By Joseph Heller
A darkly comedian and impressive sequel to the yank 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 full iteration that fought in global struggle II: Yossarian and Milo Minderbinder, the chaplain, and such rookies as little Sammy Singer and tremendous Lew, all associated, in an uneasy peace and previous age, battling no longer the Germans this time, however the finish. Closing Time deftly satirizes the realities and the myths of the USA within the part century on account that WWII: the absurdity of our politics, the decline of our society and our nice towns, the greed and hypocrisy of our enterprise and tradition -- with a similar ferocious humor as Catch-22.
Closing Time is outrageously humorous and absolutely severe, and as fabulous and winning as Catch-22 itself, a fun-house replicate that captures, instantaneously grotesquely and appropriately, the reality approximately ourselves.
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Additional info for Closing Time: The Sequel to Catch-22
This “work of art without an artist to make it,” as Duchamp once described it, works not on a retinal but on a conception level, appealing to the mind rather than the eye. Like other avant-garde manifestations, Fountain interrogates the tacit conventions that constitute “art as an institution” in a variety of ways. First, Fountain mocks the idea of individual creativity and genius by attaching a signature (the authorized sign of individual creation) to a mass-produced object. In this way, Fountain “not only unmasks the art market where the signature means more than the quality of the work; [but] radically questions the very principle of art in bourgeois society according to which the individual is considered the creator of the work of art” (Bürger 52).
Or the recipient who must make sense of this “meaningless” object? Is this work “original”? What does it do with the category of originality? What does the display of this object in a museum imply? How is the recipient to respond to it? If its purpose is not to be an object of aesthetic appreciation, then what? Following Bürger’s model, we may argue that the readymade’s purpose is to open conceptual possibilities for reintegrating art and life. Like the surrealist automatic text or the Dadaist cut up poem, the readymade reimagines art as an everyday practice open to anyone.
Its lack of mimetic coherence was read as a lack of serious commitment or depth, a quality the New York School quite consciously shunned in preference for the jouissance of surface. This difference in priorities helps explain complaints like Daniel Hoffman’s in the Harvard Guide to Contemporary American Writing about Ashbery’s writing: It is all reverie conceived exclusively on the right side of the brain, attractive in texture; but toward structure it is seditious, hence few of these poems hold together as unified experiences and their profusion of imagery, however dazzling, is fatiguing.