Subjugation Under Supposed Freedom In Catch-22

John Yossarian, an antiheroic bomber and soldier in World War II, is a perplexed soldier who struggles to endure the constant torment of war while he longs to escape. Yossarian’s companions witness horrendous things and endure bureaucratic absurdity. Together they struggle against the surreal rules that make life in constant battle and try to figure out the paradoxes and meaninglessness that can sometimes hinder their most passionate desires. Joseph Heller’s novel Catch-22 depicts Yossarian struggling to escape the grip of his superiors.

High-ranking official often refers to their subordinates’ mental state as a means to incite confusion and constrain their actions. Catch-22 is an invocation of the novel’s title. It describes the paradox that Orr was not required to fly missions “he was insane”, but would have to if he didn’t (Heller 46). This “slippery yet elegant” logic illustrates how the military manipulates the mental states of subordinates to get them to do certain actions. It also causes them to be trapped by their own mind. (Swift 2011. Yossarian claims that his insanity is a way to get out of the war. Doc Daneeka then responds, “Who will go [to kill]?” ‘” (Heller 305). Doc Daneeka explains that although the military previously stressed that having a poor mental condition is grounds for leaving war, this is not true. Doc Daneeka argues that it is a means of controlling the men and hiding the fact that escape from war is impossible, regardless one’s mental state. Yossarian is discrediting his logic fear of dying by using his mental state. Clevinger calls Yossarian crazy after he explains that “strangers he did not know shot at him every time he flew high in the air for bomb drops,” (Heller 17). Yossarian is wrong to think that they are both being held in the same dangerous conditions. The military’s tendency not to ask its subordinates about their mental state places them in a vulnerable state and allows them to be controlled by others. The novel also reveals that the catch-22 enigma is used by other demographics around the globe. This highlights the fact that hidden oppression does not only exist in the United States, but is universal. Yossarian concludes that Nately was not the only victim. This phrase, which refers directly to the tragic nature and the humanity of the world emphasizes that everyone is subject to an oppressive system, even though they are free. Luciana Yossarian, Yossarian’s lover, uses the phrase catch-22 to describe the concept of “catch-22″ in Italy. She claims she will not marry Yossarian [because he’s] mad, and… [he] doesn’t want [her] to marry [him]” (Heller159). This catch-22, although it is presented as a love story rather than war, demonstrates the trapping effect that this idea has on people all over the world in its inexplicable logic. Yossarian’s fear about the enemy echoes this sentiment. Yossarian’s fear stems from the “ubiquitous but altogether terrifying ‘they” and not the United States military. Instead, he fears the inability of escaping the omnipresence Catch-22 and the entrapment it brings (Pinsker, 2000). The catch-22 paradox, which is globally widespread, illustrates the inescapability of logic that appears to be purely international.

Heller, through his humor, emphasizes the absurdity in catch-22. This despite the fact that it prevents people from fully understanding it. The chaplain is accused in a double whammy of writing in “someone else’s” handwriting instead of his own. (Heller 381). Although it’s not quite up there with a Catch-22, this “argument faulty logic” is nevertheless a good one.

Hidalgo downing 2000 illustrates how a ridiculous idea can become a means of controlling. The number of missions required by Colonel Cathcart before the men are released from duty is constantly increased because he would like to be mentioned in “Saturday Evening Post”. ( Heller 282 ). Cathcart is the one who created the catch-22. He does this because he desires to be featured in the Saturday Evening Post ( Heller 282). Heller, by introducing a humor element to catch-22, exemplifies its absurdity and shows how it works regardless.

Joseph Heller’s Catch-22 redefines war perceptions. He employs humor and tragedy to stress the central idea that sanity IS insanity. Heller stresses that even though escape from a controlling power may seem obvious, it could be an impenetrable or inescapable contradiction disguised.