首页>> 文学论坛>> 讽刺谴责>> 约瑟夫·海勒 Joseph Heller   美国 United States   现代美国   (1923年5月1日1999年12月12日)
第二十二条军规 Catch-22
  在当代美语中,第二十二条军规(catch-22)已作为一个独立的单词,使用频率极高,用来形容任何自相矛盾、不合逻辑的规定或条件所造成的无法摆脱的困境、难以逾越的障碍,表示人们处于左右为难的境地,或者是一件事陷入了死循环,或者跌进逻辑陷阱,等等。
  第二十二条军规[小说]-内容
  
  “如果你能证明自己发疯,那就说明你没疯。”
  
  悖论式的进退维谷的局面,叫人左右为难的情况。
  第二十二条军规[小说]-出处
  
  源出自美国作家约瑟夫·海勒 ﹙Joseph Heller﹚根据自己在第二次世界大战中的亲身经历创作的黑色幽默小说《第二十二条军规》﹙1961﹚。主人公约翰·尤萨林上尉﹙Captain John Yossarian﹚是美国陆军第27航空队B-25轰炸机上的一名领航员兼投弹手,他渴望保住自己的性命。根据司令部规定,完成25次战斗飞行的人就有权申请回国,但必须得到长官批准。当尤萨林完成32次任务时,联队长卡思卡特上校已经把指标提高到40次了。等他飞完44次,上校又改成50次。当他飞完51次,满以为马上就能回国了,定额又提高到60次。因为第二十二条军规规定,军人必须服从命令,即使上校违反了司令部的规定,在他飞完规定次数后还叫他飞,那他也得去,否则他就犯下违抗命令的罪行。所以无论他飞满多少次,上校总可以继续增加定额,而他却不得违抗命令。如此反复,永无休止。官兵们的精神已近乎崩溃,可谁也不可能停飞。于是他逃进医院装病,军医说他是“在白费时间”,他“当场就决定发起疯来”,因为根据条例,精神失常的人是不准上天飞行的,但只能由他本人提出申请。而一个人在面临真正的危险时却担心自身安全,就证明他神智清醒。于是就产生了如下逻辑:如果你疯了,只要你申请就允许你停飞。可你一旦提出申请,就证明你不是疯子,还得接着飞。最后,尤萨林终于明白: “这里面只有一个圈套……就是第二十二条军规。” 这也是作者写在小说扉页上的一句话。
  第二十二条军规[小说]-作者简介
  
  约瑟夫·海勒(1923—1999)美国黑色幽默派及荒诞派代表作家,出生于纽约市布鲁克林一个俄裔犹太人家庭。第二次世界大战期间曾任空军中尉。战后进大学学习,1948年毕业于纽约大学,获文学学士学位。1949年在哥伦比亚大学获文学硕士学位后,得到富布赖特研究基金赴英国牛津大学深造一年。1950到1952年在宾夕法尼亚州立大学等校任教。此后即离开学校,到《时代》和《展望》等杂志编辑部任职。1961年,长篇小说《第二十二条军规》问世,一举成名,当年即放弃职务,专门从事写作。除《第二十二条军规》外,海勒还发表过长篇小说两部:《出了毛病》(1974)和《像高尔德一样好》(1979)。海勒也曾写过剧本,如《我们轰炸了纽黑文》等,但影响不大。海勒的小说取材于现实生活,通过艺术的哈哈镜和放大镜,反映了美国社会生活的若干侧面,具有一定的认识价值和审美价值。
  第二十二条军规[小说]-现实版的catch-22
  
  四川师大有就有这样一条规定:不入学就不能办理助学贷款。
  
  而要入学报到,又必须先交费。当下,没有哪个大学敢公开声称“没有钱就不要读大学”了,教育部也三令五申,要“确保每位新生不因家庭经济困难而无法入学”。但在许多大学管理者的心里,还是希望最大限度地追求利润的,只是这样一来,那些成绩优异但又交不起学费的贫困生,也就成了自己追求利润的一个重大障碍,既然不能公开拒绝他们,那就设计一条“第二十二条军规”。学校既没有拒绝贫困生入学,也没有拒绝对贫困生发放助学贷款,但贫困生却既入不了学,也拿不到贷款,最后只好自己“主动”选择放弃,而学校却不必为此承担任何责任。
  
  大学出现了“第二十二条军规”,让人禁不住要问:办大学,究竟是为了替国家民族培养人才,还是为了钱?如果是前者,那国家就有义务让每一个能够通过高考的贫困学生顺利进入大学,并解决他们的困难;如果是后者,那也不妨直话直说,让贫困生早日放弃幻想,另做打算,而不必在这种荒诞的“军规”面前,既伤脑筋,又伤感情。
  
  小说里,尤索林最后发现,这个世界到处都由“第二十二条军规”统治着,就像天罗地网一样,令你无法摆脱,他认为世人正在利用所谓“正义行为”来为自己巧取豪夺寻找借口。最后,他不得不开小差逃往瑞典。我很希望小桃,以及和她的境遇类似的贫困生不要得出和尤索林同样的结论。
  第二十二条军规[小说]-解析
  
  (图)第二十二条军规第二十二条军规
  
  所谓“第二十二条军规”,其实并不存在,这一点可以肯定,但这也无济于事。问题是每个人都认为它存在。这就更加糟糕,因为这样就没有具体的对象和条文,可以任人对它嘲弄、驳斥、控告、批评、攻击、修正、憎恨、辱骂、唾弃、撕毁、践踏或者烧掉。它只是无处不在、无所不能的残暴和专横的象征,是灭绝人性的官僚体制、是捉弄人和摧残人的乖戾力量。它虽然显得滑稽可笑,但又令人绝望害怕,使你永远无法摆脱,无法逾越。它永远对,你永远错,它总是有理,你总是无理。海勒认为,战争是不道德的,也是荒谬的,只能制造混乱,腐蚀人心,使人失去尊严,只能让卡思卡特、谢司科普夫之流飞黄腾达,迈洛之流名利双收。在他看来,战争也罢,官僚体制也罢,全是人在作祟,是人类本身的问题。
  第二十二条军规[小说]-启示
  
