首頁>> 文學>> 讽刺谴责>> 約瑟夫·海勒 Joseph Heller   美國 United States   現代美國   (1923年五月1日1999年十二月12日)
第二十二條軍規 Catch-22
  在當代美語中,第二十二條軍規(catch-22)已作為一個獨立的單詞,使用頻率極高,用來形容任何自相矛盾、不合邏輯的規定或條件所造成的無法擺脫的睏境、難以逾越的障礙,表示人們處於左右為難的境地,或者是一件事陷入了死循環,或者跌進邏輯陷阱,等等。
  第二十二條軍規[小說]-內容
  
  “如果你能證明自己發瘋,那就說明你沒瘋。”
  
  悖論式的進退維𠔌的局面,叫人左右為難的情況。
  第二十二條軍規[小說]-出處
  
  源出自美國作傢約瑟夫·海勒 ﹙Joseph Heller﹚根據自己在第二次世界大戰中的親身經歷創作的黑色幽默小說《第二十二條軍規》﹙1961﹚。主人公約翰·尤薩林上尉﹙Captain John Yossarian﹚是美國陸軍第27航空隊B-25轟炸機上的一名領航員兼投彈手,他渴望保住自己的性命。根據司令部規定,完成25次戰鬥飛行的人就有權申請回國,但必須得到長官批準。當尤薩林完成32次任務時,聯隊長卡思卡特上校已經把指標提高到40次了。等他飛完44次,上校又改成50次。當他飛完51次,滿以為馬上就能回國了,定額又提高到60次。因為第二十二條軍規規定,軍人必須服從命令,即使上校違反了司令部的規定,在他飛完規定次數後還叫他飛,那他也得去,否則他就犯下違抗命令的罪行。所以無論他飛滿多少次,上校總可以繼續增加定額,而他卻不得違抗命令。如此反復,永無休止。官兵們的精神已近乎崩潰,可誰也不可能停飛。於是他逃進醫院裝病,軍醫說他是“在白費時間”,他“當場就决定發起瘋來”,因為根據條例,精神失常的人是不準上天飛行的,但衹能由他本人提出申請。而一個人在面臨真正的危險時卻擔心自身安全,就證明他神智清醒。於是就産生了如下邏輯:如果你瘋了,衹要你申請就允許你停飛。可你一旦提出申請,就證明你不是瘋子,還得接着飛。最後,尤薩林終於明白: “這裏面衹有一個圈套……就是第二十二條軍規。” 這也是作者寫在小說扉頁上的一句話。
  第二十二條軍規[小說]-作者簡介
  
  約瑟夫·海勒(1923—1999)美國黑色幽默派及荒誕派代表作傢,出生於紐約市布魯剋林一個俄裔猶太人家庭。第二次世界大戰期間曾任空軍中尉。戰後進大學學習,1948年畢業於紐約大學,獲文學學士學位。1949年在哥倫比亞大學獲文學碩士學位後,得到富布賴特研究基金赴英國牛津大學深造一年。1950到1952年在賓夕法尼亞州立大學等校任教。此後即離開學校,到《時代》和《展望》等雜志編輯部任職。1961年,長篇小說《第二十二條軍規》問世,一舉成名,當年即放棄職務,專門從事寫作。除《第二十二條軍規》外,海勒還發表過長篇小說兩部:《出了毛病》(1974)和《像高爾德一樣好》(1979)。海勒也曾寫過劇本,如《我們轟炸了紐黑文》等,但影響不大。海勒的小說取材於現實生活,通過藝術的哈哈鏡和放大鏡,反映了美國社會生活的若幹側面,具有一定的認識價值和審美價值。
  第二十二條軍規[小說]-現實版的catch-22
  
  四川師大有就有這樣一條規定:不入學就不能辦理助學貸款。
  
  而要入學報到,又必須先交費。當下,沒有哪個大學敢公開聲稱“沒有錢就不要讀大學”了,教育部也三令五申,要“確保每位新生不因家庭經濟睏難而無法入學”。但在許多大學管理者的心裏,還是希望最大限度地追求利潤的,衹是這樣一來,那些成績優異但又交不起學費的貧睏生,也就成了自己追求利潤的一個重大障礙,既然不能公開拒絶他們,那就設計一條“第二十二條軍規”。學校既沒有拒絶貧睏生入學,也沒有拒絶對貧睏生發放助學貸款,但貧睏生卻既入不了學,也拿不到貸款,最後衹好自己“主動”選擇放棄,而學校卻不必為此承擔任何責任。
  
