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American Pie (song)
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"American Pie"
Picture sleeve for U.S. vinyl single. Artwork is also used as the front cover for the album of the same name and many other international releases of the single.
Single by Don McLean
from the album American Pie
B-side
"Empty Chairs" (promo)
"American Pie part 2" (first release)
Released
November 1971 (original)
November 1991 (re-release)
Format
Vinyl (original)
CD, cassette, vinyl (reissue)
Recorded
May 26, 1971
Genre
Folk rock
Length
8:33 (LP)
4:11 (single part 1)
4:31 (single part 2)
Label
United Artists
Songwriter(s)
Don McLean
Producer(s)
Ed Freeman for The Rainbow Collection, Ltd.
Don McLean singles chronology
"Castles in the Air"
(1971) "American Pie"
(1971) "Vincent"
(1972)
"Castles in the Air"
(1971) "American Pie"
(1971) "Vincent"
(1972)
Audio sample
file
help
"American Pie" is a song by American singer and songwriter Don McLean. Recorded and released on the American Pie album in 1971, the single was a number-one US hit for four weeks in 1972 and also topped the charts in Australia, Canada, and New Zealand. In the UK, the single reached No. 2 on its original 1972 release while a reissue in 1991 reached No. 12.[1] The song was listed as the No. 5 song on the RIAA project Songs of the Century. A truncated version of the song was covered by Madonna in 2000 and reached No. 1 in several countries, including the United Kingdom, Canada and Australia.
The repeatedly mentioned "day the music died" refers to the 1959 plane crash which killed early rock and roll performers Buddy Holly, The Big Bopper, and Ritchie Valens. (The crash was not known by that name until after McLean's song became a hit.) The meaning of the other lyrics has long been debated, and for decades, McLean declined to explain the symbolism behind the many characters and events mentioned. However, the overall theme of the song is the loss of innocence of the early rock and roll generation as symbolized by the plane crash which claimed the lives of three of its heroes.[2]
In 2017, McLean's original recording was selected for preservation in the National Recording Registry by the Library of Congress as being "culturally, historically, or artistically significant".[3]
Contents
[hide]
1 Background
1.1 Interpretations
2 Personnel
3 Charts
3.1 Weekly charts
3.2 Year-end charts
4 Parodies, revisions, and uses
5 Madonna version
5.1 Background
5.2 Reception
5.3 Music video
5.4 Credits and personnel
5.5 Charts
5.5.1 Weekly charts
5.5.2 Year-end charts
5.6 Certifications
6 References
7 Further reading
8 External links
Background[edit]
While it has been claimed that Don McLean began writing the song in upstate Saratoga Springs, New York, at Caffe Lena,[4] a 2011 New York Times article quotes Don McLean as disputing this claim.[5] Some employees at Caffe Lena claim that he started writing the song there, and then continued to write the song in both Cold Spring, New York,[6] and Philadelphia, Pennsylvania.[7] McLean claims that the song was only written in Cold Spring and Philadelphia.[5] Tin & Lint, a bar on Caroline Street in Saratoga Springs, claims the song was written there, and a plaque marks the table. While some have said that other places, such as Saint Joseph's University, were where the song was first performed,[8] McLean insists that the song made its debut in Philadelphia at Temple University[5] when he opened for Laura Nyro on March 14, 1971.[7]
Interpretations[edit]
Except to acknowledge that he first learned about Buddy Holly's death on February 3, 1959—McLean was age 13—when he was folding newspapers for his paper route on the morning of February 4, 1959 (the line "February made me shiver/with every paper I'd deliver"), McLean has generally avoided responding to direct questions about the song's lyrics; he has said: "They're beyond analysis. They're poetry."[4][9] He also stated in an editorial published in 2009, on the 50th anniversary of the crash that killed Holly, Ritchie Valens, and J. P. "The Big Bopper" Richardson, that writing the first verse of the song exorcised his long-running grief over Holly's death and that he considers the song to be "a big song (…) that summed up the world known as America".[10] McLean dedicated the American Pie album to Holly.