  
  具有无上权力和随意性的第二十二条军规并不存在而又无所不在,是一种有组织的混乱和制度化疯狂的象征。它既是一项具体而荒谬的法律条文,更是一种抽象的专制现实。它永远对,你永远错;它总有理,你总没理。它总是与灭绝人性的官僚体制如影随形,使你永远无法摆脱,无法逾越。
  
  在现实生活中,我们也时常会遭遇大大小小的“第二十二条军规”,其实就是形形色色的制度陷阱,通常在资源被强势一方所垄断,当事人双方信息严重不对称或权利不平等的情况下最容易产生。它类似“霸王”条款,简直就像是为官员权力寻租或行政免责而量身度造的。
  第二十二条军规[小说]-电影《第二十二条军规》
  
  译名:第22条军规
  
  片名:Catch-22
  
  年代:1970
  
  国家:美国
  
  类别:喜剧/战争
  
  语言:英语
  
  别名:二十二支队
  
  内容简介
  
  迈克·尼科尔斯执导的一部黑色反战喜剧片。描述二次世界大战期间,驻扎在地中海的一个美国空军基地,有很多官兵想法逃避飞行任务及获得不法之财。本片是一部内容丰富的黑色反战喜剧,开始的片段拍得很有气派,但其后的发展却稍嫌混乱松散,未能贯穿主题。不过,有许多片段都拍得相当出色,而且娱乐性不低。


  Catch-22 is a satirical, historical novel by the American author Joseph Heller, first published in 1961. The novel, set during the later stages of World War II from 1943 onwards, is frequently cited as one of the great literary works of the twentieth century. It has a distinctive non-chronological style where events are described from different characters' points of view and out of sequence so that the time line develops along with the plot.
  
  The novel follows Yossarian, a U.S. Army Air Forces B-25 bombardier, and a number of other characters. Most events occur while the airmen of the fictional 256th squadron are based on the island of Pianosa, in the Mediterranean Sea west of Italy.
  
  Concept
  
  Among other things, Catch-22 is a general critique of bureaucratic operation and reasoning. Resulting from its specific use in the book, the phrase "Catch-22" is common idiomatic usage meaning "a no-win situation" or "a double bind" of any type. Within the book, "Catch-22" is a military rule, the self-contradictory circular logic that, for example, prevents anyone from avoiding combat missions. In Heller's own words:
  
   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 was 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.
  
  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." The theme of a bureaucracy marginalizing the individual in an absurd way is similar to the world of Kafka's The Trial, and George Orwell's Nineteen Eighty-Four. The concept of 'doublethink' has definite echoes in Heller's work.
  
  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 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 tailgunner Sammy Singer.
  Synopsis
  Wiki letter w.svg This section requires expansion.
  
  The development of the novel can be split into multiple segments. The first (chapters 1–12) broadly follows the story fragmented between characters, but in a single chronological time in 1943. 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 1943 in the third part (chapter 20–25). The fourth (chapters 25–28) 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. In the sixth and final part (chapter 32 on) while remaining in the "present" time the novel takes a much darker turn and spends the remaining chapters focusing on the serious and brutal nature of war and life in general.
  
  While the previous five parts develop the novel in the present and by use of flash-backs, it is in chapters 32–41 of the sixth and final part where the novel significantly darkens. Previously the reader had been cushioned from experiencing the full horror of events, but now the events are laid bare, allowing the full effect to take place. 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 (Nately, McWatt, Mudd, Kid Sampson, Dobbs, Chief White Halfoat and Hungry Joe) of most of Yossarian’s friends, culminating in the unspeakable horrors of Chapter 39, in particular the rape and murder of Michaela, who represents pure innocence.
  Style
  
  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 punchline of which was told several chapters previously. The narrative often describes events 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. 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 apparent logical irrationality pervades the whole book.
  
  While a few characters are most prominent, notably Yossarian and the Chaplain, the majority of named characters are described in a typical extent, with fully fleshed out or multidimensional personas, to the extent that there are few if any "minor characters".
  
  The seemingly random non-chronological structure to the novel is misleading. Catch 22 is actually highly structured, but it is a structure of free association where 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 cold from the fighter captain and come down with pneumonia." 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." 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.
  Major themes
  
  One of the first themes developed in the novel is the question of what is right to do in a basic moral dilemma/social dilemma/prisoner's dilemma; where a person can cooperate with others to their collective greater payoff; or can sell them out by not cooperating, and reap even greater benefits as an individual. Yossarian is presented as having decided upon and relishing the immoral choice to such questions: "Yossarian throbbed with a mighty sense of accomplishment each time he gazed at [the officers' club building] and reflected that none of the work that had gone into it was his," which solidly casts Yossarian as an anti-hero to the reader. Yossarian (and Doc Daneeka) wonder 'why me' when it comes to taking risks when others aren't. To this, Major Danby asks Yossarian, "But suppose everybody on our side felt that way," to which Yossarian replies, "Then I’d certainly be a damned fool to feel any other way. Wouldn’t I?"
  
  Another theme is the turning on their heads of notions of what people generally think of as morally right or wrong, particularly patriotism and honor, which lead most of the airmen to accept abusive lies and petty rules of bureaucrats, though Yossarian whole-heartedly disregards all such notions. When Major Major asks why he wouldn't fly more missions, Yossarian answers:
  
   "'I’m afraid.'
   'That’s nothing to be ashamed of,' Major Major counseled him kindly. 'We’re all afraid.'
   'I’m not ashamed,’ Yossarian said. ‘I’m just afraid.'"
  
  Several themes flow into one another, for example, 'that the only way to survive such an insane system is to be insane oneself,' is partially a take on Yossarian's answer to the Social dilemma (that he would be a fool to be any other way); and another theme, 'that bad men (who sell out others) are more likely to get ahead, rise in rank, and make money,' turns our notions of what is estimable on their heads as well.
  
  Heller suggests that bureaucracies often lead organizations, especially when run by bad or insane people, to trivialize important matters (e.g., those affecting life and death), and to grossly exaggerate the importance of trivial matters (e.g., clerical errors). Everyone in the book, even Yossarian at the beginning, is behaving insanely in their clerical decisions.
  
