By Joseph Heller
A darkly comedian and impressive sequel to the yankee vintage Catch-22.
In Closing Time, Joseph Heller returns to the characters of Catch-22, now coming to the tip in their lives and the century, as is the complete iteration that fought in global warfare II: Yossarian and Milo Minderbinder, the chaplain, and such beginners as little Sammy Singer and massive Lew, all associated, in an uneasy peace and outdated age, struggling with no longer the Germans this time, however the finish. Closing Time deftly satirizes the realities and the myths of the United States within the part century because WWII: the absurdity of our politics, the decline of our society and our nice towns, the greed and hypocrisy of our company and tradition -- with a similar ferocious humor as Catch-22.
Closing Time is outrageously humorous and absolutely critical, and as tremendous and winning as Catch-22 itself, a fun-house reflect that captures, immediately grotesquely and adequately, the reality approximately ourselves.
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Extra info for Closing Time: The Sequel to Catch-22
It is a thorough process, this war with the wilderness,—breaking nature, taming the soil, feeding it on oats. The civilized man regards the pine tree as his enemy. He will fell it and let in the light, grub it up and raise wheat or rye there. (1906 J 3:269-70) What begins as an apparently affirmative discussion of land-clearing suddenly shifts into an acerbic comment on civilized man's war against trees, the kind of turn one finds in "Chesuncook" and "The Allegash and East Branch," especially in their treatment of the effects of a voracious logging enterprise.
Boyhood friend to both Henry Thoreau and his brother, John, and frequent visitor to their home in those years, Hosmer much later recalled another visit, in 1845, when, at Thoreau's invitation, he spent a Sunday with him at the cabin at Walden Pond, a visit Hosmer remembered with obvious pleasure some thirty-five years after the fact. Hosmer's reminiscence of this visit is included in a memoir of Thoreau that he wrote in Chicago, where he had lived since 1857, where he had been remarkably successful by most standards, and where two of his sons had recently become millionaires.
It is natural that we should be enterprising," Thoreau noted in an enigmatic Journal entry in 1852 (1906 J 3:270). Walden features an enterprising narrator who concludes his narrative with a declaration that focuses the theme of "extra vagance" through economy while reminding readers of the theme's cultural connection: "I delight to come to my bearings, . . not to live in this restless, nervous, bustling, trivial Nineteenth C e n t u r y , . . to travel the only path I can, and that on which no power can resist me" (Walden, pp.