It was also speculated that the song contains numerous references to post-World War II American events (such as the murders of civil rights workers Chaney, Goodman, and Schwerner),[11] and elements of culture, including 1960s culture (e.g. sock hops, cruising, Bob Dylan,[12] The Beatles, Charles Manson, and much more).[13][14][15]
When asked what "American Pie" meant, McLean jokingly replied, "It means I don't ever have to work again if I don't want to."[16] Later, he stated, "You will find many interpretations of my lyrics but none of them by me ... Sorry to leave you all on your own like this but long ago I realized that songwriters should make their statements and move on, maintaining a dignified silence."[17] He also commented on the popularity of his music, "I didn't write songs that were just catchy, but with a point of view, or songs about the environment."[18]
In February 2015, McLean announced he would reveal the meaning of the lyrics to the song when the original manuscript went for auction in New York City, in April 2015.[19] The lyrics and notes were auctioned on April 7, and sold for $1.2 million.[20] In the sale catalogue notes, McLean revealed the meaning in the song's lyrics: "Basically in American Pie things are heading in the wrong direction. ... It [life] is becoming less idyllic. I don't know whether you consider that wrong or right but it is a morality song in a sense."[21] The catalogue confirmed some of the better known references in the song's lyrics, including mentions of Elvis Presley ("the king") and Bob Dylan ("the jester"), and confirmed that the song culminates with a near-verbatim description of the death of Meredith Hunter at the Altamont Free Concert, ten years after the plane crash that killed Holly, Valens, and Richardson.[21]
Mike Mills of R.E.M. reflected: "American Pie just made perfect sense to me as a song and that’s what impressed me the most. I could say to people this is how to write songs. When you’ve written at least three songs that can be considered classic that is a very high batting average and if one of those songs happens to be something that a great many people think is one of the greatest songs ever written you’ve not only hit the top of the mountain but you’ve stayed high on the mountain for a long time.”[22]
In 2017, Bob Dylan was asked about how he was referenced in the song. "A jester? Sure, the jester writes songs like 'Masters of War,' 'A Hard Rain’s a-Gonna Fall,' 'It’s Alright, Ma' – some jester. I have to think he’s talking about somebody else. Ask him."[23]
Personnel[edit]
Don McLean – vocals, acoustic guitar, banjo
Ray Colcord – electric piano
Tom Flye – engineering
Ed Freeman – string arrangements
Paul Griffin – piano, he gives an influential performance, playing a virtuoso gospel piano on the original single.[24][25]
Lee Hays – arranger
Mike Mainieri – marimba, vibraphone
Roy Markowitz – drums, percussion
Gene Orloff – concertmaster
Bob Rothstein – bass, vocals
David Spinozza – electric guitar
West Forty Fourth Street Rhythm and Noise Choir – chorus
Charts[edit]
Weekly charts[edit]
Chart (1971–1972)
Peak
position
Australia (Kent Music Report)[26]
1
Belgium (Ultratop 50 Flanders)[27]
26
Canadian RPM Top Singles
1
Canadian RPM Adult Contemporary
1
Germany (Official German Charts)[28]
9
Ireland (IRMA)[29]
7
New Zealand Singles Chart
1
Norway (VG-lista)[30]
9
UK Singles (Official Charts Company)[31]
2
US Billboard Hot 100[32]
1
US Adult Contemporary (Billboard)[33]
1
Year-end charts[edit]
Chart (1972)
Position
Australia (Kent Music Report)[26]
4
UK Singles (Official Charts Company)[34]
11
US Billboard Hot 100[35]
3
Parodies, revisions, and uses[edit]
In 1999, "Weird Al" Yankovic wrote and recorded a parody of "American Pie".[36] Titled "The Saga Begins", the song recounts the plot of Star Wars: Episode I – The Phantom Menace from Obi-Wan Kenobi's point of view. While McLean gave permission for the parody, he did not make a cameo appearance in its video, despite popular rumor. McLean himself praised the parody, even admitting to almost singing Yankovic's lyrics during his own live performances because his children played the song so often.[37][38]
The City of Grand Rapids, Michigan created a lip dub video to "American Pie" in response to a Newsweek article that stated the city was "dying".[39] The video was hailed as a fantastic performance by many including Roger Ebert, who said it was "the greatest music video ever made."[40]
On March 21, 2013, Harmonix announced that "American Pie" would be the final downloadable track made available for the Rock Band series of music video games.[41]
On March 14, 2015, the National Museum of Mathematics announced that one of two winners of its songwriting contest was "American Pi" by mathematics education professor Dr. Lawrence M. Lesser.[42] The contest was in honor of "Pi Day of the Century" because "3/14/15" would be the only day in the 21st-century showing the first five digits of π (pi).
Madonna version[edit]
"American Pie"
Single by Madonna
from the album The Next Best Thing (Music from the Motion Picture)
Released
March 3, 2000
Format
CD single
Recorded
September 1999
(New York City, New York)[43]
Genre
Dance-pop
Length
4:33
Label
Maverick
Warner Bros.
Songwriter(s)
Don McLean
Producer(s)
Madonna
William Orbit
Madonna singles chronology
"Beautiful Stranger"
(1999) "American Pie"
(2000) "Music"
(2000)
"Beautiful Stranger"
(1999) "American Pie"
(2000) "Music"
(2000)
Background[edit]
American singer Madonna released a cover version of the song in March 2000 to promote the soundtrack of her film The Next Best Thing (2000), with the song being serviced to radio on February 2.[44] Her cover is much shorter than the original (it contains only the beginning of the first verse and all of the second and sixth verses) and was recorded as a dance-pop song. It was co-produced by Madonna and William Orbit and released on the singer's Maverick label, after Rupert Everett (Madonna's co-star in The Next Best Thing) had convinced her to cover the song for the film's soundtrack.[45][46]
Reception[edit]
Released in March 2000, the song was a worldwide hit, reaching No. 1 in many countries, including the United Kingdom, Canada, Australia, Italy, Germany (her first since "La Isla Bonita", in 1987), Switzerland, Austria, and Finland. The song was the 19th best selling of 2000 in the UK and the 9th best selling of 2000 in Italy. The single was not released commercially in the United States, but it reached No. 29 on the Billboard Hot 100 due to strong radio airplay.
NME gave it a negative review, saying that it was "sub-karaoke fluff" and that "it's a blessing she didn't bother recording the whole thing."[47] Chuck Taylor from Billboard, on the other hand, was impressed by the recording and commented, "Applause to Madonna for not pandering to today's temporary trends and for challenging programmers to broaden their playlists. [...] In all, a fine preview of the forthcoming soundtrack to The Next Best Thing."[48] Don McLean himself praised the cover, saying it was "a gift from a goddess", and that her version is "mystical and sensual."[49] He also jokingly said, "It means that if I don't want to, I don't have to work again."[50] According to The Official Charts Company, the song has sold 385,000 copies in the United Kingdom and is her 16th best selling single to date in the UK.[51]
Music video[edit]
Madonna in the "American Pie" music video. In the scene Madonna, who is wearing a tiara, is standing while an American flag can be seen behind her.
