Role Of Yossar In Catch 22

Jonathan Yardley was a book critic for the Washington Post and a Pulitzer Prize winner for Criticism. In an occasional series from The Post, Yardley critics one of the most notable novels from the past: The Catcher in the Rye. His objective is to persuade his readers that The Catcher in the Rye is neither a well written book --as many claim it is-- nor a book that is deserving enough to be labeled an “American classic.” Yardley uses a sardonic, yet criticizing tone along with rhetorical devices such as antithesis, hypophora, understatements, and epithets to support his thesis and help the reader perceive the book from his position.

Life sometimes is a struggle, sometimes you have to lose something in order to gain something, but you always have the chance to choose what you want and more importantly need the most. From the novel, The Knife Of Never Letting Go Todd Hewitt has to decide for himself what he wants and needs to survive after he loses Ben and Cillian, similar to the movie Oblivion, Jack Harper was left without any guidance after he lost his partner Victoria. After Jack’s loss he had to keep on going with Julia but in the end he gained more from his losses, just like Todd in The Knife Of Never Letting Go he lost Ben and Cillian and he had to go on with Viola but he ended up with a better understanding of what it really meant to be a man and why the men of Prentisstown were after him. Everybody has struggles of their own and everyone will eventually overcome them with determination.

The comic formula 'Catch-22' sums up man's position on am absurd universe, and the novel shows that is applies to every aspect of life: to war, to love, to business, even to religion." (Colmer 210)

In this novel the hierarchical order is established with Holden’s story line forming the apex. The other story lines are of relative secondary importance, viewed from the perspective of the alienation of the youth in The Catcher in the Rye. This hegemony can be changed, if we constitute its structure through another yardstick, such as gender, temporal, spatial or narrative zones among others which is attributed to each character. Such a displacement would dispense with the present macrostructure with another one, having different primary and secondary story lines. Here the movement of the narrative is in syntagmatic order, which arranges events according to the principle of contiguity. The novel is a story of Holden who has been expelled from school for poor achievement for the third time. He leaves school a few days prior to the end of the term and goes to New York to take a vacation before returning to his parents’ house.

Instead of acknowledging that adulthood scares and mystifies him, Holden invents a fantasy that adulthood is a world of superficiality and hypocrisy (“phoniness”), while childhood is a world of innocence, curiosity, and honesty. Nothing reveals his image of these two worlds better than his fantasy about the catcher in the rye: he imagines childhood as an idyllic field of rye in which children romp and play; adulthood, for the children of this world, is equivalent to death—a fatal fall over the edge of a cliff. His created understandings of childhood and adulthood allow Holden to cut himself off from the world by covering himself with a protective armor of cynicism. But as the book progresses, Holden’s experiences, particularly his encounters with Mr. Antolini and Phoebe, reveal the shallowness of his conceptions.

Salinger’s The Catcher in the Rye has been pronounced a literary classic for its atypical portrayal of adolescence, to effectively convey the protagonist’s alienation and confusion. The introduction of The Catcher in the Rye is underpinned by disorder and confusion through a stream-of-consciousness narration, which digresses from one subject to another. Consequently, Holden’s multitudinous thoughts and feelings appear to lack a cohesive pattern. Additionally, Holden’s prevalent ascription of other students as “phony” (Salinger, p.3) alludes to his alienation and isolation as a form of self-protection; he rejects those he does not understand. Furthermore, the vocabulary encapsulates typical adolescence dialect of the 1940s, and resultantly, alienates contemporary reader. This is typified through Holden’s use of colloquial speech, in particular, his exclamation “that killed me” (Salinger, p.42) to express his amusement. Therefore, the introduction of Holden’s disjointed monologue in The Catcher in the Rye foreshadows Salinger’s unique interpretation of adolescence.