  While the (official) enemies are the Germans, no German ever actually appears in the story as an enemy combatant. As the narrative progresses, Yossarian comes to fear American bureaucrats more than he fears the Germans attempting to shoot down his bomber. This ironic situation is epitomized in the single appearance of German personnel in the novel, who act as pilots employed by a private entrepreneur working within the United States military. 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.
  
  Among the reasons Yossarian fears his commanders more than the enemy is that, as he flies more missions, the number of missions required before he can go home is continually increasing: he is always approaching the magic number, but he never reaches it. He comes to despair of ever going 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. (Chapter 12)
  
  List of motifs:
  
   * Sanity and insanity
   * Heroes and heroism
   * Absurdity and inefficiency of bureaucracy
   * Power of bureaucracy
   * Questioning/Loss of religious faith
   * Impotence of language
   * Inevitability of death
   * Distortion of justice
   * Concept of Catch-22
   * Greed
   * Personal integrity
   * Capital and its amorality
  
  Characters
  Further information: List of characters in Catch-22
  Influences
  
  Although Heller always had a desire to be an author from an early age, his own experiences as a bombardier during World War II strongly influenced Catch-22; however, Heller later said that he had "never had a bad officer."
  
  Czech writer Arnošt Lustig recounts in his book 3x18 that Joseph Heller personally told him that he would never have written Catch-22 had he not first read The Good Soldier Švejk by Jaroslav Hašek.
  
  In 1998, some critics raised the possibility that Heller's book had questionable similarities to Louis Falstein's 1950 novel, Face of a Hero. However, Falstein himself 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. Instead, Heller stated that the novel had been influenced by Céline, Waugh and Nabokov. Many of the similarities have been stated to be attributable to the two authors' similar experiences; both served in the U.S. Air Force on bombing crews in Italy in World War II. Their general themes and styles are quite different.
  Allusions/references to other works
  
  Catch-22 contains allusions to and draws inspiration from many works of literature, both classical and modern. 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 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 slap-stick and Bilko and Abbott and Costello and Tom and Jerry and the Goons (if Heller had ever heard of the Goons)."
  Iliad and Odyssey
  
  Heller casts Yossarian as a modern day, anti-heroic version of Homer's hero Achilles, from the Iliad. Both works begin with the central character refusing to fight. But whereas Achilles heroically re-enters combat in response to the death of his best friend Patroclus, Yossarian is anti-heroically goaded back to combat early on by mere bureaucratic pressure. Towards the end of the novel, after the death of Nately, he resolutely refuses to fly more missions. Achilles is promised either fame or a long life, and chooses fame; Yossarian, conversely, chooses life.
  
  The analogy is explicitly suggested by Colonel Korn:
  
   "Who does he think he is — Achilles?" Colonel Korn was pleased with the simile and filed a mental reminder to repeat it the next time he found himself in General Peckem's presence.
  
  The comparison is made more subtly in a description of the chaplain's feeling of déjà vu:
  
   But the chaplain's impression of a prior meeting was of some occasion far more momentous and occult than that, of a significant encounter with Yossarian in some remote, submerged and perhaps even entirely spiritual epoch in which he had made the identical, foredooming admission that there was nothing, absolutely nothing, he could do to help him.
  
  Heller here alludes to Book XI of Homer's epic, the Odyssey,[citation needed] in which the hero Odysseus has descended to the spirit world of Hades and met the dead Achilles. Achilles asks Odysseus for news of the living, which Odysseus provides. In contrast, the chaplain cannot help Yossarian.
  
  The differences between Achilles and Yossarian are explained by other literary influences for Yossarian's character:
  
   They couldn’t touch him because he was Tarzan, Mandrake, Flash Gordon. He was Bill Shakespeare. He was Cain, Ulysses, the Flying Dutchman; he was Lot in Sodom, Deirdre of the Sorrows, Sweeney in the nightingales among trees.
  
  Crime and Punishment
  
  In a dialogue between Clevinger and Yossarian, allusion is made to Dostoevsky's Crime and Punishment, where Yossarian is portrayed as a mirror of Raskolnikov:
  
   "You're crazy," Clevinger shouted vehemently, his eyes filling with tears. "You've got a Jehovah complex."
   "I think everyone is Nathaniel."
   Clevinger arrested himself in mid-declamation, suspiciously. "Who's Nathaniel?"
   "Nathaniel who?" inquired Yossarian innocently.
   Clevinger skirted the trap neatly. "You think everybody is Jehovah. You’re no better than Raskolnikov—"
   "Who?"
   "—yes, Raskolnikov, who—"
   "Raskolnikov!"
   "—who—I mean it—who felt he could justify killing an old woman—"
   "No better than?"
   "—yes, justify, that’s right—with an ax! And I can prove it to you!" Gasping furiously for air, Clevinger enumerated Yossarian’s symptoms: an unreasonable belief that everybody around him was crazy, a homicidal impulse to machine-gun strangers, retrospective falsification, an unfounded suspicion that people hated him and were conspiring to kill him.
  
  Near the climax of the novel, during Yossarian's harrowing walk through Rome, the comparison with Raskolnikov is again made:
  
   He heard snarling, inhuman voices cutting through the ghostly blackness in front suddenly ... On the other side of the intersection, a man was beating a dog with a stick like the man who was beating the horse with a whip in Raskolnikov's dream. Yossarian strained helplessly not to see or hear ... A small crowd watched. A squat woman stepped out and asked him please to stop. "Mind your own business," the man barked gruffly, lifting his stick as though he might beat her too ... Yossarian quickened his pace to get away, almost ran ... At the next corner a man was beating a small boy brutally in the midst of an immobile crowd ... Yossarian recoiled with sickening recognition. He was certain he had witnessed that same horrible scene sometime before. Déjà vu?
  
  Other works
  
  Events in the Old Testament are regularly alluded to, and the theme of atheism is highlighted when the Chaplain questions his faith and the reliability of the Bible:
  
   So many things were testing his faith. There was the Bible, of course, but the Bible was a book, and so were Bleak House, Treasure Island, Ethan Frome and The Last of the Mohicans. Did it indeed seem probable, as he had once overheard Dunbar ask, that the answers to the riddles of creation would be supplied by people too ignorant to understand the mechanics of rainfall? Had Almighty God, in all His infinite wisdom, really been afraid that men six thousand years ago would succeed in building a tower to heaven?
  
