bunch of words strung together that have no real meaning, but because everyone gives the phrase so much power, it becomes an all powerful tool to circumvent logic and decency and basic morality.
3. I want to acknowledge Keyes for his sense of reasoning and logic. His arguments were always so clear and precise, and he was able to express himself calmly and without condescension. While we didn’t always agree, his arguments challenged me to think from different angles and come to new conclusions that I otherwise wouldn’t have reached. I certainly learned new things from Keyes.
1. The Eternal City: why? What struck you about it and why is it here, do you think?
ReplyDeleteThis might be one of the most distinguishing chapters of the book so far. This is where Yossarian questions the life of justice, morality, and ethical conduct. He sees the horrors of war and its effect on the civilians surrounding it. He takes into account of the hyporites, the facades, the “the winners that were losers, the wise guys that were stupid, the honest men that were liars, brave men cowards, and loyal men traitors” (412). It represents that as long as war remains, these instances will prosper, and as of now, war and these instances are forever eternal. This chapter really sets off Yossarian as a character who finally comes to what we would deem as “ethical” or “morally correct”. He recognizes all of the calamity and the “dos and don’ts” that one should do, like murder. However, as soon as he realizes this, he is deemed crazy, and at the end, says that he will be taken home.When you finally understand what is morally correct, when you finally can define your own principles in war, you are officially crazy.
2. The brothel is emptied by MPs and carabinieri (Italian police) and the poor old woman says their reason was "Catch-22." "'They don't have to show us Catch-22,' the old woman answered. 'The law says they don't have to'" (407). So with this, define "Catch-22" as we now—near the book's conclusion—see it and know it?
I see Catch-22 as every contradiction there ever was. It is the basis and the foundation of the book, hence the title. It shows that despite logic, despite morality, despite evidence, belief and power can triumph all. The truth does not matter, but rather what the majority thinks and how those who wield power influence the rest. For example, Doc’s death, when they said that he was dead, he was, and there were no more questions. When the general says they can add more missions, they can. When the government wants to wreak havoc, they are allowed to. Those with less power are merely pawns struggling to survive. They are not allowed to understand, have logic, or explain their own perspective, for those with power are the ones who write the true narrative.
3. Finally. This is the last blog of the year. That's 42 entries of about 200 words each, often more—let's say 320-400 words. That's around 13,650 words. That's a lot of writing. I always look forward to reading what you write; to teach and interact with young people as smart and insightful—and good humored and funny—as you all are the best part of teaching. Thank you. So as we did at the end of the fall, I'd like you to do this, something Thrower did when he taught. I would like you to acknowledge one of your classmates for what they did this year that you appreciated or learned from or enjoyed or that made the class better. Something you would feel comfortable acknowledging.
I would love to thank Sarah, for always being cheerful, understanding every topic, and bringing light and smiles to the conversation. You can always relate to others, and brighten up the whole room!
I was not expecting the Eternal City. It is a horrible place to be and is everywhere; it is the world. (Yossarian literally walks on bloodied human teeth!) I think the name of the city really speaks to human nature, in general. Eternal often gives off an aura of hope and invincibility and desiribility, which is what I was expecting when I saw the name of the chapter. When I was reading, I was surprised because the City, the world in my interpretation of Heller’s opinion, is such a horrible place, but it is wonderful for the people in power. This is a world where unleashing your hatred and violence and raping and killing whoever you want is not frowned down upon. This reminds me of a conversation we had ealier in the year regarding whether or not war is in our DNA and if we would be in a constant state of war if society did not deem it unfitting, and I think this chapter says it is and we would. Not only is war in our DNA, but people are really good at it and some even find it enjoyable.