  大學出現了“第二十二條軍規”,讓人禁不住要問:辦大學,究竟是為了替國傢民族培養人才,還是為了錢?如果是前者,那國傢就有義務讓每一個能夠通過高考的貧睏學生順利進入大學,並解决他們的睏難;如果是後者,那也不妨直話直說,讓貧睏生早日放棄幻想,另做打算,而不必在這種荒誕的“軍規”面前,既傷腦筋,又傷感情。
  
  小說裏,尤索林最後發現,這個世界到處都由“第二十二條軍規”統治着,就像天羅地網一樣,令你無法擺脫,他認為世人正在利用所謂“正義行為”來為自己巧取豪奪尋找藉口。最後,他不得不開小差逃往瑞典。我很希望小桃,以及和她的境遇類似的貧睏生不要得出和尤索林同樣的結論。
  第二十二條軍規[小說]-解析
  
  (圖)第二十二條軍規第二十二條軍規
  
  所謂“第二十二條軍規”,其實並不存在,這一點可以肯定,但這也無濟於事。問題是每個人都認為它存在。這就更加糟糕,因為這樣就沒有具體的對象和條文,可以任人對它嘲弄、駁斥、控告、批評、攻擊、修正、憎恨、辱駡、唾棄、撕毀、踐踏或者燒掉。它衹是無處不在、無所不能的殘暴和專橫的象徵,是滅絶人性的官僚體製、是捉弄人和摧殘人的乖戾力量。它雖然顯得滑稽可笑,但又令人絶望害怕,使你永遠無法擺脫,無法逾越。它永遠對,你永遠錯,它總是有理,你總是無理。海勒認為,戰爭是不道德的,也是荒謬的,衹能製造混亂,腐蝕人心,使人失去尊嚴,衹能讓卡思卡特、謝司科普夫之流飛黃騰達,邁洛之流名利雙收。在他看來,戰爭也罷,官僚體製也罷,全是人在作祟,是人類本身的問題。
  第二十二條軍規[小說]-啓示
  
  
  具有無上權力和隨意性的第二十二條軍規並不存在而又無所不在,是一種有組織的混亂和制度化瘋狂的象徵。它既是一項具體而荒謬的法律條文,更是一種抽象的專製現實。它永遠對,你永遠錯;它總有理,你總沒理。它總是與滅絶人性的官僚體製如影隨形,使你永遠無法擺脫,無法逾越。
  
  在現實生活中,我們也時常會遭遇大大小小的“第二十二條軍規”,其實就是形形色色的制度陷阱,通常在資源被強勢一方所壟斷,當事人雙方信息嚴重不對稱或權利不平等的情況下最容易産生。它類似“霸王”條款,簡直就像是為官員權力尋租或行政免責而量身度造的。
  第二十二條軍規[小說]-電影《第二十二條軍規》
  
  譯名:第22條軍規
  
  片名:Catch-22
  
  年代:1970
  
  國傢:美國
  
  類別:喜劇/戰爭
  
  語言:英語
  
  別名:二十二支隊
  
  內容簡介
  
  邁剋·尼科爾斯執導的一部黑色反戰喜劇片。描述二次世界大戰期間,駐紮在地中海的一個美國空軍基地,有很多官兵想法逃避飛行任務及獲得不法之財。本片是一部內容豐富的黑色反戰喜劇,開始的片段拍得很有氣派,但其後的發展卻稍嫌混亂鬆散,未能貫穿主題。不過,有許多片段都拍得相當出色,而且娛樂性不低。