  Another important reference to the Old Testament comes in Chapter 24, entitled "Milo".
  
   Yossarian went about his business with no clothes on all the rest of that day and was still naked late the next morning when Milo, after hunting everywhere else, finally found him sitting up a tree a small distance in back of the quaint little military cemetery at which Snowden was being buried.
  
  In that passage Yossarian mirrors Adam from the story of the Garden of Eden. The allusion becomes more obvious later when Yossarian tells Milo that the tree he sits in "it's the tree of life and of knowledge of good and evil, too." Here Heller alludes to the tree Adam and Eve ate from, the tree of knowledge of good and evil. Adam and Eve were cast out from the Garden before they could eat from the Tree of Life.
  
  New Testament references to the life of Christ abound in the final chapters. When Yossarian returns to "The Eternal City," he finds it a hell, filled with starving children, beggars, people beating and raping each other. He then returns to the base and is offered salvation, ala Christ and the devil, by Colonel Cathcart and Lieutenant Colonel Korn. They will send him back to America if he will only agree to like them. (The Devil offered Christ salvation if he would bow down and worship him.) As Yossarian is leaving their office, he is stabbed by Nately's whore, stabbed in the rib cage as Christ was on the cross. Yossarian, like Christ, achieves resurrection when he learns that Orr has not died but has rowed to Sweden. This gives Yossarian the power to rise up and head for Sweden and safety himself.
  
  Also mentioned are Moby-Dick, the works of psychiatrist Richard Freiherr von Krafft-Ebing read by the sexually obsessed Mrs Scheisskopf, Edwin Arlington Robinson's Miniver Cheevy, and allusion to William Shakespeare's The Merchant of Venice when describing the Chaplain as an outsider:
  
   If they pricked him did he not bleed? ... It seemed never to have occurred to them that be, just as they had eyes, hands, organs, dimensions, senses and affections, that he was fed by the same food...
  
  Heller also plays with Malvolio's lines in Twelfth Night when describing Major Major Major:
  
   Some men are born mediocre, some men achieve mediocrity, and some men have mediocrity thrust upon them.
  
  The chapter on Major Major Major Major also contains references to Miniver Cheevy by Edwin Robinson. Robinson writes "Miniver Cheevy, born too late, scratched his head and kept on thinking;". Heller uses that line to describe Major Major: "Major Major had been born too late and too mediocre."
  
  The chapter "Havermyer" alludes to the poem Dover Beach by Matthew Arnold, using verbatim the final phrase of the poem: "ignorant armies clashed by night."
  
  References to nineteenth century American author Washington Irving also feature, with Yossarian, Major Major, and Corporal Whitcomb all forging documents with his name at some point. The 17th-century English poet John Milton's name is briefly used for the same purpose.
  
  T.S. Eliot's name is mentioned by Ex-PFC Wintergreen as a poet that makes money (sparking a paranoid chain of phone calls between Generals Peckem and Dreedle).
  
  There are more subtle references to T.S Eliot's "The Wasteland". The first line of the poem is "April is the cruelest month" which is an allusion to Canterbury Tales by Chaucer. That line is repeated in the first sentence of Chapter 24: "April had been the best month of all for Milo." Heller does, however, turn the phrase on its head, part of a general motif that is exemplified by Heller's perversion of Malvolio's line from Twelfth Night.
  Explanation of the novel's title
  
  The title is a reference to a fictional bureaucratic stipulation which embodies multiple forms of illogical and immoral reasoning. That the catch is named exposes the high level of absurdity in the novel, where bureaucratic nonsense has risen to a level at which even the catches are codified with numbers.
  
  A magazine excerpt from the novel was originally published as Catch-18, but Heller's agent, Candida Donadio, requested that it 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. The number 18 has special meaning in Judaism (it means life in Gematria) and was relevant to early drafts of the novel which had a somewhat greater Jewish emphasis.
  
  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. Catch-17 was also rejected, so as not to be confused with the World War II film Stalag 17, as well as 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.
  
  A 1950s/early 1960s anthology of war stories included a short version as "Catch-17".
  Literary significance and criticism
  
  As commented on by Joseph Heller himself in the preface to Catch-22 from 1994 onwards, the novel prompted polarized responses upon its first publication in the United States.
  
  Reviews in publications ranged from the very positive; The Nation ("was 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") to the highly negative; 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 from another critic of the New York Times ("is 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").
  
  Although the novel won no awards at publication, it has stood the test of time and is seen as one of the most significant novels of the 20th century. Scholar and fellow World War II veteran Hugh Nibley said it was the most accurate book he ever read about the military.
  Rankings
  
   * The Modern Library ranked Catch-22 as number 7 (by review panel) and as number 12 (by public) on its list of the greatest English language novels of the twentieth century.
   * The Radcliffe Publishing Course rank Catch-22 as number 15 of the twentieth century's top 100 novels.
   * The Observer listed Catch-22 as one of the 100 greatest novels of all time.
   * Time puts Catch-22 in the top 100 English language modern novels (1923 onwards, unranked).
   * The Big Read by the BBC ranked Catch-22 as number 11 on a web poll of the UK's best-loved book.
  