ReplyDeleteThis is a hard one. Catch-22 appears to be a justification for everything -- anything a person in power wants, they can have, and you can either acquire this power by having the “right genes” or by donning a white hat. If you’re born a straight white Christian (or at least secretly atheist) man, congratulations, you suffer the least, but you’ll probably die anyways because the number of missions keep getting raised. The women are victims. The children are victims. The animals are victims. Maybe the only people who survive are the Colonel Korn’s and Cathcart’s of the world and the good ole Aarfy’s who are excused of their aggregious actions and slide under the radar.
Okay, that was depressing, but thank you, Anna, for always being so present and compassionate in class (and for having the best knitting-while-actually-paying-attention multi-tasking skills ever woot woot!) And thank you everyone for being so open-minded and honest and unafraid of conflicting perspectives -- I truly enjoyed listening to your ideas, and it made for a great class!
While reading this chapter, I felt like I was reading about a zombie apocalypse! This chapter felt especially dystopian and cynical. All of the characters appear to have completely lost their moral compass. The first example that comes to mind, of course, is Aarfy feeling as though he is entitled to rape Micheala and then getting away with it. The only character who has his head on his shoulders is Yossarian. I keep asking the question of whether or not Yossarian is a hero. As we have already discussed, Yossarian is a coward and lacks almost all the qualities of a stereotypical hero. But in his pursuit to find the kid sister, he becomes a stoic and even admirable figure. He also becomes the voice of reason in this chapter. So is Heller once again redefining what it means to be a hero by putting Yossarian in a heroic light?
ReplyDeleteI agree with Sophia. Catch-22, in essence, is a contradiction. This phrase that no one really understands is the only way to justify the absurdities that happen in this book and in war. I think Catch-22 represents multiple themes in this novel such as the way authority takes advantage of people and how nonsensical war really is. Heller also uses Catch-22 to show the herd mentality of people in war and how people contradict their morals in order to follow the herd. In this chapter, all of the soldiers ransack the city using the justification of Catch-22. These words are completely meaningless, yet have so much power and influence.
I would like to acknowledge Charlotte! I always love hearing your comments during class because I feel like they are so well thought out. I have noticed that you always have a quote ready to back up your claim in class. Listening to your arguments reminds me to find evidence for my own comments. You are also the best table buddy!
1) The Eternal city is filled with paradoxes that really bring to light the absurdity of humanity regardless of war. Aarfy raping and then killing the helpless maid really stuck out to me for a couple reasons. One, Aarfy does not seem to understand that paying for sex is actually better than raping someone because he believe he does not need to pay for that. Yo-Yo, understandably so, cannot understand why Aarfy did not just find a prostitute if he wanted to have sex so badly. Yo-Yo says, “‘The city is full of prostitutes’” (418). But to that Aarfy brags, “‘Oh, no, not me. I never paid for it in my life’” (418). Aarfy is incorrigible! You know you have a problem when Yo-Yo tells you that you are insane. Second, the fact that absolutely nothing happens to Aarfy and he is upsettingly correct when he says that the police won’t care that the servant girl is dead is so unsettling. It is unsettling because Yo-Yo ends up being the one who gets in trouble with the authorities for not having a pass to be in Rome, but also because this kind of story is still quite pertinent.
ReplyDelete2) Catch-22 seems to fit well with the phrase: damned if I do, damned if I don't. In the introduction, Heller writes, “Orr would be crazy to fly more missions and sane if he didn’t, but if he was sane he had to fly them.” There is no way to win because either choice you make will have terrible consequences. Because everyone believes that what will happen will happen and there is no way to correct it, so life keeps going on in the same unjustified fashion. People in power will assert their control and there is little that others can do about it because of the power structure put in place.
3) I would like to thank Claire for always being there when I need someone to talk to about how confused I am about the reading and to rant about how abhorrent all the characters are. I also really admire how open you are with your thoughts and feelings about everything we read. The world needs more people like you ;)
Thank you Sophia for your INCREDIBLE virtual background. I have also really missed going to honey bubble with you to write essays and finish work. I miss driving around with you in the prius and blasting anything from pink to tchaikovsky.