  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.
·內容提要·
  第二次世界大戰期間,美國的一個飛行大隊駐紮在地中海的“皮亞諾紮”島上。這是個光怪陸離的“世界”。大隊指揮官卡思卡特上校一心想當將軍,為了要達到自己的目的,千方百計博取上級的歡心。他一次次任意增加部下的轟炸飛行任務,意欲用部下的生命來換取自己的升遷。這支部隊裏還有兩個“出類拔萃”的人物。一個是一本正經而野心勃勃的謝司科普夫少尉。他畢業於預備軍官訓練隊,大戰爆發他頗為高興,因為戰爭使他有機會可以每天穿上軍官,用清脆、威嚴的嗓音對那些就要去送死的小夥子大喊口令,而他自己由於視力不佳,且有瘻管病,所以沒有上前綫的危險。他為了邀寵上級,飛黃騰達,就發瘋似地專心訓練自己的中隊,求得在檢閱中獲勝。由於他研究出不揮動雙手的行進隊列,被人稱為“名不虛傳的軍事天才人物”,從此迅速步步高升,最後當上了中將司令官。另一個是食堂管理員邁洛,他貌似“忠厚老實”,可是賺錢有術,以伙食採購為名,大搞投機倒把,辦起了一個跨國公司。他用大批飛機走私,甚至還雇用敵人的飛機為公司運輸,嚮敵人承包保衛橋梁等等。後來居然成為國際知名人物,當上歐洲不少城市的市長和馬耳他的副總督。
   本書主人公尤索林就生活在這個繞着戰爭怪物旋轉的光怪陸離的世界裏。他是這個飛行大隊所屬的一個中隊的上尉轟炸手。他滿懷拯救正義的熱忱投入戰爭,立下戰功,被提升為上尉。然而慢慢地,他在和周圍兇險環境的衝突中,親眼目睹了那種種虛妄、荒誕、瘋狂、殘酷的現象後,領悟到自己是受騙了。他變嚴肅誠摯為玩世不恭,從熱愛戰爭變為厭惡戰爭。他不想升官發財,也不願無謂犧牲,他衹希望活着回傢。看到同伴們一批批死去,內心感到十分恐懼,又害怕周圍的人暗算他,置他於死地。他反復訴說“他們每個人都想殺害我”。他渴望保住自己的生命,决心要逃離這個“世界”。於是他裝病,想在醫院裏度過餘下的戰爭歲月,但是未能如願。根據第二十二條軍規,瘋子才能獲準兔於飛行,但必須由本人提出申請;同時又規定,凡能意識到飛行有危險而提出免飛申請的,屬頭腦清醒者,應繼續執行飛行任務。第二十二條軍規還規定,飛行員飛滿上級規定的次數就能回國,但它又說,你必須絶對服從命令,要不就不準回國。因此上級可以不斷給飛行員增加飛行次數,而你不得違抗。如此反復,永無休止。最後,尤索林終於明白了,第二十二條軍規原來是個,是個圈套,是個無法逾越的障礙。這個世界到處都由第二十二條軍規統治着,就像天羅地網一樣,令你無法擺脫。他認為世人正在利用所謂“正義行為”來為自己巧取豪奪。最後,他不得不開小差逃往瑞典。
1、得剋薩斯人
  這可是實實在在的一見鐘情。
   初次相見,約塞連便狂熱地戀上了隨軍牧師。
   約塞連因肝痛住在醫院,不過,他這肝痛還不是黃疸病的徵兆,正因為如此,醫生們纔是傷透了腦筋。如果它轉成黃疸病,他們就有辦法對癥下藥;如果它沒有轉成黃疸病而且癥狀又消失了,那麽他們就可以讓他出院。可是他這肝痛老是拖着,怎麽也變不了黃疸病,實在讓他們不知所措。
   每人早晨,總有三個男醫生來查病房,他們個個精力充沛,滿臉一本正經,儘管眼力不好,一開口卻總是滔滔不絶。隨同他們一起來的是同樣精力充沛、不苟言笑的達剋特護士。討厭約塞連的病房護士當中就有她一個。他們看了看挂在約塞連病床床腳的病況記錄卡,不耐煩地問了問肝痛的情況。聽他說一切還是老樣子,他們似乎很是惱怒。
   “還沒有通大便?”那位上校軍醫問道。
   見他搖了搖頭,三個醫生互換了一下眼色。