  Adaptations
  
   * Catch-22 was adapted into a feature film of the same name in 1970, directed by Mike Nichols.
   * Heller also dramatised his own novel for the stage, and wrote another short play, Clevinger's Trial, that was based on scenes from Catch-22.
   * Aquila Theatre produced a stage adaptation of Catch-22 directed by Peter Meineck and based on Heller's own play which he wrote in 1971. This production toured the USA in 2007/8 with a New York City production in the fall of 2008.
   * There was also a brief television comedy series based upon Catch-22 made and televised in 1973, with Richard Dreyfuss in the starring role of Capt. Yossarian.
   * Catch 22 is also the name of a ska band from New Jersey that takes the name of the book.
·内容提要·
  第二次世界大战期间,美国的一个飞行大队驻扎在地中海的“皮亚诺扎”岛上。这是个光怪陆离的“世界”。大队指挥官卡思卡特上校一心想当将军,为了要达到自己的目的,千方百计博取上级的欢心。他一次次任意增加部下的轰炸飞行任务,意欲用部下的生命来换取自己的升迁。这支部队里还有两个“出类拔萃”的人物。一个是一本正经而野心勃勃的谢司科普夫少尉。他毕业于预备军官训练队,大战爆发他颇为高兴,因为战争使他有机会可以每天穿上军官,用清脆、威严的嗓音对那些就要去送死的小伙子大喊口令,而他自己由于视力不佳,且有瘘管病,所以没有上前线的危险。他为了邀宠上级,飞黄腾达,就发疯似地专心训练自己的中队,求得在检阅中获胜。由于他研究出不挥动双手的行进队列,被人称为“名不虚传的军事天才人物”,从此迅速步步高升,最后当上了中将司令官。另一个是食堂管理员迈洛,他貌似“忠厚老实”,可是赚钱有术,以伙食采购为名,大搞投机倒把,办起了一个跨国公司。他用大批飞机走私,甚至还雇用敌人的飞机为公司运输,向敌人承包保卫桥梁等等。后来居然成为国际知名人物,当上欧洲不少城市的市长和马耳他的副总督。
   本书主人公尤索林就生活在这个绕着战争怪物旋转的光怪陆离的世界里。他是这个飞行大队所属的一个中队的上尉轰炸手。他满怀拯救正义的热忱投入战争,立下战功,被提升为上尉。然而慢慢地,他在和周围凶险环境的冲突中,亲眼目睹了那种种虚妄、荒诞、疯狂、残酷的现象后,领悟到自己是受骗了。他变严肃诚挚为玩世不恭,从热爱战争变为厌恶战争。他不想升官发财,也不愿无谓牺牲,他只希望活着回家。看到同伴们一批批死去,内心感到十分恐惧,又害怕周围的人暗算他,置他于死地。他反复诉说“他们每个人都想杀害我”。他渴望保住自己的生命,决心要逃离这个“世界”。于是他装病,想在医院里度过余下的战争岁月,但是未能如愿。根据第二十二条军规,疯子才能获准兔于飞行,但必须由本人提出申请;同时又规定,凡能意识到飞行有危险而提出免飞申请的,属头脑清醒者,应继续执行飞行任务。第二十二条军规还规定,飞行员飞满上级规定的次数就能回国,但它又说,你必须绝对服从命令,要不就不准回国。因此上级可以不断给飞行员增加飞行次数,而你不得违抗。如此反复,永无休止。最后,尤索林终于明白了,第二十二条军规原来是个,是个圈套,是个无法逾越的障碍。这个世界到处都由第二十二条军规统治着,就像天罗地网一样,令你无法摆脱。他认为世人正在利用所谓“正义行为”来为自己巧取豪夺。最后,他不得不开小差逃往瑞典。
1、得克萨斯人
  这可是实实在在的一见钟情。
   初次相见,约塞连便狂热地恋上了随军牧师。
   约塞连因肝痛住在医院,不过,他这肝痛还不是黄疸病的征兆,正因为如此,医生们才是伤透了脑筋。如果它转成黄疸病,他们就有办法对症下药;如果它没有转成黄疸病而且症状又消失了,那么他们就可以让他出院。可是他这肝痛老是拖着,怎么也变不了黄疸病,实在让他们不知所措。
   每人早晨,总有三个男医生来查病房,他们个个精力充沛,满脸一本正经,尽管眼力不好,一开口却总是滔滔不绝。随同他们一起来的是同样精力充沛、不苟言笑的达克特护士。讨厌约塞连的病房护士当中就有她一个。他们看了看挂在约塞连病床床脚的病况记录卡,不耐烦地问了问肝痛的情况。听他说一切还是老样子,他们似乎很是恼怒。
   “还没有通大便?”那位上校军医问道。
   见他摇了摇头,三个医生互换了一下眼色。
   “再给他服一粒药。”
   达克特护士用笔记下医嘱,然后他们四人便朝下一张病床走去。没有一个病房护士喜欢约塞连。其实,约塞连的肝早就不疼了,不过他什么也没说,而那些医生也从来不曾起过疑心。他们只是猜疑他早就通了大便,却不愿告诉任何人。
