de Joseph Heller
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de Kurt Vonnegut
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de Blake Morrison
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de Kurt Vonnegut Jr.
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de Aldous Huxley
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From Publishers Weekly
Worked on for many years and long anticipated (and perhaps dreaded) by admirers of the incomparable original, Heller's "sequel" shares with his great WWII saga a surreal sense of the absurd and of the fatuity of most human institutions. But it is hard to avoid a sense of keen disappointment, nonetheless. The satirizing of American contemporary life has been done so frequently-and often successfully-since the 1961 Catch-22, which helped make so much of that satirizing possible, that Heller is in effect competing with himself, and failing. Here again are John Yossarian, Milo Minderbinder, Sammy Singer, Chaplain Albert Tappman, and the giant Lew. Newcomers include Washington finagler G. Noodles Cook and the mysterious and ubiquitous know-it-all Jerry Gaffney. The wartime buddies are old men now, worried about their health, their sex lives and their children, but they find 1990s civilian life as corruptly absurd as the old Air Force days. There are flashbacks to the war, some of which recall the power of Heller's original inspiration; there are nostalgic passages about Coney Island, long Jewish dialogues that could have been penned by a whacked-out Neil Simon, bravura passages (notably, a magnificent wedding reception held at New York's Port Authority Bus Terminal) and hare-brained Pentagon meetings to discuss the new Shhhh super-quiet warplane. There are patches of vaudeville, dreamscapes, far too much sophomoric doodling, and longueurs when Heller seems simply to be filling pages. In the end, despite flashes of the old wit and fire, this is a tired, dispirited and dispiriting novel. 200,000 first printing; first serial to Playboy.
Copyright 1994 Reed Business Information, Inc. --Ce texte provient d'une édition qui n'est plus publiée ou qui est non diponible.
Copyright 1994 Reed Business Information, Inc. --Ce texte provient d'une édition qui n'est plus publiée ou qui est non diponible.
From Library Journal
Just like the original Catch-22, this sequel opens with Yossarian in a hospital bed, flirting with the nurses. Now in his seventies, Yossarian is depressed by his perfect health: things can only get worse. He lives alone in a Manhattan apartment not far from most of his old war buddies, including Milo Minderbinder, a defense contractor straight out of Dr. Strangelove. Yossarian and company mourn the decline of New York City and American culture in general and look back longingly to the golden age of prewar Coney Island. The symbolic center of the book is a surreal wedding extravaganza held at the Port Authority Bus Terminal and hosted by Minderbinder, who recruits highly paid actors to portray derelicts and prostitutes. This work attempts the same sort of giddy black humor that made its predecessor a classic, but the underlying mood is somber, almost elegiac. A profoundly disturbing novel, if not quite up to the standard of Catch-22; recommended for all fiction collections.
Edward B. St. John, Loyola Law Sch. Lib., Los Angeles
Copyright 1994 Reed Business Information, Inc. --Ce texte provient d'une édition qui n'est plus publiée ou qui est non diponible.
Edward B. St. John, Loyola Law Sch. Lib., Los Angeles
Copyright 1994 Reed Business Information, Inc. --Ce texte provient d'une édition qui n'est plus publiée ou qui est non diponible.
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When people our age speak of the war it is not of Vietnam but of the one that broke out more than half a century ago and swept in almost all the world. Lire la première page
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When people our age speak of the war it is not of Vietnam but of the one that broke out more than half a century ago and swept in almost all the world. Lire la première page
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