I Can See Clearly Now Essay

Flannery OConner argued that Distortion is the provided behavior to make people sympathize. This famous demesnement is initially contrary and incongruous, but in Joseph the Tempters Catch-22 it is easy to see the virtue of this paradox. The pages of Catch-22 ar pathd with overrefinement and each lesson provides for a new kind of clarity. Catch-22 is merely a state of war story illustrated by ridiculous behavior and illogical arguments and told in a flatly satirical tone. though the rule book never states outright that matters ar funny, the proofreader is always certified of how outrageously bizarre the characters and situations argon.Heller uses out of eon narration, a confused differention in the midst of appearance and ingenuousness, and the irrationally logical paranoia of characters to nominate his corrupt force world. Distortion is bring initiatory in the in truth brass section of the novel. Many reddents argon out of period and Heller discusses t ake downts as if readers were already aw atomic number 18 of their details, though merely mentioning them for the first time. a great deal quantify Heller references events multiple times ahead one ever reads well-nigh it in its entirety. For example, the finish of Snowden is slow explained throughout the book.The death is first referred to previous(predicate) on in chapter four when Yossarian asks, Where are the Snowdens(Heller 35) at an educational meeting. This indecision is asked without scene and the reader is unsure of what a Snowden is, let alone how it died. By creating this dialogue without context, Heller leaves readers to question the seemly incoherent question and the idea of Snowdens is planted in their brains. The death is mentioned in chapters five and seventeen and though more information is provided each time, the reader does non broad(a)y understand what took behind until chapter 30 when the details and context of Snowdens death are given.At first, this way of structural organization creates some wateriness for readers but as they continue on a greater focus and accord of an event such(prenominal)(prenominal) as Snowdens death is found. Snowdens death is an fantastically critical event for Yossarian because he not only loses his friend in the aeroplane he loses his will to fight. With Snowden lying asleep(predicate) in his arms, the truth of war becomes even more frightening and real and Yossarian becomes authentically paranoid. Without the focus that the scattered and repeated storyline of Snowden provides, one may not perplex been able to grasp its true stigmaifi fagce. a good deal times Catch-22 is characterized by a very loose grip on reality. The line between what is apparent and what is real is continually indistinguishable, even to readers. One aspect that contributes greatly to this effect is the distortion of justice and the military technicalities. In the military world created by Heller, what is written on paper is what is true, even if it can be defied by reality. throughout much(prenominal) of the book, Yossarian is found complaining that in that respect is a dead man(24) in his tent.When the concept of the dead man is first introduced, the readers are led to believe that at that place is an actual dead soldier sit down in Yossarians tent, which the military refuses to remove. However, by and by clarification shows that is not the case at all, but rather, after setting his baggage down, the soldier was killed in the air before he even got the chance to sign in. The grim irony of the situation is that check to the appearance based logic of the military, it is as if the man was never there at all, and his things can therefore not be functioned.Another example of such kinky reality is found in McWatts plane crash. Doc Daneeka had lied nigh flying with McWatt, due to his fear of flying, but the documents had it that Daneeka died in the plane crash (338). Everyone can visibly see that Doc Daneeka is alive, in the flesh, and yet he is reported as killed in action(344), and Daneeka is treated wish he is dead for the remainder of the novel. The reality of the military has been so contorted that they are more willing to accept the truth they read than the truth they can see.This disarray between appearance and reality demonstrates the deteriorated state of the military government and forces readers to give a greater attention to the details of such storyline. A third kind of distortion are the irrational and paranoid statements and musical themes of the books protagonist, Yossarian. Though Yossarian likely entered the multitude a sane man, he apparently loses his grip on reality as he watches his friends die in the war surrounding him. Yossarian is often referred to as kooky(20) and yet there is irony in the fact that every paranoid thought he has is true.Yossarian has a sole refinement through the duration of the book staying alive. He goes up into the sky a nd finds airplanes shooting at him from all directions, and so he goes as far as to see himself as a potential murder victim. Theyre severe to kill me(16), he argues to a fellow cadet. Though the other cadet insists that they are simply partaking in a war, Yossarians paranoia illustrates a sky full of strangers who want him dead. Though Yossarians thoughts are irrational, they also prove to be moderately reasonable. The truth is, every time Yossarian goes on a mission his life is in grave danger, and people are trying to kill him.Though his thought process is distorted by fear, this fear is in turn what proves his sanity. Catch-22 is not a book that can be rightfully summarized. It is not the remarkability of the plot but rather the distinct form of literary distortion that makes it such a classic. This novel illustrates the corruption of wartime and a particular squadron, but in end, it illustrates much more then that. The book uses often-comic distortions of structure, reality, and thought to give readers a profound virtuoso of universal flaws and truths.