   约塞连住在医院里什么都不缺。伙食还算不错,每次用餐都有人送到他的病床上,而且还能吃到额外配给的鲜肉。下午天气酷热的时候,他和其他病号还能喝到冰果汁或是冰巧克力牛奶。除了医生和护士,从来就没有人来打扰过他。每天上午,他得花点时间检查信件,之后他便无所事事,整日闲躺在病床上消磨时光,倒亦心安理得。在医院里他过得相当舒但,而且要这么住下去也挺容易,因为他的体温一直在华氏一百零一度。跟邓巴相比,他可是快活极了。邓巴为了拿那份人家端到他病床前的餐点,不得不一而再再而三地将自己摔成个狗吃屎。
   约塞连打定主意要留在医院,不再上前线打仗,自此以后,他便去信告知所有熟人,说自己住进了医院,不过从未提及个中缘由。有一天,他心生妙计,写信给每一个熟人,告知他要执行一项相当危险的飞行任务。“他们在征募志愿人员。任务很危险,但总得有人去干、等我一完成任务回来,就给你去信。”但是从那以后,他再也没有给谁写过一封信。
   依照规定,病房里的每个军官病员都得检查所有士兵病员的信件,士兵病员只能呆在自己的病房里。检查信件实在枯燥得很。
   得知士兵的生活只不过比军官略多些许趣味而已,约塞连很觉失望。第一天下来,他便兴味索然了。于是,他就别出心裁地发明了种种把戏,给这乏味单调的差事添些色彩。有一天,他宣布要“处决”信里所有的修饰语,这一来,凡经他审查过的每一封信里的副词和形容词便统统消失了。第二天,他又向冠词开战。第三天,他的创意达到了更高点,把信里的一切全给删了,只留下冠词。他觉得玩这种游戏引起了更多力学上的线性内张力,差不多能使每一封信的要旨更为普遍化。没隔多久,他又涂掉了落款部分,正文则一字不动。有一次,他删去了整整一封信的内容,只保留了上款“亲爱的玛丽”,并在信笺下方写上:“我苦苦地思念着你。美国随军牧师A·T·塔普曼。”A·T·塔普曼是飞行大队随军牧师的姓名。
   当他再也想不出什么点子在这些信上面搞鬼时,他便开始攻击信封上的姓名和地址,随手漫不经心地一挥,就抹去了所有的住宅和街道名称,好比让一座座大都市消失,仿佛他是上帝一般。第二十二条军规规定,审查官必须在自己检查过的每一封信上署上自己的姓名。大多数信约塞连看都没看过。凡是没看过的信,他就签上自己的姓名;要是看过了的,他则写上:“华盛顿·欧文”。后来这名字写烦了,他便改用“欧文·华盛顿”。审查信件一事引起了严重反响,在某些养尊处优的高层将领中间激起了一阵焦虑情绪。
   结果,刑事调查部派了一名工作人员装作病人,住进病房。军官们都知道他是刑事调查部的人,因为他老是打听一个名叫欧文或是华盛顿的军官,而且第一天下来,他就不愿审查信件了。他觉得那些信实在是太枯燥无味。
   约塞连这次住的病房挺不错,是他和邓巴住过的最好的病房之一。这次跟他们同病房的有一名战斗机上尉飞行员,二十四岁,蓄着稀稀拉拉的金黄色八字须。
   这家伙曾在隆冬时节执行飞行任务时被击中,飞机坠入亚得里亚海,但他竟安然无事,连感冒也没染上。时下已是夏天,他没让人从飞机上给击落,反倒说是得了流行性感冒。约塞连右侧病床的主人是一名身患疟疾而吓得半死的上尉,这家伙屁股上被蚊子叮了一口,此刻正脉脉含情地趴在床上。约塞连对面是邓巴,中间隔着通道。紧挨邓巴的是一名炮兵上尉,现在约塞连再也不跟他下棋了。这家伙棋下得极好,每回跟他对弈总是趣味无穷,然而,正因为趣味无穷,反让人有被愚弄的感觉,所以约塞连后来就不再跟他下棋了。再过去便是那个来自得克萨斯州颇有教养的得克萨斯人,看上去很像电影里的明星,他颇有爱国心地认为,较之于无产者——
   流浪汉、娼妓、罪犯、堕落分子、无神论者和粗鄙下流的人,有产者,亦即上等人,理应获得更多的选票。
   那天他们送得克萨斯人进病房时,约塞连正在删改信件。那一天天气酷热,不过宁静无事。暑热沉沉地罩住屋顶,闷得屋里透不出一丝声响。邓巴又是纹丝不动地仰躺在床上,两眼似洋娃娃的眼睛一般,直愣愣地盯着天花板。他正竭尽全力想延长自己的寿命,而办法就是培养自己的耐烦功夫。见邓巴为了延长自己的寿命竟如此卖力,约塞连还以为他已经咽气了呢。得克萨斯人被安置在病房中央的一张床上。没隔多久,他便开始直抒高见。
   邓巴霍地坐起身,“让你说中了,”他激奋得叫了起来。“确实是少了样什么东西,我一直很清楚少了样什么东西,这下我知道少了什么。”他使劲一拳击在手心里。“就是缺少了爱国精神,”他断言道。
   “你说得没错,”约塞连也冲他高喊道,“你说得没错,你说得没错、你说得没错。热狗、布鲁克林玉米饼、妈妈的苹果馅饼。为了挣得这些东西,我们每个人都在不停地拼死拼活,可有谁甘愿替上等人效力?又有谁甘愿替上等人多拉几张选票而卖命?没有爱国精神,就这么回事儿。也毫无爱国心。”
   约塞连左侧床上的准尉却是无动于衷。“哪个在胡说八道?”他不耐烦地问了一句,随即翻过身去,继续睡他的觉。
   得克萨斯人倒是显得性情温和、豪爽,着实招人喜爱。然而三天过后,就再也没人能容忍他了。
   他总惹得人心烦意乱,浑身不自在,心生厌恶,所以大家全都躲着他,除了那个全身素裹的士兵以外,因为他根本没办法动弹,全身上下都裹着石膏和纱布,双腿双臂已全无用处。他是趁黑夜没人注意时被偷偷抬进病房的。直到第二天早晨醒来,大伙儿才发现病房里多了他这么个人,他的外观实在古怪得很:双腿双臂全都被垂直地吊了起来,并且用铅陀悬空固定,只见黑沉沉的铅舵稳稳地挂在他的上方。他的左右胳膊肘内侧绷带上各缝入了一条装有拉链的口子,纯净的液体从一只明净的瓶里由此流进他的体内。在他腹股沟处的石膏上安了一节固定的锌管,再接上一根细长的橡皮软管,将肾排泄物点滴不漏地排入地板上一只干净的封口瓶内。等到地板上的瓶子满了,从胳膊肘内侧往体内输液体的瓶子空了,这两只瓶子就会立刻被调换,液体便重新流入他的体内。这个让白石膏白纱布缠满身的士兵,浑身上下唯有一处是他们看得到的,那就是嘴巴上那个皮开肉绽的黑洞。