The music video, filmed in the Southern USA and in London[52] and directed by Philipp Stölzl, depicts a diverse array of ordinary Americans, including scenes showing same-sex couples kissing. Throughout the music video Madonna, who is wearing a tiara on her head, dances and sings in front of a large American flag.
Two official versions of the video were produced, the first of which now appears on Madonna's greatest-hits DVD compilation, Celebration, and was released as the official video worldwide. The second version was issued along with the "Humpty Remix", a more upbeat and dance-friendly version of the song. This video was aired on MTV's dance channel in the United States to promote the film The Next Best Thing, starring Madonna and Rupert Everett; it contains totally different footage and new outtakes of the original and omits the lesbian kiss. Everett, who provides backing vocals in the song, is also featured in the video.
Credits and personnel[edit]
Madonna – vocals, producer
William Orbit – producer, guitars, drums and keyboards
Don McLean – writer
Mark "Spike" Stent – mixing
Rupert Everett – backup vocals
Mark Endert – engineering
Sean Spuehler – engineering, programming
Jake Davies – engineering
Rico Conning – sequencer programming
Dah Len – photography
Credits and personnel adapted from American Pie single liner notes.[53]
Charts[edit]
Weekly charts[edit]
{{single chart|Ireland|Irish Recorded Music Association|2|artist=Madonna|song=American Pie|rowheader=true|accessdate=December 20, 2016|refname="ira"
Chart (2000)
Peak
position
Australia (ARIA)[54]
1
Austria (Ö3 Austria Top 40)[55]
3
Belgium (Ultratop 50 Flanders)[56]
6
Belgium (Ultratop 50 Wallonia)[57]
7
Canadian Singles (Nielsen)[58]
1
European Hot 100 Singles[59]
1
Finland (Suomen virallinen lista)[60]
1
France (SNEP)[61]
8
Germany (Official German Charts)[62]
1
Italy (FIMI)[63]
1
Netherlands (Dutch Top 40)[64]
4
Netherlands (Single Top 100)[65]
6
New Zealand (Recorded Music NZ)[66]
4
Norway (VG-lista)[67]
1
Romania (Romanian Top 100)[68]
1
Scotland (Official Charts Company)[69]
1
Spain (PROMUSICAE)[70]
1
Sweden (Sverigetopplistan)[71]
1
Switzerland (Schweizer Hitparade)[72]
1
UK Singles (Official Charts Company)[73]
1
US Billboard Hot 100[74]
29
US Adult Contemporary (Billboard)[75]
21
US Adult Top 40 (Billboard)[76]
20
US Dance Club Songs (Billboard)[77]
1
US Mainstream Top 40 (Billboard)[78]
16
Year-end charts[edit]
Chart (2000)
Position
Australia (ARIA)[79]
66
Austria (Ö3 Austria Top 40)[80]
32
Belgium (Ultratop 50 Flanders)[81]
46
Belgium (Ultratop 50 Wallonia)[82]
44
France (SNEP)[83]
44
Germany (Official German Charts)[84]
16
Italy (FIMI)[85]
9
Netherlands (Single Top 100)[86]
46
Romania (Romanian Top 100)[68]
50
Sweden (Sverigetopplistan)[87]
9
Switzerland (Schweizer Hitparade)[88]
11
UK Singles (Official Charts Company)
19
Certifications[edit]
Region
Certification
Certified units/Sales
Australia (ARIA)[89]
Gold 35,000^
Austria (IFPI Austria)[90]
Gold 25,000*
France (SNEP)[91]
Silver 125,000*
Sweden (GLF)[92]
Platinum 30,000^
Switzerland (IFPI Switzerland)[93]
Platinum 50,000^
United Kingdom (BPI)[94]
Gold 400,000^
*sales figures based on certification alone
^shipments figures based on certification alone
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Further reading[edit]
Adams, Cecil (May 15, 1993). "What is Don McLean's song "American Pie" all about?". The Straight Dope. Chicago Reader, Inc. Retrieved June 8, 2009. An interpretation of the lyrics based on a supposed interview of McLean by DJ Casey Kasem. McLean later confirmed the Buddy Holly reference in a letter to Adams but denied ever speaking to Kasem.
Roteman, Jeff (August 10, 2002). "Bob Dearborn's Original Analysis of Don McLean's 1971 Classic 'American Pie'". This article correlates McLean's biography with the historic events in the song. McLean pointed to WCFL (Chicago, Illinois) radio disc jockey Bob Dearborn as the partial basis for most mainstream interpretations of "American Pie". Dearborn's analysis, mailed to listeners on request, bears the date January 7, 1972. Roteman's reprinting added photos but replaced the date January 7, 1972, by an audio link bearing the date February 28, 1972, the date Dearborn aired his interpretation on WCFL (http://user.pa.net/~ejjeff/bobpie.ram (Bob Dearborn's American Pie Analysis original broadcast February 28, 1972))
Fann, Jim. "Understanding American Pie". Archived from the original on September 6, 2003. Historically oriented interpretation of "American Pie". The interpretation was specifically noted on in an archived version of McLean's website page on "American Pie".[1] The material, dated November 2002, includes a recording of Dinah Shore singing "See The USA In Your Chevrolet" and a photograph of Mick Jagger in costume at the Altamont Free Concert with a Hells Angel member in the background.
Full "See the USA in Your Chevrolet" lyrics for Dinah Shore on "The Dinah Shore Chevy Show" (1956–1961)
Kulawiec, Rich (August 26, 2001). "FAQ: The Annotated 'American Pie'". Archived from the original on April 19, 2003. Retrieved September 19, 2007. FAQ maintained by Rich Kulawiec, started in 1992 and essentially completed in 1997.