   “再給他服一粒藥。”
   達剋特護士用筆記下醫囑,然後他們四人便朝下一張病床走去。沒有一個病房護士喜歡約塞連。其實,約塞連的肝早就不疼了,不過他什麽也沒說,而那些醫生也從來不曾起過疑心。他們衹是猜疑他早就通了大便,卻不願告訴任何人。
   約塞連住在醫院裏什麽都不缺。伙食還算不錯,每次用餐都有人送到他的病床上,而且還能吃到額外配給的鮮肉。下午天氣酷熱的時候,他和其他病號還能喝到冰果汁或是冰巧剋力牛奶。除了醫生和護士,從來就沒有人來打擾過他。每天上午,他得花點時間檢查信件,之後他便無所事事,整日閑躺在病床上消磨時光,倒亦心安理得。在醫院裏他過得相當舒但,而且要這麽住下去也挺容易,因為他的體溫一直在華氏一百零一度。跟鄧巴相比,他可是快活極了。鄧巴為了拿那份人傢端到他病床前的餐點,不得不一而再再而三地將自己摔成個狗吃屎。
   約塞連打定主意要留在醫院,不再上前綫打仗,自此以後,他便去信告知所有熟人,說自己住進了醫院,不過從未提及個中緣由。有一天,他心生妙計,寫信給每一個熟人,告知他要執行一項相當危險的飛行任務。“他們在徵募志願人員。任務很危險,但總得有人去幹、等我一完成任務回來,就給你去信。”但是從那以後,他再也沒有給誰寫過一封信。
   依照規定,病房裏的每個軍官病員都得檢查所有士兵病員的信件,士兵病員衹能呆在自己的病房裏。檢查信件實在枯燥得很。
   得知士兵的生活衹不過比軍官略多些許趣味而已,約塞連很覺失望。第一天下來,他便興味索然了。於是,他就別出心裁地發明了種種把戲,給這乏味單調的差事添些色彩。有一天,他宣佈要“處决”信裏所有的修飾語,這一來,凡經他審查過的每一封信裏的副詞和形容詞便統統消失了。第二天,他又嚮冠詞開戰。第三天,他的創意達到了更高點,把信裏的一切全給刪了,衹留下冠詞。他覺得玩這種遊戲引起了更多力學上的綫性內張力,差不多能使每一封信的要旨更為普遍化。沒隔多久,他又塗掉了落款部分,正文則一字不動。有一次,他刪去了整整一封信的內容,衹保留了上款“親愛的瑪麗”,並在信箋下方寫上:“我苦苦地思念着你。美國隨軍牧師A·T·塔普曼。”A·T·塔普曼是飛行大隊隨軍牧師的姓名。
   當他再也想不出什麽點子在這些信上面搞鬼時,他便開始攻擊信封上的姓名和地址,隨手漫不經心地一揮,就抹去了所有的住宅和街道名稱,好比讓一座座大都市消失,仿佛他是上帝一般。第二十二條軍規規定,審查官必須在自己檢查過的每一封信上署上自己的姓名。大多數信約塞連看都沒看過。凡是沒看過的信,他就簽上自己的姓名;要是看過了的,他則寫上:“華盛頓·歐文”。後來這名字寫煩了,他便改用“歐文·華盛頓”。審查信件一事引起了嚴重反響,在某些養尊處優的高層將領中間激起了一陣焦慮情緒。
   結果,刑事調查部派了一名工作人員裝作病人,住進病房。軍官們都知道他是刑事調查部的人,因為他老是打聽一個名叫歐文或是華盛頓的軍官,而且第一天下來,他就不願審查信件了。他覺得那些信實在是太枯燥無味。
   約塞連這次住的病房挺不錯,是他和鄧巴住過的最好的病房之一。這次跟他們同病房的有一名戰鬥機上尉飛行員,二十四歲,蓄着稀稀拉拉的金黃色八字須。
   這傢夥曾在隆鼕時節執行飛行任務時被擊中,飛機墜入亞得裏亞海,但他竟安然無事,連感冒也沒染上。時下已是夏天,他沒讓人從飛機上給擊落,反倒說是得了流行性感冒。約塞連右側病床的主人是一名身患瘧疾而嚇得半死的上尉,這傢夥屁股上被蚊子叮了一口,此刻正脈脈含情地趴在床上。約塞連對面是鄧巴,中間隔着通道。緊挨鄧巴的是一名炮兵上尉,現在約塞連再也不跟他下棋了。這傢夥棋下得極好,每回跟他對弈總是趣味無窮,然而,正因為趣味無窮,反讓人有被愚弄的感覺,所以約塞連後來就不再跟他下棋了。再過去便是那個來自得剋薩斯州頗有教養的得剋薩斯人,看上去很像電影裏的明星,他頗有愛國心地認為,較之於無産者——
