The Importance Of War In Catch 22, By Joseph Heller

Where innumerous catastrophic events are simultaneously occurring and altering the mental capability of its viewers eternally, war is senseless killing. The participants of war that are ‘fortunate’ enough to survive become emotionally distraught civilians. Regardless of the age of the people entering war, unless one obtains the mental capacity to witness numerous deaths and stay unaffected, he or she is not equipped to enter war. Kurt Vonnegut portrays the horrors of war in Slaughterhouse Five, through the utilization of satire, symbolism, and imagery.

Kurt Vonnegut is able to put a man’s face on war in his short story, “All the King’s Horse ”, and he exemplifies that in a time of war, the most forgotten effect on nations is the amount of innocent lives lost in meaningless battle due to unjust rulers fighting each other against a nation’s will. As Americans, we are oblivious to the fact that we have people fighting every day for our country. In addition, we ignore the fact that we do a lot of collateral damage and hurt innocent people unintentionally in order to get what we want. Vonnegut shows the reader in Pi Ying’s own sadistic way of demonstrating how he feels about war brings attention to the point that war, while unruly and cruel, is nothing

reality”. WWII was certainly a crazy reality in which many people died to military training in friendly territory equally to actual combat. It was the first time in history that such a large nation was committing genocide on a whole culture, the jews, and unwanted people, invalids, mentally and physically handicapped, homosexuals, and other religions, with enslavement, experimentation, and gas chamber, which seemed like something out of a nightmare. Joseph Heller, author of Catch-22, simulates this monstrosity of a war into a cluster of unethical jokes. Yossarian is caught right in the middle of all this action as a captain of a bombardier crew in Pianosa, Italy. However, he does not have the American

John Yossarian is a bombardier in world war II that believes everyone is trying to kill him. His only goal is to stay alive and in doing so fakes an illness to avoid flying missions. The missions the men fly put all of their lives in jeopardy time and time again and as the novel progresses we find that the purpose for the missions is to take good aerial of the explosions. Yossarian is haunted by the memory of his snowden who died in yossarians arms. Yossarians squadron gets bombed by the mess hall officer and his men are forced to participate in a deadly mission in order to make the commanding officers look good. Throughout the novel the term Catch 22 is used. It is a paradoxical law that uses circular reasoning to trap the characters in

War is often misinterpreted as an exciting occurrence filled with glory and acts of terrific heroism. In reality, it is brutal and serves as an effective simulation of hell. Timothy Findley's The Wars depicts an inhumane world where individuals are taken out of their elements and are forced to struggle to hold onto their humanity amidst the horrors. The lack of rules in war targets and destroys every aspect of what it means to be human. It heavily interferes with one's motivations, desires and purpose of living. The war also targets one's innocence and brings about suffering both physically and mentally.

Catch 22 is a story about the different personalities that can be involved in a war. Out of all the different archetypes, the three I’ve chosen are John Yossarian, Albert Tappman, and Milo Minderbinder, although, not in that order. The first character being analyzed is Yossarian, the unwilling hero of this book. Although the book labels Yossarian as the main character, he constantly tries to coward out of going to battle. The second character that will be described is Milo Minderbinder, the archetypical business person of Catch 22.He runs the camp mess hall and controls what everyone in the camp is buying, selling, and eating. Milo is constantly trying to control or manipulate the economies around him, and after he gets a large commission

The glorified act of war is often staged in historical literature by idolizing the soldiers who partake in the event. Soldiers are made to seem intrepid, ruthless and muscular, each with a ceaseless desire to fight valiantly for their countries. Timothy Findley and Kurt Vonnegut discard this typical hero archetype in their anti-war novels by portraying the soldiers who fight in the war as the men they are, not as the templates of heroes they are expected to fit, in furtherance of strengthening their anti-war stances. Findley and Vonnegut illustrate their protagonists as a tragic hero and an anti-hero, respectively, in order to juxtapose the atrocities of war with the flawed humanness of man and to challenge the stereotypical image of a

Catch-22 by Joseph Keller is a story set during the second half of World War II, revealing the lives of soldiers, the dilemmas of war and the paradoxes made to keep men in war by country leaders. The main character, John Yossarian is a US Air Force bombardier who has a strong desire to stay out of war, but unfortunately is unable to because of the standards set by the government, increasing the number of missions a soldier had to fly before he could leave. His squadron is stationed on the island of Pianosa, near the Mediterranean Sea. The main paradox was that if a man proved his insanity, he would have to fly his missions in order to prove his insanity, yet if he were sane, he would still stay in war and fly. Either way, all soldiers, sane or not, had to stay.