And, thank you Anna, my valentine, for always saying what I am thinking but in a much more eloquent fashion. I also appreciate how you never stop questioning the deeper significance of the texts, but also never question my odd asides. I also know I will never be alone on a zoom call because you are always right there with me.
1. I think that the “Eternal City” is the same as it has always been throughout the book. The bombing that demolished the city to “ruins” just stripped away the places for all of the atrocities to hide. When the city is unveiled, Yossarian no longer has any excuses to not act morally and he is tested. He witnesses terrible things but does not think to act himself, instead wishing for others to intervene. Heller states, “The man kept knocking him down with hard, resounding open-palm blows to the head, then jerking him up to his feet in order to knock him down again. No one in the sullen, cowering crowd seemed to care enough about the stunned and beaten boy to interfere” (415). Yossarian just crosses the street to try and get away. I think Heller includes the city to show how Yossarian deals with more personal atrocity. In the past, he has been told that he caused the death of Kraft, who was killed when Yossarian decided to bomb the bridge a second time, but this is the most intimate brush with death Yossarian has caused. Yossarian is not killing soldiers face to face and part of the Eternal City shows that he cannot grapple with the idea of atrocity when it is more personal.
ReplyDelete2. Catch-22 is the unspoken hierarchy that is in all aspects of life. Heller uses the military to portray the concept because it works so well together. There is an obvious Catch-22 because of the rankings; Colonel Cathcart can assign as many missions as he wants and none of the men can question because of the unspoken Catch-22. However, Yossarian defies the unspoken rule. He goes against the grain and decides not to fly, disrupting the balance of the system. When one person questions Catch-22, it starts to make no sense at all. Why listen to someone just because society or, in this case, the military has assigned them to a “higher” position than you. I think that the misogyny that Heller shows throughout the book is meant to showcase this point. From the perspective of the reader, it is clear that it is unjust, but from perspectives in the story it makes perfect sense. Men, at the time, were seen as superior in society, thus due to Catch-22 they could act in any manner they wanted to. This idea manifests in the end of chapter 39 with Yossarian, yet again, trying to break the unspoken rule. Aarfy has killed and raped Michaela, but because he is “good old Aarfy” he gets off scot-free (418). Yossarian is not okay with this, but his retort is futile because Catch-22 is ingrained in society.
3. I would like to acknowledge Ruby. Her blogs are always so articulate and the ideas are really unique. Each blog, I try to read the blogs that came before mine and Ruby always manages to answer the questions thoughtfully with really interesting responses, which is a skill I admire.
1. The name “The Eternal City” is something I’ve most commonly heard in reference to heaven, and this Rome is nothing like its nickname implies. Like Elizabeth mentioned in her original blog, I was struck by the way Yossarian hid and ran away from the violence and suffering around him, even though it was arguably for a justifiable reason (his mission to save the younger sister). While I expected nothing less of our main character, it was brutal to read horrifying descriptions of people in pain and know that Yossarian was just going to cross to the other side of the street. I think Heller included this chapter to emphasize how much innocent people suffer during war and that oftentimes, the people who are supposed to protect (police, city officials, etc.) are the ones causing the most harm. This city is proof that the real casualties of war are often the everyday people.
ReplyDelete2. I agree with Yossarian that “Catch-22 [does] not exist” in a simple sense. When it was first introduced in the book, I thought it was just the paradoxes of war, but now it seems to encompass a much broader spectrum of nonsensical things. It applies to Milo and the economy, the war, the civilians, etc. To me, it seems like Catch-22 is just what someone says when they need a justification for something immoral or crazy. It is a phrase or excuse to tell victims when they need an answer to why they are in certain situations, and these situations always seem to be lose-lose scenarios.