   那个士兵被安顿在紧挨着得克萨斯人的一张病床上。从早到晚,得克萨斯人都会侧身坐在自己的床上,兴致勃勃又满腔怜悯地跟那士兵说个没完没了。尽管那个士兵从不搭腔,他也毫不在意。
   病房里每天测量两次体温。每天一早及傍晚,护士克拉默就会端了满满一瓶体温计来到病房,沿着病房两侧走一圈,挨个儿给病员分发体温计。轮到那个浑身雪白的士兵时,她也有自己的绝招——把体温计塞进他嘴巴上的洞里,让它稳稳地搁在洞口的下沿。发完体温计,她便回到第一张病床,取出病人口中的体温计,记温,然后再走向下一张床,依次再绕病房一周。一天下午,她分发完体温计后,再次来到那个浑身裹着石膏和纱布的士兵病榻前,取出他的体温计查看时,发现他竟死了。
   “杀人犯,”邓巴轻声说道。
   得克萨斯人抬头看着他,疑惑地咧嘴笑了笑。
   “凶手,”约塞连说。
   “你们俩在说什么?”得克萨斯人问道,显得紧张不安。
   “是你谋杀了他,”邓巴说。
   “是你把他杀死的,”约塞连说。
   得克萨斯人的身子往后一缩。“你们俩准是疯了,我连碰也没碰过他。”
   “是你谋杀了他,”邓巴说。
   “我听说是你杀死他的,”约塞连说。
   “你杀了他,就因为他是黑人,”邓巴说。
   “你们俩准是疯了,”得克萨斯人大声叫道,“这儿是不准黑人住的,他们有专门安置黑人的地方。”
   “是那个中士偷偷送他进来的,”邓巴说。
   “是那个中士,”约塞连说。
   “看来,这事你们俩早就知道了。”
   约塞连左侧的那个准尉对那个士兵意外死亡的事却无动于衷。他对什么事部很冷漠,只要不惹到他头上,他绝不会开口说一句话。
   约塞连遇见随军牧师的前一天,餐厅的一只炉子爆炸,烧着了厨房的一侧,一股强烈的热浪迅速弥漫这个地方,甚至在约塞连的病房——离火灾现场差不多有三百英尺远,病员也能听到大火呼呼的咆哮声,以及燃烧着的木材发出的刺耳的爆裂声。滚滚浓烟快速涌过病房映着橘红光亮的窗户。大约过了一刻钟,消防车赶到现场救火。经过半个小时紧张急速的行动,员开始控制住火势。突然,空中传来了一阵熟悉的单调的嗡嗡声,原来是一群执行完任务后返航的轰炸机。员只得收起水龙带,火速返回机场,以防有飞机坠毁起火。轰炸机全都安全降落,最后一架飞机一着地,员便立刻掉转车头,火速驶过山坡,赶回医院继续灭火。当他们赶回医院,大火己熄。火是自己灭的,而且灭得很彻底,甚至没留下一处要用水浇泼的余烬。员自是很失望,无所事事,只好喝口温咖啡,四处转悠,想法子勾引护士。
   失火的第二天,随军牧师来到医院,当时,约塞连正忙着删改信件,只保留了其中卿卿我我的甜言蜜语。牧师在两张病床间的一张椅子上坐了下来,问约塞连感觉如何。他的身体微微倾向一侧,衬衫上别着的一枚上尉领章是约塞连所能见到的唯一能证明他官衔的标志,至于他是什么人,约塞连一无所知,于是便想当然地认为,他不是医生就是疯子。
   “哦,感觉挺好,”约塞连答道,“只是肝有些疼,所以我猜想自己应该也不是很正常吧,不过,不管怎么说,我必须承认,我感觉确实很不错。”
   “这就好,”牧师说。
   “是啊,”约塞连说,“没错,感觉好就行了。”
   “我本来想早点来的,”牧师说,“可是最近我的身体一直不怎么好。”
   “那实在是太不幸了,”约塞连说。
   “我只是得了伤风,”牧师马上补充道。
   “我一直在发烧,烧到华氏一百零一度。”约塞连也连忙补上一句。
   “那真糟糕,”牧师说。
   “是啊!”约塞连表示同意。“没错,是太糟了。”
   牧师有些坐立不安。片刻后,他问道:“有什么事需要我帮忙?”
   “没有,没有,”约塞连叹息道,“我想医生们尽了全力。”
   “不,不。”牧师有些脸红了。“我不是这个意思。我是指香烟啦……书啦……或者……玩具什么的。”
   “不,不,”约塞连说,“谢谢你。我想我要的东西都有了,缺的只是健康。”
   “真是太糟糕了。”
   “是啊,”约塞连说,“没错,是太糟了。”
   牧师又动了一子,左顾右盼了好几回,然后抬头凝视天花板,接着又垂目盯着地上出神。最后,他深吸了一口气。
   “内特利上尉托我向你问好,”他说。
   约塞连听说内特利上尉也是他的朋友,心里很是过意不去。看来,他俩的谈话终究有了一个基础。“你认识内特利上尉?”他遗憾地问道。
   “认识,我跟他很熟,”“他有些疯疯癫癫的,对不对?”
   牧师笑了笑,笑得很尴尬。“这我倒是不怎么清楚,我想我跟他还没那么熟。”
   “你尽可相信我的话,”约塞连说,“他的确有些疯疯癫癫的。”
   接着是片刻的沉默,牧师仔细考虑了一番,之后,突然打破沉默,问了个突兀的问题:“你就是约塞连上尉?”
   “内特利一开始就很不如意,因为他的家庭背景很好。”
   “请原谅,”牧师胆法地追问道,“我或许犯了个大错。你就是约塞连上尉?”
   “没错,”约塞连坦诚他说,“我就是约塞连上尉。”
   “二五六中队的?”
   “是二五六中队的,”约塞连答道,“我不知道这儿还有别的什么人也叫约塞连上尉。据我所知,我是唯一的约塞连上尉,不过这只是就我自己所知道而言的。”
   “我明白了,”牧师说,显得有些不怎么高兴。
   “如果你想替我们中队写一首象征主义诗的话,”约塞连指出,“那就是二的八次方。”~一·“不,”牧师低声道,“我没打算给你们中队写什么象征主义诗。”
   约塞连猛地挺直身子。他发现了牧师衬衫领子的另一边有一枚小小的银十字架。他惊愕不已,因为以前他从未跟一位随军牧师这么面对面谈过话。
   “原来你是一位随军牧师,”他兴奋得大声叫了起来,“我不知道你是随军牧师。”
   “呃,没错,我是牧师,”牧师答道,“难道你真的不知道?”