War is a serious topic that has been around for as long as anyone can remember. Heller’s novel, is a comedy about soldiers during WWII. Yet, when observed closely, these “comic” scenes are actually quite tragic just as most things related to war are.

War causes death, poverty, diseases, destruction, and many more devastating and unavoidable consequences. The government drafted men into military service, giving them no choice but to separate them from their daily lives, friends, and families. Soldiers fight in wars while putting their lives on the line and are only rewarded with physical or psychological injuries. Countries wage war against one another in order to resolve disputes and disagreements between them. Individuals, such as nurses, soldiers, and civilians undergo traumatic events when they are caught in the middle of a war. Although some may argue that war does not impact the self the most, based on the informational text, “War Escalates” by Paul Boye, the short story, “Where

War is a subject that is deeply imbedded in the culture of the United States; this country was founded because of it. The Americans that fight in war are often referred to as heroes and held at a higher social standard than regular civilians. But Chris Hedges has a bleaker view of war and veterans. In his article “War Is Betrayal,” he explains how war is just another way for the elite to prey on the poor and gullible. He argues that rich and powerful do not go into combat, but instead they create an enticing narrative, of honor, experience, and status, that lures weak onto the battlefield. These same people after return from war with mental health problems. While Hedges includes some appeal to credibility in his article, he mainly employs emotional appeals to make his claim.

Indeed, the soldiers are dehumanised to the point that they are considered property, “It certainly is not your leg! […]. That leg belongs to the U.S. government. It’s no different than a gear or a bed pan”. Yossarian is reduced to the equivalent of a “bedpan”, the lowest of the low, a humiliating comparison. Such an allusion to a vulgar object demonstrates the impersonality and callous inhumanity of war, where courage, bravery and humans themselves account for little. Yossarian here is illustrated as a mere production unit, a ‘worker’. Marxist critics argue that capitalism, which dominates US politics, turns peoples into things, it reifies them. In Marxist terms, such a capitalist mode of production generates a materialistic view of the world, in which ultimately all of us function as objects and become alienated from ourselves.

In this essay, I will discuss how Tim O’Brien’s works “The Things They Carried” and “If I Die in a Combat Zone” reveal the individual human stories that are lost in war. In “The Things They Carried” O’Brien reveals the war stories of Alpha Company and shows how human each soldier is. In “If I Die in a Combat Zone” O’Brien tells his story with clarity, little of the dreamlike quality of “Things They Carried” is in this earlier work, which uses more blunt language that doesn’t hold back. In “If I Die” O’Brien reveals his own personal journey through war and what he experienced. O’Brien’s works prove a point that men, humans fight wars, not ideas. Phil Klay’s novel “Redeployment” is another novel that attempts to humanize soldiers in war. “Redeployment” is an anthology series, each chapter attempts to let us in the head of a new character – set in Afghanistan or in the United States – that is struggling with the current troubles of war. With the help of Phil Klay’s novel I will show how O’Brien’s works illustrate and highlight each story that make a war.

As long as there has been war, those involved have managed to get their story out. This can be a method of coping with choices made or a way to deal with atrocities that have been witnessed. It can also be a means of telling the story of war for those that may have a keen interest in it. Regardless of the reason, a few themes have been a reoccurrence throughout. In ‘A Long Way Gone,’ ‘Slaughterhouse-Five,’ and ‘Novel without a Name,’ three narrators take the readers through their memories of war and destruction ending in survival and revelation. The common revelation of these stories is one of regret. Each of these books begins with the main character as an innocent, patriotic soldier or civilian and ends in either the loss of innocence and regret of choices only to be compensated with as a dire warning to those that may read it. These books are in fact antiwar stories meant not to detest patriotism or pride for one’s country or way of life, but to detest the conditions that lead to one being so simpleminded to kill another for it. The firebombing of Dresden, the mass execution of innocent civilians in Sierra Leone and a generation of people lost to the gruesome and outlandish way of life of communism and Marxism should be enough to convince anyone. These stories serve as another perspective for the not-so-easily convinced.

Laughing in the face of war and death, literally, is one of the things that make the novel Catch-22 by Joseph Heller such an intriguing and original story. It was written in 1961, a time when, due to the fighting of the Second World War, all war novels were written with a dark and dreary tone, while still trying to continue the pre-conceived romantic notions about war. However, Joseph Heller strips away all of the romantic pretense, and pulling heavily on his own Air Force experience during WWII, presents war in its most raw, un-censored version. It takes away thoughts of being the amazing hero, and winning medals, and replaces them with the screwed up, bureaucratic way that we fight wars.