   流浪漢、娼妓、罪犯、墮落分子、無神論者和粗鄙下流的人,有産者,亦即上等人,理應獲得更多的選票。
   那天他們送得剋薩斯人進病房時,約塞連正在刪改信件。那一天天氣酷熱,不過寧靜無事。暑熱沉沉地罩住屋頂,悶得屋裏透不出一絲聲響。鄧巴又是紋絲不動地仰躺在床上,兩眼似洋娃娃的眼睛一般,直愣愣地盯着天花板。他正竭盡全力想延長自己的壽命,而辦法就是培養自己的耐煩功夫。見鄧巴為了延長自己的壽命竟如此賣力,約塞連還以為他已經咽氣了呢。得剋薩斯人被安置在病房中央的一張床上。沒隔多久,他便開始直抒高見。
   鄧巴霍地坐起身,“讓你說中了,”他激奮得叫了起來。“確實是少了樣什麽東西,我一直很清楚少了樣什麽東西,這下我知道少了什麽。”他使勁一拳擊在手心裏。“就是缺少了愛國精神,”他斷言道。
   “你說得沒錯,”約塞連也衝他高喊道,“你說得沒錯,你說得沒錯、你說得沒錯。熱狗、布魯剋林玉米餅、媽媽的蘋果餡餅。為了掙得這些東西,我們每個人都在不停地拼死拼活,可有誰甘願替上等人效力?又有誰甘願替上等人多拉幾張選票而賣命?沒有愛國精神,就這麽回事兒。也毫無愛國心。”
   約塞連左側床上的準尉卻是無動於衷。“哪個在鬍說八道?”他不耐煩地問了一句,隨即翻過身去,繼續睡他的覺。
   得剋薩斯人倒是顯得性情溫和、豪爽,着實招人喜愛。然而三天過後,就再也沒人能容忍他了。
   他總惹得人心煩意亂,渾身不自在,心生厭惡,所以大傢全都躲着他,除了那個全身素裹的士兵以外,因為他根本沒辦法動彈,全身上下都裹着石膏和紗布,雙腿雙臂已全無用處。他是趁黑夜沒人註意時被偷偷擡進病房的。直到第二天早晨醒來,大夥兒纔發現病房裏多了他這麽個人,他的外觀實在古怪得很:雙腿雙臂全都被垂直地吊了起來,並且用鉛陀懸空固定,衹見黑沉沉的鉛舵穩穩地挂在他的上方。他的左右胳膊肘內側綳帶上各縫入了一條裝有拉鏈的口子,純淨的液體從一隻明淨的瓶裏由此流進他的體內。在他腹股溝處的石膏上安了一節固定的鋅管,再接上一根細長的橡皮軟管,將腎排泄物點滴不漏地排入地板上一隻幹淨的封口瓶內。等到地板上的瓶子滿了,從胳膊肘內側往體內輸液體的瓶子空了,這兩衹瓶子就會立刻被調換,液體便重新流入他的體內。這個讓白石膏白紗布纏滿身的士兵,渾身上下唯有一處是他們看得到的,那就是嘴巴上那個皮開肉綻的黑洞。
   那個士兵被安頓在緊挨着得剋薩斯人的一張病床上。從早到晚,得剋薩斯人都會側身坐在自己的床上,興致勃勃又滿腔憐憫地跟那士兵說個沒完沒了。儘管那個士兵從不搭腔,他也毫不在意。
   病房裏每天測量兩次體溫。每天一早及傍晚,護士剋拉默就會端了滿滿一瓶體溫計來到病房,沿着病房兩側走一圈,挨個兒給病員分發體溫計。輪到那個渾身雪白的士兵時,她也有自己的絶招——把體溫計塞進他嘴巴上的洞裏,讓它穩穩地擱在洞口的下沿。發完體溫計,她便回到第一張病床,取出病人口中的體溫計,記溫,然後再走嚮下一張床,依次再繞病房一周。一天下午,她分發完體溫計後,再次來到那個渾身裹着石膏和紗布的士兵病榻前,取出他的體溫計查看時,發現他竟死了。
   “殺人犯,”鄧巴輕聲說道。
   得剋薩斯人擡頭看着他,疑惑地咧嘴笑了笑。
   “兇手,”約塞連說。