3. I have really enjoyed this class. Everyone has always been so engaged and thoughtful during discussions, and I can’t remember a time when the conversation fizzled out or no one was willing to share. In particular, I’d like to acknowledge Sophia and Alondra. Sophia, your comments were always so well thought out and consistently added a new element or perspective to the conversation, and Alondra, I also loved being your table buddy! You constantly made connections between whatever we were discussing at the time and stories we had already read or watched that I never would have noticed if not for you.
1. When I read the title of the chapter the Eternal City, I pictured a place like the Garden of Eden or Heaven and I imagined that this possibly could be the chapter where all this absurdity came to rest and there was peace, but it was the opposite and I think that was on purpose. I think Heller is commenting on the idea that we discussed earlier in the year about how as long as there is war there can be no peace, and war is inevitable and will continue to happen. It's absurd because as much as everyone says they want peace, they don't know how to get there and they don't realize that their actions (like Aarfy raping the woman rather than hiring a prostitute) are contributing to the destructiveness and the lack of peace. It's like we are focusing and we care about all the wrong things; like the pettyness of the soldiers in the story so far and how the police only get Yossarian in trouble when they are surrounded by atrocities.
ReplyDelete2. I think Catch-22 is pretty much the definition of absurdity. This book is absurd and it is called Catch-22. It is the justification for absurdity, it is used when there is no logical explanation for the things that happen in war or life. It is a contradiction in itself; it is completley backwards. There is no winning against or beating Catch-22 because it is hard to fathom what it even is, it just is and it has power over everything. It explains why the abuse of power and control is such an overwhelming theme in this book. Catch-22 is absuridty's power.
3. I have learned more in this class than I ever thought I would in the beginning. We as a whole have had more thought-provoking, existential, difficult, etc., conversations than I think I have had in my entire life. One person I would like to acknowledge is Jordyn. Every comment she made in the class was so insightful and brought up ideas or concepts I would have never thought about if she hadn't said anything. I just really admire how thoughtful she is and everything she says she means and her words are so intentional.
Prompt One: The eternal city is the result of war. Heller has written a crescendo of atrocities (the flight minimums keep raising... more and more people die), and this mention of Rome as an eternal city is fitting as his book’s anti-war reminder of what always will occur in consequence of such absurdity and conflict. From the first interactions of the chapter Milo admonishes Yossarian as if he is doing any better, DESPITE sitting next to him in the cockpit (both on their merry way to desertion). Furthermore, the breakdown of regulation, or at least perversion to fit the needs of the military, is witnessed as the police pass up Aarfy (a murderer) for Yossarian, who has gone against their will. Here, pride matters more than justice, and Heller portrays these failures of the “Eternal city” in the way that they are: completely the fault of an indifferent military, too focused on its image to remember its victims.
ReplyDeletePrompt Two: Catch-22 seems really strange coming out of the italian woman’s mouth, I guess because we’d only ever heard it before from the army. I guess this is just one example of how the American’s have touched her life. Catch-22 is about futility. I remember back in the beginning when, if you were insane you were exempt from flying, yet it was sane to fear the missions. Anyone who wanted to be “insane” could only be seen as trying to avoid their duty and fight the system. This opposition, however, would only secure their name on the next flight log. Any choice is a bad choice, and at the end of the day, it was the men like Cathcart who could manipulate Yossarian and others to do their bidding.
Prompt Three: Anna, I appreciated your comments each time we had discussions in class. You always had fresh ideas and could generate discussion from a single comment. Also, Sam, I enjoyed reading your blogs and Jordyn for always having unique takes on certain scenarios, often resulting in the most fun discussions of the year. Thanks everyone! It’s not over yet, but I’ve still had such a great time.