"American Pie—A Rock Epic" A multi-media presentation of Rich Kulawiec's The Annotated "American Pie".
Levitt, Saul (May 26, 1971). "Interpretation of American Pie – analysis, news, Don McLean, Buddy Holly, Ritchie Valens, Rock & Roll". Missamericanpie.co.uk. Retrieved May 20, 2010.
External links[edit]
The Official Website of Don McLean and American Pie provides the songwriter's own biography, lyrics and clues to the song's meaning.
Lyrics of this song at MetroLyrics
Preceded by
"Brand New Key" by Melanie US Billboard Hot 100 number-one single (Don McLean version)
January 15, 1972 (four weeks) Succeeded by
"Let's Stay Together" by Al Green
Preceded by
"Cherish" by David Cassidy Billboard Easy Listening Singles number-one single (Don McLean version)
January 15, 1972 (three weeks) Succeeded by
"Hurting Each Other" by The Carpenters
Preceded by
"Brand New Key" by Melanie Australian Kent Music Report number-one single (Don McLean version)
March 6, 1972 (five weeks) Succeeded by
"Without You" by Nilsson
Preceded by
"Pure Shores" by All Saints UK Singles Chart number-one single (Madonna version)
March 5, 2000 – March 11, 2000 (one week) Succeeded by
"Don't Give Up" by Chicane featuring Bryan Adams
Preceded by
"My Heart Goes Boom (La Di Da Da)" by French Affair German Singles Chart number-one single (Madonna version)
March 10, 2000 (one week) Succeeded by
"Maria Maria" by Santana featuring The Product G&B
Preceded by
"Freestyler" by Bomfunk MC's Swedish Singles Chart number-one single (Madonna version)
March 23, 2000 (one week) Succeeded by
"Never Be the Same Again" by Melanie C featuring Lisa "Left Eye" Lopes
Preceded by
"Chase" by Giorgio Moroder vs. Jam & Spoon Billboard Hot Dance Club Play number-one single (Madonna version)
April 1, 2000 (one week) Succeeded by
"Think It Over" by Jennifer Holliday
[show]
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Catch-22
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Catch-22 (disambiguation).
Catch-22
First edition cover
Author
Joseph Heller
Cover artist
Paul Bacon[1]
Country
United States
Language
English
Genre
Black comedy
Absurdist fiction
Satire
War fiction
Historical fiction
Publisher
Simon & Schuster
Publication date
10 November 1961
Media type
Print (hardback)
Pages
453 (1st edition hardback)
ISBN
0-684-83339-5
OCLC
35231812
Dewey Decimal
813/.54 22
LC Class
PS3558.E476 C3 2004
Followed by
Closing Time (1994)
Catch-22 is a satirical novel by American author Joseph Heller. He began writing it in 1953; the novel was first published in 1961. Often cited as one of the most significant novels of the twentieth century,[2] it uses a distinctive non-chronological third-person omniscient narration, describing events from the points of view of different characters. The separate storylines are out of sequence so the timeline develops along with the plot.
The novel is set during World War II, from 1942 to 1944. It mainly follows the life of Captain John Yossarian, a U.S. Army Air Forces B-25 bombardier. Most of the events in the book occur while the fictional 256th Squadron is based on the island of Pianosa, in the Mediterranean Sea, west of Italy. The novel looks into the experiences of Yossarian and the other airmen in the camp, who attempt to maintain their sanity while fulfilling their service requirements so that they may return home.
Contents
[hide]
1 Synopsis
2 Style
3 Characters
4 Influences
5 Concept
6 Literary allusions
7 Historical context
8 Explanation of the novel's title
9 Publication and movie rights
10 Reception
11 Rankings
12 Adaptations
13 Selected releases
14 See also
15 References
16 External links
Synopsis[edit]
The development of the novel can be split into segments. The first (chapters 1–11) broadly follows the story fragmented between characters, but in a single chronological time in 1944. The second (chapters 12–20) flashes back to focus primarily on the "Great Big Siege of Bologna" before once again jumping to the chronological 'present' of 1944 in the third part (chapter 21–25). The fourth (chapters 26–28) flashes back to the origins and growth of Milo's syndicate, with the fifth part (chapter 28–32) returning again to the narrative present but keeping to the same tone of the previous four. The sixth and final part (chapter 32 on) remains in the story's present, but takes a much darker turn and spends the remaining chapters focusing on the serious and brutal nature of war and life in general.[3] Previously the reader had been cushioned from experiencing the full horror of events, but in the final section, the events are laid bare. The horror begins with the attack on the undefended Italian mountain village, with the following chapters involving despair (Doc Daneeka and the Chaplain), disappearance in combat (Orr and Clevinger), disappearance caused by the army (Dunbar) or death of most of Yossarian's friends (Nately, McWatt, Mudd, Kid Sampson, Dobbs, Chief White Halfoat and Hungry Joe), culminating in the unspeakable horrors of Chapter 39, in particular the rape and murder of Michaela, who represents pure innocence.[3] In Chapter 41 the full details of the gruesome death of Snowden are finally revealed. Despite this, the novel ends on an upbeat note with Yossarian learning of Orr's miraculous escape to Sweden and Yossarian's pledge to follow him there.
Style[edit]
Many events in the book are repeatedly described from differing points of view, so the reader learns more about each event from each iteration, with the new information often completing a joke, the setup of which was told several chapters previously. The narrative's events are out of sequence, but events are referred to as if the reader is already familiar with them so that the reader must ultimately piece together a timeline of events. Specific words, phrases, and questions are also repeated frequently, generally to comic effect.