   “你們倆在說什麽?”得剋薩斯人問道,顯得緊張不安。
   “是你謀殺了他,”鄧巴說。
   “是你把他殺死的,”約塞連說。
   得剋薩斯人的身子往後一縮。“你們倆準是瘋了,我連碰也沒碰過他。”
   “是你謀殺了他,”鄧巴說。
   “我聽說是你殺死他的,”約塞連說。
   “你殺了他,就因為他是黑人,”鄧巴說。
   “你們倆準是瘋了,”得剋薩斯人大聲叫道,“這兒是不準黑人住的,他們有專門安置黑人的地方。”
   “是那個中士偷偷送他進來的,”鄧巴說。
   “是那個中士,”約塞連說。
   “看來,這事你們倆早就知道了。”
   約塞連左側的那個準尉對那個士兵意外死亡的事卻無動於衷。他對什麽事部很冷漠,衹要不惹到他頭上,他絶不會開口說一句話。
   約塞連遇見隨軍牧師的前一天,餐廳的一隻爐子爆炸,燒着了廚房的一側,一股強烈的熱浪迅速彌漫這個地方,甚至在約塞連的病房——離火災現場差不多有三百英尺遠,病員也能聽到大火呼呼的咆哮聲,以及燃燒着的木材發出的刺耳的爆裂聲。滾滾濃煙快速涌過病房映着橘紅光亮的窗戶。大約過了一刻鐘,消防車趕到現場救火。經過半個小時緊張急速的行動,員開始控製住火勢。突然,空中傳來了一陣熟悉的單調的嗡嗡聲,原來是一群執行完任務後返航的轟炸機。員衹得收起水竜帶,火速返回機場,以防有飛機墜毀起火。轟炸機全都安全降落,最後一架飛機一着地,員便立刻掉轉車頭,火速駛過山坡,趕回醫院繼續滅火。當他們趕回醫院,大火己熄。火是自己滅的,而且滅得很徹底,甚至沒留下一處要用水澆潑的餘燼。員自是很失望,無所事事,衹好喝口溫咖啡,四處轉悠,想法子勾引護士。
   失火的第二天,隨軍牧師來到醫院,當時,約塞連正忙着刪改信件,衹保留了其中卿卿我我的甜言蜜語。牧師在兩張病床間的一張椅子上坐了下來,問約塞連感覺如何。他的身體微微傾嚮一側,襯衫上別着的一枚上尉領章是約塞連所能見到的唯一能證明他官銜的標志,至於他是什麽人,約塞連一無所知,於是便想當然地認為,他不是醫生就是瘋子。
   “哦,感覺挺好,”約塞連答道,“衹是肝有些疼,所以我猜想自己應該也不是很正常吧,不過,不管怎麽說,我必須承認,我感覺確實很不錯。”
   “這就好,”牧師說。
   “是啊,”約塞連說,“沒錯,感覺好就行了。”
   “我本來想早點來的,”牧師說,“可是最近我的身體一直不怎麽好。”
   “那實在是太不幸了,”約塞連說。
   “我衹是得了傷風,”牧師馬上補充道。
   “我一直在發燒,燒到華氏一百零一度。”約塞連也連忙補上一句。
   “那真糟糕,”牧師說。
   “是啊!”約塞連表示同意。“沒錯,是太糟了。”
   牧師有些坐立不安。片刻後,他問道:“有什麽事需要我幫忙?”
   “沒有,沒有,”約塞連嘆息道,“我想醫生們盡了全力。”
   “不,不。”牧師有些臉紅了。“我不是這個意思。我是指香煙啦……書啦……或者……玩具什麽的。”
   “不,不,”約塞連說,“謝謝你。我想我要的東西都有了,缺的衹是健康。”
   “真是太糟糕了。”
   “是啊,”約塞連說,“沒錯,是太糟了。”
   牧師又動了一子,左顧右盼了好幾回,然後擡頭凝視天花板,接着又垂目盯着地上出神。最後,他深吸了一口氣。
   “內特利上尉托我嚮你問好,”他說。
   約塞連聽說內特利上尉也是他的朋友,心裏很是過意不去。看來,他倆的談話終究有了一個基礎。“你認識內特利上尉?”他遺憾地問道。
   “認識,我跟他很熟,”“他有些瘋瘋癲癲的,對不對?”