   “是啊,我真的不知道你是随军牧师。”约塞连目不转睛地看着牧师,咧大了嘴,一副入迷的样子。“我以前还真没见过随军牧师呢。”
   牧师又红了脸,垂目注视着自己的双手。他约摸有三十二岁,个子瘦小,黄褐色头发,一双棕色的眼睛看来缺乏自信。他那狭长的脸很苍白,面颊两侧的瘦削处满是昔日长青春痘所留下的瘢痕。
   约塞连很想帮他忙。
   “要我帮什么忙吗?”倒是牧师先开口问了起来。
   约塞连摇了摇头,还是咧着嘴笑。“不用,很抱歉,我想要的东西都有了,我在这儿过得很舒服。说实在的,我也没什么病。”
   “那很好嘛。”牧师话一出口就觉得懊悔,连忙把指节塞进嘴里,惶惶然地傻笑起来,可是约塞连依旧缄口不语,甚是令他失望。
   “我还得去探望飞行大队的其他人,”末了,他语带歉意地说,“我会再来看你的,也许明天吧。”
   “请你一定要来,”约塞连说。
   “只要你真想见我,我就来,”牧师低下头,很是羞怯地说,“我晓得好多人见了我都很不自在。”
   约塞连充满深情他说:“我真的想见你,你不会让我感到不自在的。”
   牧师甚是感激地绽开了笑容,随即垂目细细看了看一直捏在手里的一张纸条。他不出声地挨次数着病房里的床位,接着,将信将疑地把注意力集中到了邓巴身上。
   “请问一下,”他低声道,“那位是邓巴中尉吗?”
   “没错,”约塞连高声回答,“那位就是邓巴中尉。”
   “谢谢你,”牧师轻声说,“多谢了。我必须跟他谈谈,我必须跟飞行大队所有住院的官兵聊一聊。”
   “住其他病房的也要吗?”约塞连问。
   “是的。”
   “去其他病房你可得要留神啊,神父,”约塞连提醒他说,“那儿关的可全是精神病病人,尽是些疯子。”
   “你不必叫我神父,”牧师解释道,“我是个再洗礼派教徒。”
   “刚才提到其他那些病房的事,我可是说真的,”约塞连神情严肃地接着说下去,“宪兵是不会保护你的,因为他们才是疯到了极点。我本应该亲自陪你一块儿去,但是我不敢。精神病可是接触传染的。我们住的这一间是全医院唯一没有精神病病人的病房,除了我们这些人之外,人人都是疯子。这样说来,全世界或许只有这间病房没住精神病病人。”
   牧师立刻站了起来,悄悄离开约塞连的病床,随即微笑着点了点头,要他放心,并答应一定谨慎行事。“我该去看望邓巴中尉了,”他说。可是他又有点悔恨地舍不得离去。最后,他问了一句:“邓巴中尉人怎么样?”
   “没话说,”约塞连满有把握他说,“实实在在是个好人,令人钦佩。他可是全世界最有奉献精神的一个人。”
   “我不是这个意思,”牧师说罢,又低声问道,“他病得厉害吗?”
   “不,不厉害。说实在的,他压根儿就没什么病。”
   “那就好。”牧师松了口气,如释重负。
   “是啊,”约塞连说,“没错,是很好。”
   牧师见过邓巴后,便起身离开了病房。他刚走,邓巴就对约塞连说:“随军牧师你看见没有?随军牧师。”
   “他真可爱是不是!”约塞连接口道,“也许他们该投他三票。”
   “他们是谁?”邓巴有些疑惑地问道。
   病房尽头有一个小小的空间,用绿色三合板隔了起来,里面搁了张床铺,主人则是位中年上校,始终板着一张脸。他老是在床上忙个不歇。有个女人每天都来探望他,这女人看来很温柔,长得很甜,一头银灰色卷发。她不是护士,不是陆军妇女队队员,也不是红十字会的女职员,但是每天下午,她必定来皮亚诺萨岛上的这所医院报到。每次来,她都穿一身色彩柔和淡雅且又时髦考究的夏装,一双半高跟白皮鞋,腿上穿的尼龙长袜始终笔直。这位上校在通讯司令部供职,昼夜忙碌不停地把内地传送来的一连串电文记录到一本本用纱布做成的正方形记录簿上,每记满一本,他便细心封好,放入床头柜上一只有盖的白桶内。上校风度不凡,嘴巴宽大,两颊凹陷,双眼深迭,目光阴郁,似发了霉一般,脸色灰蒙蒙的。每次咳起嗽来,他总是小心翼翼地压低声音,心里亦不由自主地厌恶起来,遂用记录簿慢慢轻拍自己的嘴唇。
   上校老是被一大群专家围绕着。为了确诊他的病情,这些专家正在进行特别研究。他们用光照他的眼睛,检测他的视力,用针扎他的神经,看他是否有感觉。这些专家中有泌尿学家、淋巴学家、内分泌学家、心理学家、皮肤学家、病理学家、囊肿学家,而他们的任务就是研究上校身上各个与自己学科相关的系统。此外,还有一位哈佛大学动物学系的鲸类学家,此人是个秃顶,一脸迂腐,曾因IBM公司一台机器的阳极出了毛病,被人无情地劫持到这支卫生队来,陪伴这位垂死的上校,试着想跟他探讨《白鲸》这部小说。
   上校接受了全面检查。他身上的每一个器官都上了麻醉药,动过刀,涂过药粉,清洗干净,接着又让人摆弄着照了相,同时亦被挪动过,取出后再放回原先的部位。那个衣着整洁、身材修长挺秀气的女人则常坐在床边抚摸着他,而她微笑时的神情都带着一种端庄的忧伤。上校身材瘦长,有些驼背,起身走路时,弯腰曲背得更是厉害,身体屈成一个拱形。他挪步时异常小心翼翼,一步步缓慢前移,此外他的两眼下还有很深的黑眼圈。那女人说话很轻,甚至比上校的咳嗽声还要轻,大伙儿谁亦不曾听见她的说话声。
   不出十天,得克萨斯人便把所有病员清理出了病房。最先离开病房的是那位炮兵上尉,随后,大批病员相继迁出。邓巴、约塞连和驾驶战斗机的上尉飞行员是同一天上午逃出病房的。邓巴的晕眩症状消失了,上尉飞行员擤了擤鼻涕,约塞连则跟医生们说,他的肝早就不痛了。这病好得还真快,就连那位准尉也逃之夭夭了。十天之内,得克萨斯人就把病房里所有的病员赶回了各自的岗位,只有刑事调查部的那名工作人员留了下来——他从上尉飞行员那儿染上了感冒,后来竟转成了肺炎。
  
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