Rick Onanian <
[email protected]> wrote in message news:<
[email protected]>...
> On 6 Feb 2004 15:20:42 -0800,
[email protected] (Carl Fogel) wrote:
> >My only practical experience is a rigid touring bike banging over four speed humps (eight-foot
> >wide humps, not bumps) at 20-30 mph daily on the
>
> Speed humps are smooth and are just small hills. You climb them and then descend them. They do not
> force the bike in a complete vertical direction.
>
> >I pull up a bit and unweight a little as I hit them, mimicking suspension, but have yet to see
> >any noticeable change in speed--the effect must
>
> There will be no more effect than doing the same when the grade changes as you crest a hill.
>
> <snip horney wife and oblivious idiot with wrong priorities>
> >. . . And all week long he chortled with repressed delight at the officers'club. Speculation grew
> > rampant among his closest friends.
> >
> >"I wonder what that Shithead is up to," Lieutenant Engle said.
> >
> >--Catch-22, Chapter Eight
>
> I have this book. In fact, I can see it from where I'm sitting. It was suggested by a friend a
> long time ago; I bought it in a hurry on my way out to vacation, then a brief evaluation told me
> it wasn't a book I'd have bought normally. I didn't read it.
>
> Maybe I should.
Dear Rick,
At 20 mph and more, there seems to be a considerable and violent elevation hitting the front side of
these wide speed humps and a distinct bump down the other.
Who cares about bicycles? Let's talk lit.
If you read "Catch-22," don't despair at the bewildering apparent chaos of the flash-forwards, flash-
backs, and flash-sideways that Heller used. The whole point is that it's supposed to be chaos, with
whole chapters named for characters who do not appear in them. That's how Heller saw the war.
It helps to realize that no matter where Heller's jumbled writing starts out, it always leads back
to the same central incident that changed Yossarian from someone who was brave enough to go around
twice to bomb the target into someone who's now brave enough not to go over it even once.
This central incident, the turning point for Yossarian, is the mission over Avignon, where Snowden
died in the back of the bomber and revealed a secret.
Every time Heller's tangled mess (you can't call it a plot) returns to Snowden dying in the back of
the plane, we learn a little more about how Snowden died. Technically, Heller is just a confused
chronology to delay the turning point of the plot far past the middle of the story, which is where
it normally comes in chronological plots.
(In Shakespeare's 5-act tragedies, the main character screws up big-time in act 3--the turning point--
and dooms himself. Heller just puts the turning point scene off by not telling things in order,
saving it until nearly the end of the book. This may add suspense, but it's contrived and
confusing.)
"Catch-22" is worth reading, but it's a novel by someone who flew combat missions and couldn't make
death moving. If you're not careful, you may not notice that almost everyone dies--which, like the
chaos, was Heller's point about how he saw the war.
The trouble is that while Heller's point may be good, the deaths of characters who are little more
than a rank, a last name, and a comic tic are not moving. They're characters, not people. Heller
couldn't bring himself to kill anyone who turned into a person in the book.
You might enjoy Leon Uris's straightforward first novel, "Battle Cry," far more. Uris wrote about
people rather than cardboard stereotypes, so a simple list of names at the end is far more moving
than anything Heller ever wrote.
Hmmm . . . better re-read both now.
Carl Fogel