   牧師笑了笑,笑得很尷尬。“這我倒是不怎麽清楚,我想我跟他還沒那麽熟。”
   “你盡可相信我的話,”約塞連說,“他的確有些瘋瘋癲癲的。”
   接着是片刻的沉默,牧師仔細考慮了一番,之後,突然打破沉默,問了個突兀的問題:“你就是約塞連上尉?”
   “內特利一開始就很不如意,因為他的家庭背景很好。”
   “請原諒,”牧師膽法地追問道,“我或許犯了個大錯。你就是約塞連上尉?”
   “沒錯,”約塞連坦誠他說,“我就是約塞連上尉。”
   “二五六中隊的?”
   “是二五六中隊的,”約塞連答道,“我不知道這兒還有別的什麽人也叫約塞連上尉。據我所知,我是唯一的約塞連上尉,不過這衹是就我自己所知道而言的。”
   “我明白了,”牧師說,顯得有些不怎麽高興。
   “如果你想替我們中隊寫一首象徵主義詩的話,”約塞連指出,“那就是二的八次方。”~一·“不,”牧師低聲道,“我沒打算給你們中隊寫什麽象徵主義詩。”
   約塞連猛地挺直身子。他發現了牧師襯衫領子的另一邊有一枚小小的銀十字架。他驚愕不已,因為以前他從未跟一位隨軍牧師這麽面對面談過話。
   “原來你是一位隨軍牧師,”他興奮得大聲叫了起來,“我不知道你是隨軍牧師。”
   “呃,沒錯,我是牧師,”牧師答道,“難道你真的不知道?”
   “是啊,我真的不知道你是隨軍牧師。”約塞連目不轉睛地看着牧師,咧大了嘴,一副入迷的樣子。“我以前還真沒見過隨軍牧師呢。”
   牧師又紅了臉,垂目註視着自己的雙手。他約摸有三十二歲,個子瘦小,黃褐色頭髮,一雙棕色的眼睛看來缺乏自信。他那狹長的臉很蒼白,面頰兩側的瘦削處滿是昔日長青春痘所留下的瘢痕。
   約塞連很想幫他忙。
   “要我幫什麽忙嗎?”倒是牧師先開口問了起來。
   約塞連搖了搖頭,還是咧着嘴笑。“不用,很抱歉,我想要的東西都有了,我在這兒過得很舒服。說實在的,我也沒什麽病。”
   “那很好嘛。”牧師話一出口就覺得懊悔,連忙把指節塞進嘴裏,惶惶然地傻笑起來,可是約塞連依舊緘口不語,甚是令他失望。
   “我還得去探望飛行大隊的其他人,”末了,他語帶歉意地說,“我會再來看你的,也許明天吧。”
   “請你一定要來,”約塞連說。
   “衹要你真想見我,我就來,”牧師低下頭,很是羞怯地說,“我曉得好多人見了我都很不自在。”
   約塞連充滿深情他說:“我真的想見你,你不會讓我感到不自在的。”
   牧師甚是感激地綻開了笑容,隨即垂目細細看了看一直捏在手裏的一張紙條。他不出聲地挨次數着病房裏的床位,接着,將信將疑地把註意力集中到了鄧巴身上。
   “請問一下,”他低聲道,“那位是鄧巴中尉嗎?”
   “沒錯,”約塞連高聲回答,“那位就是鄧巴中尉。”
   “謝謝你,”牧師輕聲說,“多謝了。我必須跟他談談,我必須跟飛行大隊所有住院的官兵聊一聊。”
   “住其他病房的也要嗎?”約塞連問。
   “是的。”
   “去其他病房你可得要留神啊,神父,”約塞連提醒他說,“那兒關的可全是精神病病人,盡是些瘋子。”
   “你不必叫我神父,”牧師解釋道,“我是個再洗禮派教徒。”
   “剛纔提到其他那些病房的事,我可是說真的,”約塞連神情嚴肅地接着說下去,“憲兵是不會保護你的,因為他們纔是瘋到了極點。我本應該親自陪你一塊兒去,但是我不敢。精神病可是接觸傳染的。我們住的這一間是全醫院唯一沒有精神病病人的病房,除了我們這些人之外,人人都是瘋子。這樣說來,全世界或許衹有這間病房沒住精神病病人。”
