Catch 22 is a story set during World War II. A significant choice for what is, ostensibly, an anti-war satire, since that particular war was a universally popular one butressed by high moral motivations. But that is the point, for Catch 22 is not simply a lampoon of war, but a searing indictment of man's spiritual crisis in the modern world.
On all fronts, the main character, Yossarian, is assailed by the dehumanized absurdities of mondern life, manifested most concretely in that perfected science of death, modern warfare. Yossarian, like all of us, is chained by rationality that has been stripped of reason, engineered thus for the purpose of control. That is the essence of Catch 22.
The character of Milo Minderbinder represents the cold, opportunistic thinking of the corporate world, dead as it is to humanistic concerns in its tireless pursuit of profit and power. Chaplain Tappman embodies the impotence and self-doubt common to many people of faith who feel adrift in a culture of materialisticly driven insanity. But it is Yossarian's wanderings through Rome, the Eternal City, and as such, the representation of modern "civilized" society, that is the coup de grace. It is a moonlit, poetic scene lamenting the spiritual and humanistic decay and ultimate bankruptcy of modern Western society. Simply powerful stuff.
Properly speaking, Catch 22 is more a series of vignettes or short stories rather than a novel. But it is told with a humor that bristles with moral outrage. While not perfect, it is an excellent read, and definitely recommened.