Much of Heller's prose in Catch-22 is circular and repetitive, exemplifying in its form the structure of a Catch-22. Circular reasoning is widely used by some characters to justify their actions and opinions. Heller revels in paradox, for example: "The Texan turned out to be good-natured, generous and likable. In three days no one could stand him", and "The case against Clevinger was open and shut. The only thing missing was something to charge him with." This atmosphere of apparently logical irrationality pervades the book.
While a few characters are most prominent, notably Yossarian and the Chaplain, the majority of named characters are described in detail with fleshed out or multidimensional personas to the extent that there are few if any "minor characters."
Although its non-chronological structure may at first seem random, Catch 22 is highly structured. It is founded on a structure of free association, ideas run into one another through seemingly random connections. For example, Chapter 1 entitled "The Texan" ends with "everybody but the CID man, who had caught a cold from the fighter captain and come down with pneumonia."[4] Chapter 2, entitled "Clevinger", begins with "In a way, the CID man was pretty lucky because outside the hospital the war was still going on."[5] The CID man connects the two chapters like a free association bridge and eventually Chapter 2 flows from the CID man to Clevinger through more free association links.
Yossarian comes to fear his commanding officers more than he fears the Germans attempting to shoot him down and he feels that "they" are "out to get him." Chief among the reasons Yossarian fears his commanders more than the enemy is that as he flies more missions, Colonel Cathcart increases the number of required combat missions before a soldier may return home; he reaches the magic number only to have it retroactively raised. He comes to despair of ever getting home and is greatly relieved when he is sent to the hospital for a condition that is almost jaundice. In Yossarian's words:
The enemy is anybody who's going to get you killed, no matter which side he's on, and that includes Colonel Cathcart. And don't you forget that, because the longer you remember it, the longer you might live.[6]
While the military's enemies are Germans, none appear in the story as an enemy combatant. This ironic situation is epitomized in the single appearance of German personnel in the novel, who act as pilots employed by the squadron's Mess Officer, Milo Minderbinder, to bomb the American encampment on Pianosa. This predicament indicates a tension between traditional motives for violence and the modern economic machine, which seems to generate violence simply as another means to profit, quite independent of geographical or ideological constraints.[7] Heller emphasizes the danger of profit seeking by portraying Milo without "evil intent." Milo's actions are portrayed as the result of greed, not malice.[8]
Characters[edit]
Further information: List of Catch-22 characters
This section is empty. You can help by adding to it. (November 2016)
Influences[edit]
Heller wanted to be a writer from an early age. His experiences as a bombardier during World War II inspired Catch-22;[9] Heller later said that he "never had a bad officer." In a 1977 essay on Catch-22, Heller stated that the "antiwar and antigovernment feelings in the book" were a product of the Korean War and the 1950s rather than World War II itself. Heller's criticisms are not intended for World War II but for the Cold War and McCarthyism.[10]
The influence of the 1950s on Catch-22 is evident through Heller's extensive use of anachronism. Though the novel is ostensibly set in World War II, Heller intentionally included anachronisms like loyalty oaths and computers (IBM machines) to situate the novel in the context of the 1950s.[8] Many of the characters are based on or connected to individuals from the 1950s:
Milo Minderbinder's maxim "What's good for M&M Enterprises is good for the country" alludes to the former president of General Motors Charles Erwin Wilson's statement before the Senate "What's good for General Motors is good for the country."[8]
The question of "Who promoted Major Major?" alludes to Joseph McCarthy's questioning of the promotion of Major Peress, an army dentist who refused to sign loyalty oaths.[8]
Czech writer Arnošt Lustig recounts in his book 3x18 that Joseph Heller told him that he would never have written Catch-22 had he not first read The Good Soldier Švejk by Jaroslav Hašek.[11]
In 1998, some critics raised the possibility that Heller's book had questionable similarities to Louis Falstein's 1950 novel, Face of a Hero. Falstein never raised the issue between Catch-22's publication and his death in 1995 and Heller claimed never to have been aware of the obscure novel. Heller said that the novel had been influenced by Céline, Waugh and Nabokov. Many of the similarities have been stated to be attributable to the authors' experiences, both having served as U.S. Army Air Forces aircrew in Italy in World War II. However, their themes and styles are different.[12]
Concept[edit]
Strictly speaking, a "Catch-22" is "a problematic situation for which the only solution is denied by a circumstance inherent in the problem or by a rule."[13] For example, losing something is typically a conventional problem; to solve it, one looks for the lost item until one finds it. But if the thing lost is one's glasses, one cannot see to look for them — a Catch-22. The term "Catch-22" is also used more broadly to mean a tricky problem or a no-win or absurd situation.
In the book, Catch-22 is a military rule typifying bureaucratic operation and reasoning. The rule is not stated in a general form, but the principal example in the book fits the definition above: If one is crazy, one does not have to fly missions; and one must be crazy to fly. But one has to apply to be excused, and applying demonstrates that one is not crazy. As a result, one must continue flying, either not applying to be excused, or applying and being refused. The narrator explains:
There was only one catch and that was Catch-22, which specified that a concern for one's safety in the face of dangers that were real and immediate was the process of a rational mind. Orr was crazy and could be grounded. All he had to do was ask; and as soon as he did, he would no longer be crazy and would have to fly more missions. Orr would be crazy to fly more missions and sane if he didn't, but if he were sane he had to fly them. If he flew them he was crazy and didn't have to, but if he didn't want to he was sane and had to. Yossarian was moved very deeply by the absolute simplicity of this clause of Catch-22 and let out a respectful whistle. (p. 56, ch. 5)
Other forms of Catch-22 are invoked throughout the novel to justify various bureaucratic actions. At one point, victims of harassment by military police quote the MPs' explanation of one of Catch-22's provisions: "Catch-22 states that agents enforcing Catch-22 need not prove that Catch-22 actually contains whatever provision the accused violator is accused of violating." Another character explains: "Catch-22 says they have a right to do anything we can't stop them from doing."