   牧師立刻站了起來,悄悄離開約塞連的病床,隨即微笑着點了點頭,要他放心,並答應一定謹慎行事。“我該去看望鄧巴中尉了,”他說。可是他又有點悔恨地捨不得離去。最後,他問了一句:“鄧巴中尉人怎麽樣?”
   “沒話說,”約塞連滿有把握他說,“實實在在是個好人,令人欽佩。他可是全世界最有奉獻精神的一個人。”
   “我不是這個意思,”牧師說罷,又低聲問道,“他病得厲害嗎?”
   “不,不厲害。說實在的,他壓根兒就沒什麽病。”
   “那就好。”牧師鬆了口氣,如釋重負。
   “是啊,”約塞連說,“沒錯,是很好。”
   牧師見過鄧巴後,便起身離開了病房。他剛走,鄧巴就對約塞連說:“隨軍牧師你看見沒有?隨軍牧師。”
   “他真可愛是不是!”約塞連接口道,“也許他們該投他三票。”
   “他們是誰?”鄧巴有些疑惑地問道。
   病房盡頭有一個小小的空間,用緑色三合板隔了起來,裏面擱了張床鋪,主人則是位中年上校,始終板着一張臉。他老是在床上忙個不歇。有個女人每天都來探望他,這女人看來很溫柔,長得很甜,一頭銀灰色捲發。她不是護士,不是陸軍婦女隊隊員,也不是紅十字會的女職員,但是每天下午,她必定來皮亞諾薩島上的這所醫院報到。每次來,她都穿一身色彩柔和淡雅且又時髦考究的夏裝,一雙半高跟白皮鞋,腿上穿的尼竜長襪始終筆直。這位上校在通訊司令部供職,晝夜忙碌不停地把內地傳送來的一連串電文記錄到一本本用紗布做成的正方形記錄簿上,每記滿一本,他便細心封好,放入床頭櫃上一隻有蓋的白桶內。上校風度不凡,嘴巴寬大,兩頰凹陷,雙眼深迭,目光陰鬱,似發了黴一般,臉色灰蒙蒙的。每次咳起嗽來,他總是小心翼翼地壓低聲音,心裏亦不由自主地厭惡起來,遂用記錄簿慢慢輕拍自己的嘴唇。
   上校老是被一大群專傢圍繞着。為了確診他的病情,這些專傢正在進行特別研究。他們用光照他的眼睛,檢測他的視力,用針紮他的神經,看他是否有感覺。這些專傢中有泌尿學家、淋巴學家、內分泌學家、心理學家、皮膚學家、病理學家、囊腫學家,而他們的任務就是研究上校身上各個與自己學科相關的係統。此外,還有一位哈佛大學動物學係的鯨類學家,此人是個禿頂,一臉迂腐,曾因IBM公司一臺機器的陽極出了毛病,被人無情地劫持到這支衛生隊來,陪伴這位垂死的上校,試着想跟他探討《白鯨》這部小說。
   上校接受了全面檢查。他身上的每一個器官都上了麻醉藥,動過刀,塗過藥粉,清洗幹淨,接着又讓人擺弄着照了相,同時亦被挪動過,取出後再放回原先的部位。那個衣着整潔、身材修長挺秀氣的女人則常坐在床邊撫摸着他,而她微笑時的神情都帶着一種端莊的憂傷。上校身材瘦長,有些駝背,起身走路時,彎腰麯背得更是厲害,身體屈成一個拱形。他挪步時異常小心翼翼,一步步緩慢前移,此外他的兩眼下還有很深的黑眼圈。那女人說話很輕,甚至比上校的咳嗽聲還要輕,大夥兒誰亦不曾聽見她的說話聲。
   不出十天,得剋薩斯人便把所有病員清理出了病房。最先離開病房的是那位炮兵上尉,隨後,大批病員相繼遷出。鄧巴、約塞連和駕駛戰鬥機的上尉飛行員是同一天上午逃出病房的。鄧巴的暈眩癥狀消失了,上尉飛行員擤了擤鼻涕,約塞連則跟醫生們說,他的肝早就不痛了。這病好得還真快,就連那位準尉也逃之夭夭了。十天之內,得剋薩斯人就把病房裏所有的病員趕回了各自的崗位,衹有刑事調查部的那名工作人員留了下來——他從上尉飛行員那兒染上了感冒,後來竟轉成了肺炎。
  
首頁>> 文學>> 讽刺谴责>> 約瑟夫·海勒 Joseph Heller   美國 United States   現代美國   (1923年五月1日1999年十二月12日)