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God in vain, it is the occasion for the remark that "There is no God." |
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Appropriately, this theological discussion is preceded and introduced by another argument between Clevinger and Yossarian over, again, "Why me?," but this time placed in a discussion of rationality and superstition. We are to understand, however, that neither side is "right" in terms of the novel: Clevinger, the rationalist, is to die; and Yossarian's "knocking on wood" and ''crossing his fingers" are thwarted by the ending of the rain. |
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The language games, seen earlier, are being used here in Yossarian's question-begging response, "It doesn't make a damned bit of difference who wins the war to someone who's dead." The response evades the issue of what difference it might make to the same man while living (and also assumes death to be a state of unconsciousness). In other words, both rationality and superstition are seen here to be alternative responses to fear of the end of one's existence. |
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These alternatives dispensed with, we are ready to see Hungry Joe's dream of suffocation as a metaphor for the human condition. The dream is, we note, irrepressible; and its being framed by the drunk scene and the "duel" between Joe and the cat is understandable – that is, it is understandable why these men, like those in M* A* S* H, are "avid for any diversion." |
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Beginning, as it does, immediately subsequent to the closing event of the last chapter, and moving to different times – those of the episode in Rome, the scene of Milo and the egg, and the raid on Ferrara – this chapter offers a good example of the disjointed time operating in the novel. Far from being simply a stylistic device, this disjuncture is here representative of the disjointed lives of the men themselves, lives held, as described here, in the "dilemma of duty and damnation." |
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Again, Major — de Coverly provides a perspective on what follows, setting up a contrast between his effect on his world and the ineffectuality of the others. The Jehovan metaphor seen earlier is continued here as we find him described as "eternally indestructible" and as "a Colossus." This metaphor is deepened by the fact that his loss of one eye is attributed to a man described as being "like Satan himself." Note that, like God, Major — de Coverly rules by fiat: he calls Milo the mess officer and, presto, Milo is the mess officer. |
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And, again too, the chapter takes up the theme of reality and appearance in its discussion of the motives behind Yossarian's medal and promotion. In depicting Col. Korn's reasoning, "to act boastfully about something we ought to be ashamed of," as the basest kind of motivation, the novel satirizes our concern for appearances. And this satire is heightened by contrast with Yossarian's real sense of guilt for having "killed |
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