Yossarian comes to realize that Catch-22 does not actually exist, but because the powers that be claim it does, and the world believes it does, it nevertheless has potent effects. Indeed, because it does not exist, there is no way it can be repealed, undone, overthrown, or denounced. The combination of force with specious and spurious legalistic justification is one of the book's primary motifs.
The motif of bureaucratic absurdity is further explored in 1994's Closing Time, Heller's sequel to Catch-22. This darker, slower-paced, apocalyptic novel explores the pre- and post-war lives of some of the major characters in Catch-22, with particular emphasis on the relationship between Yossarian and tail gunner Sammy Singer.
Literary allusions[edit]
Catch-22 contains allusions to many works of literature. Howard Jacobson, in his 2004 introduction to the Vintage Classics publication, wrote that the novel was "positioned teasingly ... between literature and literature's opposites – between Shakespeare and Rabelais and Dickens and Dostoevsky and Gogol and Céline and the Absurdists and of course Kafka on the one hand, and on the other vaudeville and slapstick and Bilko and Abbott and Costello and Tom and Jerry and the Goons (if Heller had ever heard of the Goons)."[14] One critic argues that it is Kafka's influence that can be seen most strongly in the novel: "Like Kafka's heroes, Yossarian is riddled with anxiety and caught in an inexorable nightmare – in his case created by Colonel Cathcart and the inevitability of his raising the number of missions he has to fly."[15]
Historical context[edit]
The idea for Catch-22 was based on Joseph Heller's personal experience in World War II. The feelings that Yossarian and the other bomber pilots felt were taken directly from problems he suffered while on duty. Heller flew 60 bombing missions from May to October in 1944. Heller was able to make it out of the war, but it took until 1953 before he could start writing about it. The war experience turned Heller into a "tortured, funny, deeply peculiar human being".[16]
After publication in 1961, Catch-22 became very popular among teenagers at the time. Catch-22 seemed to embody the feelings that young people had toward the Vietnam War. A common joke was that every student who went off to college at the time took along a copy of Catch-22. The popularity of the book created a cult following, which led to more than eight million copies being sold in the United States. On October 26, 1986, professor and author John W. Aldridge wrote a piece in the New York Times celebrating the 25th anniversary of the publishing of "Catch-22". He commented that Heller's book presaged the chaos in the world that was to come:
"The comic fable that ends in horror has become more and more clearly a reflection of the altogether uncomic and horrifying realities of the world in which we live and hope to survive."[17]
Explanation of the novel's title[edit]
The title is a reference to a fictional bureaucratic stipulation which embodies forms of illogical and immoral reasoning.[7] The opening chapter of the novel was originally published in New World Writing as Catch-18 in 1955, but Heller's agent, Candida Donadio, requested that he change the title of the novel, so it would not be confused with another recently published World War II novel, Leon Uris's Mila 18.[18] The number 18 has special meaning in Judaism (it means Alive in Gematria; see Chai) and was relevant to early drafts of the novel which had a somewhat greater Jewish emphasis.[19]
The title Catch-11 was suggested, with the duplicated 1 paralleling the repetition found in a number of character exchanges in the novel, but because of the release of the 1960 movie Ocean's Eleven, this was also rejected.[18] Catch-17 was rejected so as not to be confused with the World War II film Stalag 17, as was Catch-14, apparently because the publisher did not feel that 14 was a "funny number." Eventually, the title came to be Catch-22, which, like 11, has a duplicated digit, with the 2 also referring to a number of déjà vu-like events common in the novel.[19]
Publication and movie rights[edit]
Catch-22 was sold to Simon & Schuster, where it had been championed by editor Robert Gottlieb, who along with Nina Bourne, would edit and oversee the marketing of the book.[18] Gottlieb was a strong advocate for the title along with Peter Schwed and Justin Kaplan. Henry Simon, a vice-president at Simon & Schuster, found it repetitive and offensive.[18] The editorial board decided to contract the book when Heller agreed to revisions—he signed for $1,500.[18]
Officially published on 10 October 1961, the hardcover sold for $5.95. The book was not a best-seller in hardcover in the United States. Though it sold 12,000 copies by Thanksgiving, it never entered the New York Times Bestseller List. Catch-22 received good notices and was nominated for the National Book Award in March 1962. (Heller lost out to Walker Percy's The Moviegoer.) It went through four printings in hardcover, but only sold well on the East Coast. The book never established itself nationally until it was published in paperback for 75 cents.[20]:224–230
Upon publication in Great Britain, the book became the #1 best-seller.[20]:233 Don Fine of Dell Paperbacks bought the paperback reprint rights to Catch-22 for $32,000. Between the paperback's release in September 1962 and April 1963, it sold 1.1 million copies.[20]:238–240 In August 1962, Donadio brokered the sale of movie rights to Columbia Pictures for $100,000 plus $25,000 to write a treatment or a first draft of a screenplay.[20]:234
Reception[edit]
The initial reviews of the book ranged from very positive to very negative. There were positive reviews from The Nation ("the best novel to come out in years"), the New York Herald Tribune ("A wild, moving, shocking, hilarious, raging, exhilarating, giant roller-coaster of a book") and The New York Times ("A dazzling performance that will outrage nearly as many readers as it delights"). On the other hand, The New Yorker ("doesn't even seem to be written; instead, it gives the impression of having been shouted onto paper", "what remains is a debris of sour jokes") and a second review from the New York Times ("repetitive and monotonous. Or one can say that it is too short because none of its many interesting characters and actions is given enough play to become a controlling interest")[21] disliked it. One commentator of Catch-22 recognized that "many early audiences liked the book for just the same reasons that caused others to hate it"[22] The book had a cult following though, especially among teenagers and college students. Heller remarks that in 1962, after appearing on the Today show he went out drinking with the host at the time, John Chancellor, who handed him stickers that Chancellor had got privately printed reading "YOSSARIAN LIVES". Heller also said that Chancellor had been secretly putting them on the walls of the corridors and executive bathrooms in the NBC building.[22]
Although the novel won no awards upon release, it has remained in print and is seen as one of the most significant American novels of the 20th century.[2] Scholar and fellow World War II veteran Hugh Nibley said it was the most accurate book he ever read about the military.[23] Since its release in 1961, the book has sold 10 million copies.
