![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0kE4PiW-KfpIIh-Gn5QIsZR2xdq6SfTqWjf4hS3CgE-GcYE3szXZt77zmdu0kUhyphenhyphenKfhL-LHSNA8_nmpAnUgoqMl-QZ4yJQ0lSU46tq3-jx82u163bNSv5WfokN0bdCGspatYFXw/s320/36-standback.png)
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTTYHJ3n5Yfz8hicjW3QnVHL0_0eUVBMs02IXsDGE28sFvPHVruS9Qqy6acQ7uTs5UpnZ8J2_U3z5TmrgGbvbr4UQ-rBxIpX-pLrndNJ4jWJoVhuMwuhxwnMFIWLfhe1lQOBm9bQ/s320/32-mostareaverage.jpg)
'Catch-22' has passed into the language as a description of the impossible bind:
Yossarian looked at him soberly and tried another approach. 'Is Orr crazy?'
'He sure is,' Doc Daneeka said.
'Can you ground him?'
'I sure can. But first he has to ask me to. That's part of the rule.'
'Then why doesn't he ask you to?'
'Because he's crazy,' Doc Daneeka said. 'He has to be crazy to keep flying combat missions after all the close calls he's had. Sure, I can ground him. But first he has to ask me to.'
'That's all he has to do to be grounded?'
'That's all. Let him ask me.'
'And then you can ground him?' Yossarian asked.
'No. Then I can't ground him.'
'You mean there's a catch?'
'Sure there's a catch,' Doe Daneeka replied. 'Catch-22. Anyone who wants to get out of combat duty isn't really crazy.'
Orr is crazy, and can be grounded, but if he asks to be grounded he is sane--and he can only be grounded if he asks. Joseph Heller complained that the phrase 'a Catch-22 situation' was often used by people who did not seem to understand what it meant. Given the mental contortions of the catch, this is not surprising. He even described receiving a letter from a Finnish translator, which said (in Heller's paraphrase): 'I am translating your novel Catch-22 into Finnish. Would you please explain me one thing: What means Catch-22? I didn't find it in any vocabulary. Even assistant air attache of the USA here in Helsinki could not explain exactly.' Heller added: 'I suspect the book lost a great deal in its Finnish translation.'
There are no catches 1 to 21, or 23 onwards, in the book. 'There was only one catch and that was Catch-22.' Like the final commandment left at the end of Animal Farm, Catch-22 is an entire rule-book distilled into one lunatic decree. Its very uniqueness meant that Heller had to think carefully before naming, or numbering it. And his choice was--'Catch-18'.
In World War II Heller was a bombardier with the 12th Air Force, based on Corsica, and flew 60 missions over Italy and France. Yossarian in Catch-22 is a bombardier flying the same missions. Rotated home in 1945 and discharged as a First Lieutenant with an Air Medal with Five Oak Leaf Clusters, Heller took a degree at New York University, then an MA at Columbia, before working in New York as an advertising copy-writer.
In 1953 he began writing a book called Catch-18, the first chapter of which was published in the magazine New World Writing in 1955. When, three years later, he submitted the first large chunk of it to Simon & Schuster, it was quickly accepted for publication, and Heller worked on it steadily--all the time thinking of it as Catch-18--until its completion in 1961. Shortly before publication, however, the blockbuster novelist Leon Uris produced a novel entitled Mila 18 (also about the Second World War). It was thought advisable that Heller, the first-time novelist, should be the one to blink, and the title was changed. Heller said in an interview with Playboy in 1975: 'I was heartbroken. I thought 18 was the only number.' The first suggestion for a replacement was Catch-14, but Robert Gottlieb, Heller's editor, felt it didn't have the right ring. 'I thought 22 was a funnier number than 14', Gottlieb told the New York Times Review of Books in 1967. Heller took two weeks to persuade.
But the journey from 18 to 22, although tortuous, was worth making. The reason is this: 22 has a thematic significance that 18 or 14 do not.
The doubling of the digits emphasizes a major theme of the book: duplication and reduplication. When the book was first published, critics objected to its monotony and repetition. 'Heller's talent is impressive,' said Time magazine, 'but it is also undisciplined, sometimes luring him into bogs of boring repetition. Nearly every episode in Catch-22 is told and retold.'
This is true. In Catch-22 everything is doubled. Yossarian flies over the bridge at Ferrara twice, his food is poisoned twice, there is a chapter devoted to 'The Soldier Who Saw Everything Twice', the chaplain has the sensation of having experienced everything twice, Yossarian can name two things to be miserable about for every one to be thankful for, all Yossarian can say to the dying Snowden is 'There, there', all Snowden can say is 'I'm cold, I'm cold', Yossarian overhears a woman repeatedly begging 'please don't, please don't', and Major Major is actually Major Major Major Major. The critic JP Stern identified a pairing approach to the characters:
Most figures in Catch-22 are arranged in pairs; e.g., the medical orderlies Gus and Wes; the HR clerk Wintergreen and the Chaplain's orderly--both nasty characters; the two CID stooges; Major Major and Captain Flume--both persecuted; Generals Dreedle and Peckem--both harshly satirized; Snowden and Mudd--both dead; Piltchard and Wren--both enjoy combat missions; Aarfy and Black--men without feeling; Nately and Clevinger--upper-class college boys, both get killed; the nurses, Duckett and Kramer.