In Yasuhiro Takeuchi’s critical analysis of The Catcher in the Rye, he explores the themes of touching and the human connection. A question that has left readers and critics wondering is if Holden Caulfield ever reaches his dreams of becoming the defender of innocence. However not enough attention has been paid to how Holden’s strange behavior toward the character Jane, a girl in which holden has interests in throughout the novel affects his final position. Multiple times Holden finds himself avoiding contact with Jane. The reluctance to reach out to jane, who is on the verge of losing her innocence contracts his idea of becoming the savior of innocence. The reluctance is seen elsewhere in the novel when Holden refers himself away from throwing

The psychoanalytic lens discusses an individual's actions based on their conscious and unconscious mind. The novel “The Catcher in the Rye”, written by J.D. Salinger, focuses on the life of a depressed protagonist, Holden Caulfield. Holden experiences the death of his young brother Allie and struggles with transition from his innocent childhood to his sophisticated adulthood. This transition eventually influences his mental state of mind, which causes him to suffer from loneliness, frustration and alienation. The novel is better understood from a psychoanalytic lens rather than an existentialism perspective because of Holden’s conscious actions and unconscious desires which are portrayed throughout the novel. The transition from an innocent

In the end of the novel, Jack’s frail mind caused from his extreme thirst for alcohol and his abusive childhood from his father end up being his inevitable downfall. Jack’s mind becomes completely filled with hatred for his family and the yearning for them to suffer, he becomes blinded with rage. The reader’s begin to root for Wendy and Danny as they escape Jack’s grasp; leaving behind the exploding remains of the Outlook Hotel and a once beloved member of their family.

In the bildungsroman Catcher in the Rye, J.D. Salinger employs the struggle of individuality, inevitable maturation, and the childhood corruption of adulthood to reveal Holden’s alienation from society.

There are 3 main things that the character learned in Catch-22 between the jumping around at the end of war or when he was in the middle of battle in the book. All of them are really crucial on making him who he is. All these things are really adding up and taking a toll on his brain. First I will go on to is all the men that died are really starting to make him think about war in a different life. Second I will talk about how so many things happened that started to make him loose his faith and doubt everything. And last I will talk about how the thought of death started to make him make choices he didn’t want to make, and they made him start seeing things that were not real.

In “Emergency” by Denis Johnson, the reader can see F***head and Georgie get lost in many different scenarios throughout the story. These scenarios help develop the main theme, which is the difficult human experience of finding a purpose in life. The settings in the hospital and the drive in show the conflicts the characters face and how each of them resolve issues and find their life’s purpose. One of the many conflicts the characters face is not agreeing on certain things.

Paradoxes, in literature, are often employed by writers to emphasize the themes. Their true nature could be rather confusing, as they could be used in many ways. However, when analyzed at their fundamental levels, it is noted that paradoxes convey more profound ideas. Similarly, in The Catcher in the Rye, J.D. Salinger’s use of Holden’s paradoxes that overarch the entire novel emphasizes the apparent theme of identity by pointing out Holden’s problems and struggles. Salinger attempts to evince societal effects of an individual’s behaviors to the readers.

In conclusion, Salinger has given his readers his three ingredients to the meaning of life; innocence, isolation, and insanity. These elements are what create his existentialist protagonist, Holden Caulfield. Who tries to keep The Myth of Sisyphus alive, by keep pushing that boulder or in Caulfield's mind, catch the innocent children from falling into adulthood. But in the end Caulfield comes to the realization of his insanity of delaying the inevitable, everyone must fall and it is up to one’s essence to get back

Thus, Othello holds idealistic character traits despite the dismal, reader known reality. Similarly, George possesses an ambitious dream for his future. George is a poor ranch worker who dreams to share land of his own with his, mentally slow companion, Lennie. When George truly begins to believe in this ranch, he says excitedly, “‘We’ll fix up that little old place an’ we’ll go live there. [His] mind was popped into the future’” (Steinbeck 60). This example shows that George holds an idealistic hope for a better life that is later revealed to be unattainable. George dreams of a better future despite him being a migrant farm worker and the companion of the mentally slow Lennie who makes their shared dream even more impossible. Still, George, being an idealist, blocks the reality and has faith in his glorified ideal. Both Steinbeck and Shakespeare portray characters with hopes and dreams much larger and prettier than the reality the reader knows to be true. Such characterization indicates that no ideal is achievable due to the inevitability of a harsher reality.