Although he continued writing, including a sequel novel Closing Time, Heller’s later works were inevitably overshadowed by the success of Catch-22. When asked by critics why he’d never managed to write another novel as good as his groundbreaking work, Heller would retort with a smile “Who has?”[24]
Rankings[edit]
External video
"50th Anniversary of Joseph Heller's Catch-22" – Leslie Stahl moderating a panel made up of Christopher Buckley, Robert Gottlieb, Mike Nichols, and Scott Shepherd, C-SPAN[25]
The Modern Library ranked Catch-22 as the 7th (by review panel) and 12th (by public) greatest English-language novel of the 20th century.[26]
The Radcliffe Publishing Course rank Catch-22 as number 15 of the 20th century's top 100 novels.[27]
The Observer listed Catch-22 as one of the 100 greatest novels of all time.[28]
TIME puts Catch-22 in the top 100 English-language modern novels (1923 onwards, unranked).[29]
The Big Read by the BBC ranked Catch-22 as number 11 on a web poll of the UK's best-loved book.[30]
Adaptations[edit]
Opening title of the film adaptation
Catch-22 was adapted into a feature film of the same name in 1970, directed by Mike Nichols.
Catch-22 play: Aquila Theatre produced a stage adaptation of Catch-22, based on Heller's 1971 stage adaption. It was directed by Peter Meineck. This production toured the USA in 2007/8 with a Bexhill on Sea production in the fall of 2008.[31]
A pilot for a comedy series based upon Catch-22 was made and televised in 1973, with Richard Dreyfuss in the starring role of Capt. Yossarian.[32]
A six-episode miniseries produced by George Clooney has been picked up by Hulu for a straight-to-series order. Kyle Chandler will portray Colonel Cathcart.[33]
Selected releases[edit]
This list covers the first and most recent printed publications by the original publisher Simon & Schuster as well as all other formats. Other print publishers include Dell, Corgi, Vintage, Knopf, Black Swan, Grasset & Fasquelle and Wahlström & Widstrand.
The original manuscript is held by Brandeis University.[34]
1961, Simon & Schuster ISBN 0-671-12805-1, pub date June 1961, Hardback
1961, Simon & Schuster ISBN 0-440-51120-8, advance Paperback with signed bookplate
1978, Franklin Library ISBN 0-8124-1717-8, signed limited edition Leather Bound
1996, Simon & Schuster ISBN 0-684-83339-5, pub date September 1996 Paperback
1999, Simon & Schuster ISBN 0-684-86513-0, pub date October 1999, Hardback
1980, Books On Tape ISBN 0-7366-8962-1, unabridged Audio Cassette reader Wolfram Kandinsky
1984, Caedmon Audio ISBN 0-694-50253-7, Audio Cassette
1990, Books On Tape ISBN 0-7366-9085-9, unabridged Audio CD reader Jim Weiss
1994, DH Audio ISBN 0-88646-125-1, abridged edition Audio Cassette reader Alan Arkin
2007, Caedmon ISBN 978-0-06-126246-3, unabridged Audio CD reader Jay O. Sanders
2008, Hachette Audio ISBN 978-1-4055-0387-7, unabridged Audio CD reader Trevor White
See also[edit]
Novels portal
Antinomy
Hobson's choice
Morton's fork
Order No. 227
References[edit]
Jump up ^ "Paul Bacon cover artist". Solothurnli.com. Retrieved 11 March 2011.
^ Jump up to: a b "What is Catch-22? And why does the book matter?". BBC News. 12 March 2002. Retrieved 11 March 2011.
^ Jump up to: a b Clinton S. Burhans, Jr. Spindrift and the Sea: Structural Patterns and Unifying Elements in Catch 22. Twentieth Century Literature, Vol. 19, No. 4, pp. 239–250, 1973. JSTOR online access
Jump up ^ Joseph Heller, Catch 22 (Simon & Schuster, New York. 1996), p. 24
Jump up ^ Joseph Heller, Catch 22 (Simon & Schuster, New York. 1996), p. 25
Jump up ^ Heller, Joseph (1961). Catch-22. New York: Simon & Schuster. p. 124.
^ Jump up to: a b Podgorski, Daniel (27 October 2015). "Rocks and Hard Places Galore: The Bureaucratic Appropriation of War in Joseph Heller's Catch-22". The Gemsbok. Your Tuesday Tome. Retrieved 21 February 2016.