The mad pairing reaches its apotheosis in the catch itself. As the novel says: 'Yossarian saw it clearly in all its spinning reasonableness. There was an elliptical precision about its perfect pairs of parts that was raceful and shocking, like good modern art, and at times Yossarian wasn't quite sure that he saw it at all, just the way he was never quite sure about good modern art...'
Doubling is thus a stylistic device suggestive of the qualified nature of reality. Nothing is singular, unblurred or unambiguous. The title, with its doubled digits (2 representing duality, itself doubled to make 22) conveys this in a way that Catch-18 could not.
It seems clear therefore that what happened when Simon & Schuster found out about Leon Uris's book was a piece of great good luck.
I didn't go into the shed very often, because the whole point of it as far as Roald was concerned was that it was private, a sanctuary where he could work where no one interrupted him. The whole of the inside was organised as a place for writing: so the old wing-back chair had part of the back burrowed out to make it more comfortable; he had a sleeping bag that he put his legs in when it was cold and a footstool to rest them on; he had a very characteristic Roald arrangement for a writing table with a bar across the arms of the chair and a cardboard tube that altered the angle of the board on which he wrote. As he didn't want to move from his chair everything was within reach. He wrote on yellow legal paper with his favourite kind of pencils; he started off with a handful of them ready sharpened. He used to smoke and there is an ashtray with cigarette butts preserved to this day.
The table near to his right hand had all kinds of strange memorabilia on it, one of which was part of his own hip bone that had been removed; another was a ball of silver paper that he'd collected from bars of chocolate since he was a young man and it had gradually increased in size. There were various other things that had been sent to him by fans or schoolchildren.
On the wall were letters from schools, and photographs of his family. The three or four strips of paper behind his head were bookmarks, which I had drawn. He kept the curtains closed so that nothing from outside came in to interfere with the story that he was imagining. He went into the shed in the morning and wrote until lunchtime. He didn't write in the afternoon, but went back later to edit what he'd done after it had been typed out by his secretary.
He wrote in the shed as long as I knew him - we worked together for 15 years from 1975 to 1990 and I illustrated a dozen of his books. I would take my drawings down to Gipsy House for him to look at while sitting on the sofa in the dining room. I don't think he let anybody in the shed.
Not long before her death, Jane Austen described her writing as being done with a fine brush on a "little bit (not two inches wide) of ivory". Her novels are not miniatures, but she did work on a surface not so much bigger than those two imagined inches of ivory. This fragile 12-sided piece of walnut on a single tripod must be the smallest table ever used by a writer, and it is where she established herself as a writer after a long period of silence. Her early novels had been written upstairs in her father's Hampshire rectory, and remained unpublished when the family moved to Bath in 1800, where writing became almost impossible for her. Only in 1809, when she returned to Hampshire and settled in the cottage on the Chawton estate of her brother Edward, could she devote herself to her work again.
Chawton Cottage was a household of ladies - Mrs Austen, her daughters and their friend Martha Lloyd - all taking part in the work of the house and garden. But Jane was allowed private time. Having no room of her own, she established herself near the little-used front door, and here "she wrote upon small sheets of paper which could easily be put away, or covered with a piece of blotting paper". A creaking swing door gave her warning when anyone was coming, and she refused to have the creak remedied.
From this table the revised manuscripts of Sense and Sensibility and Pride and Prejudice went to London to be published in 1811 and 1813. From this table too came Mansfield Park, Emma and Persuasion. Here she noted down the encouraging comments of neighbours - Mrs Bramston of Oakley Hall, who thought S&S and P&P "downright nonsense", and "dear Mrs Digweed" who volunteered that "if she had not known the author, she could hardly have got through Emma".
Austen died in 1817, and after Cassandra's death in 1845 the table was given to a manservant. Today, back in its old home, it speaks to every visitor of the modesty of genius.
His name, thus, is Baggins, and he lives in Bag End. This latter name had personal and homely associations for Tolkien (see Biography, p.180). But it is also a literal translation of the phrase one sees often yet stuck up at the end of the little English roads: cul-de-sac. Cul-de-sacs are at once funny and infuriating. They belong to no language, since the French call such a thing an impasse and the English a 'dead-end.' The word (cul-de-sac) has its origins in snobbery, the faint residual feeling that English words, ever since the Norman Conquest, have been 'low' and that French ones, or even Frenchified ones, would be better. Cul-de-sac is accordingly a peculiarly ridiculous piece of English class-feeling--and Bag End a defiantly English reaction to it.
- Shippey, The Road to Middle-earth, p. 71.
two big helpings of Ado's pancit (the best pancit ever!)
two chunks of puto with red egg
three big helpings of Amber's pancit Malabon
countless Belgian chocolate biscuits
a huge slice of rhum cake
McDonald's Double Cheeseburger meal with twister fries and Coke Light float
1/4 of a McDonald's BigMac (while I was eating my Double Cheeseburger)
one big single bowl of Mongolian food
Hungarian sausage with egg and cheese sandwich
more pancit guisado with kakanin (our office had a slew of birthday celebrations this week)
another Hungarian sausage with egg and cheese sandwich + grande cup of cold milk from Starbucks
ground beef burrito with extra sidings of nachos and salsa from Mexicali
Cheetos!
beef siomai
Korean beef with rice
countless helpings of Ruffles potato chips, that sinful Oishi chocolate sponge snack, more potato chips and some chocolate chip cookies during poker with friends