What struck me was that it reads a little bit like Hemingway and a little bit like Vonnegut. There’s a wearying sense of awareness and disillusion, that, as outraged as Yossarian was in the beginning of the novel, he wasn’t fully aware of until now. Like walking Jake’s Paris compared to “their” Paris, he sees the everyday darkness of Rome. There’s no romance, not even the comfort of a “ficky-fick”. Moreover, there’s a sense of inevitability that feels very Slaughterhouse Five, where nothing anyone does changes anything or makes anything better in a meaningful way. The fact it’s called “The Eternal City” feels telling; like Vonnegut, he seems to be saying that this is what people do inevitably, as people. They are bystanders to these acts of brutality and violence, on both a small and large scale, despite knowing it is wrong. Even those who have enough gumption to try intervening back down easily enough to follow the path of least resistance. Everyone is waiting for someone else to do something, like Yossarian waits for the old woman to call for help and then is disgusted with himself later for not doing anything. The old woman who tries to stop the man from beating his dog backs down, like the ineffectual chaplain. Milo has a moment of goodwill, but like an addict, cannot avoid the siren call of capitalistic gain in the form of illegal tobacco. And the law is perhaps the worst offender. It lets Aarfy go for raping and killing a girl, and arrests Yossarian for disobeying the strictures of the army. It does not stop for atrocities, only to reinforce the systems of power. This is what the world cares about. And Yossarian has yet to prove different. Despite his realization on the streets of Rome, as soon as he’s offered the chance to sell out on his fellow pilots and go home, he does it, despite the fact that his personal benefit would prop up the institutions he loaths even further. He doesn’t feel the need to stand up for anyone other than himself, and, briefly, one twelve-year-old girl among the many.
ReplyDeleteCatch-22, n. 1. A piece of bureaucratic genius that allows those in power to circumvent the legal rights of those they wish to exploit while still maintaining the facade of equality. Everyone gets a share. What’s good for the syndicate is good for the country.
2. Stuck between a rock and a hard place, when a hard place means death. No way out. At least, not easily, and not for most people.
3. A deliberate contradiction of terms meant to prevent questions, seemingly sensible. All animals are equal, but some animals are more equal than others.
Language of origin: power hungry men with just enough power to fuck other people over (sometimes literally) and are willing to do so for their own benefit.
As the last person, usually, to post on the blog these days, Javi and Keyes, I always make sure to read your blogs before starting, if I read anything. The points you bring up will usually completely change how I’m thinking about the book before I even start writing. Also, in class, Keyes, I love those times when you flat-out disagree with the direction the discussion is heading. I learn so much from your points of view and, whether I end up agreeing with you or not, it forces me to consider the nuances of the discussion more closely.
DeleteSarah, there's so much to say, but what I'm remembering very clearly at this moment is how enjoyable it is to hear you read the French bits in a very French accent. Random, but it's hilarious and currently stuck in my head.
And also, thank you John. Not only was the level of discussion and sheer fun of this class unparalleled in my memory of literature classes, but you’ve done so much reworking this class for distance learning. Sure, it might not be ideal, but it’s so much better than what it could have been, and, honestly, it’s the only Zoom class I still look forward to. Logging on twice a week, I’m ensured at least one decent laugh and one comment that completely challenges my perception of the book (and occasionally, the world—this shutdown is very conducive to thinking over existential crises).
1. I was struck by how abruptly Heller changed the tone of the portions of the novel set in Italy. Before this chapter, Italy was a beautiful, relaxing place for the soldiers on leave or a country of people smiling to see King Milo, but now, the heart of Italy has been reduced to a lawless, chaotic FUBAR mess.
ReplyDelete2. Catch-22 has grown to become the embodiment of Heller’s thematic attack on the extended military bureaucracy. Throughout the book, Catch-22 has been the law that keeps Yossarian from going home even when his service is complete and the abstract justification for soldiers to run a helpless child out to the street. Heller’s manifestation of bureaucracy is—fittingly—ill-defined and abstract, showing how a powerful bureaucracy can use an incredibly weak justification to do whatever it wants to whomever it wants.
3. Throughout the course of this year, we have read some pretty rough stories. At times it has been hard to not feel depressed in the face of cruelty and atrocity, but I want to thank Leo and Sarah because—even in the darker stories—there were times we could laugh about.