^ Jump up to: a b c d Sorkin, Adam J. (1993). Conversations with Joseph Heller. Jackson, MO: University Press of Mississippi. p. 150. ISBN 0-87805-635-1.
Jump up ^ DM Craig. From Avignon to Catch-22. War, Literature, and the Arts 6, no. 2, 1994 pp27-54.
Jump up ^ Heller, Joseph (1977). "Reeling in Catch-22". In Lynda Rosen Obst. The Sixties. New York: Random House/Rolling Stone Press. pp. 50–52.
Jump up ^ Zenny Sadlon. "Personal testimony by Arnošt Lustig". Zenny.com. Retrieved 11 March 2011.
Jump up ^ Gussow, Mel (29 April 1998). "Critic's Notebook; Questioning the Provenance of the Iconic Catch-22". The New York Times. Retrieved 1 April 2010.
Jump up ^ catch-22. 2012. In Merriam-Webster.com. Retrieved 8 March 2012, from http://www.merriam-webster.com/dictionary/catch%2022
Jump up ^ Random House ISBN 978-0-09-947046-5 Vintage Classics
Jump up ^ McDonald, Paul. Reading Catch-22. Humanities E-Books
Jump up ^ Bailey, Blake (26 August 2011). "The Enigma of Joseph Heller". New York Times. Retrieved 7 May 2012.
Jump up ^ Aldridge, John W. (26 October 1986). "The Loony Horror of it all - Catch-22 Turns 25". Sunday New York Times. Retrieved 1 March 2018.
^ Jump up to: a b c d e Eller, Jonathan R. (October 1992). "Catching a Market: The Publishing History of Catch-22". Prospects.
^ Jump up to: a b N James. "The Early Composition History of Catch-22". In Biographies of Books: The Compositional Histories of Notable American Writings, J Barbour, T Quirk (edi.) pp. 262–290. Columbia: University of Missouri Press, 1996.
^ Jump up to: a b c d Daugherty, Tracy (2011). Just One Catch: A Biography of Joseph Heller. New York: St. Martin's Press. ISBN 978-0312596859.
Jump up ^ "The Internet Public Library: Online Literary Criticism Collection". Ipl.org. Retrieved 11 March 2011.
^ Jump up to: a b Heller, Joseph (1994). Catch-22. New York: Simon & Schuster. p. 11. ISBN 0-671-50233-6.
Jump up ^ Hugh Nibley and Alex Nibley, Sergeant Nibley PhD.: Memories of an Unlikely Screaming Eagle, Salt Lake City: Shadow Mountain, 2006, p. 255
Jump up ^ "Joseph Heller and his fiction. The first cut is the deepest". 8 October 2011. Retrieved 3 March 2017.
Jump up ^ "50th Anniversary of Joseph Heller's Catch-22". C-SPAN. 18 October 2011. Retrieved 8 January 2017.
Jump up ^ Randomhouse.com Modern Library's 100 best novels of the 20th century
Jump up ^ Herbert Huber. "Radcliffe Publishing Course: the twentieth century's top 100 novels". Lesekost.de. Retrieved 11 March 2011.
Jump up ^ Robert McCrum (8 August 2006). "The Observer's greatest novels of all time". The Observer. UK. Retrieved 11 March 2011.
Jump up ^ "Time's top 100 English language modern novels". TIME. 16 October 2005. Retrieved 11 March 2011.
Jump up ^ The BBC's Big Read
Jump up ^ Phythyon Jr., John. R. (2 March 2008). "Catch-22 a nearly perfect adaptation". The Lawrence Journal-World & News.
Jump up ^ Catch-22 (TV Movie 1973) on IMDb.
Jump up ^ Otterson, Joe (April 13, 2018). "'Catch-22' Casting Shuffle: Kyle Chandler Takes Over as Cathcart, George Clooney Switches Roles". Variety. Retrieved April 13, 2018.
Jump up ^ Heller archive Archived 8 June 2010 at the Wayback Machine., Brandeis University.
External links[edit]
Wikiquote has quotations related to: Catch-22
Librarything.com with many photos of other Catch-22 covers
Photos of the first edition of Catch-22
Catch-22 as a figure of speech
Catch-22 study guide – analysis, themes, quotes, and teaching guide
Why a novel so acclaimed took 46 years to make it to the stage: How the cult classic was adapted for the stage
History of combat crew rotation - World War II and Korean War
[show]
v
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Works by Joseph Heller
Novels
Catch-22 (1961)
Something Happened (1974)
Good as Gold (1979)
God Knows (1984)
Picture This (1988)
Closing Time (1994)
Portrait of an Artist, as an Old Man (2000)
Short story collections
Catch as Catch Can: The Collected Stories and Other Writings (2003)
Plays
We Bombed in New Haven (1967)
Catch-22 (1971)
Clevinger's Trial (1973)
Autobiographies
No Laughing Matter (1986)
Now and Then: From Coney Island to Here (1998)
[show]
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Capt. Aardvark
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value:
interlanguage-link interwiki-fi
display: none;

value:
https://sv.wikipedia.org/wiki/Moment_22
Moment 22 – Swedish
sv
sv
interlanguage-link-target

value:
interlanguage-link interwiki-sv
display: none;

value:
https://tr.wikipedia.org/wiki/Madde_22
Madde 22 – Turkish
tr
tr
interlanguage-link-target

value:
interlanguage-link interwiki-tr
display: none;

value:
interlanguage-link interwiki-uk
display: none;

value: All languages (initial selection from common choices by you and others)

value: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Catch-22 rootpage-Catch-22 skin-vector action-view