we call that delegation of authority (12. 869)

First in print on this day in 1961, the debut novel of Joseph Heller, often cited as one of the most significant literary works of the twentieth century, follows the narratives of fighter pilots and bombaries of a US army airforce squadron based on an island off the west coast of Italy during the waning years of World War II, struggling to maintain sanity and professional bearing while fulfilling increasingly elusive service requirements in order to be discharged and reintegrated back home. Relayed with a unique, non-chronological third person omniscient voice to develop separate perspectives and forward the plot along with the timeline for the course of events. Replete with paradox and flashback and shifting points-of-view, the antihero Captain John Yossarian comes to fear his commanding officers more than the enemy as the required number of combat missions keep increasing and though Yossarian once met that prerequisite, the requirement is retroactively raised, and cannot escape due to contradictory rules and conditions—the bureaucratic rule never stated fully, if it is even in written regulation, follows the illogic that one can be deemed unfit to fly by reason of insanity—incapacity demonstrated by willingness to participate—but as one has to apply to be excused from further mission, the appeal itself betrays a sound mind and self of self-preservation, refuting the reason for being grounded. With parallel themes of theodicy and why a benevolent god would allow evil in the world, Heller’s working title was Catch-18, referencing the the Hebrew letter and symbol chai (חַי ) which in Jewish numerology, gematria—assigning a number value to each letter—this sort of secret message to piece together being more prominent in earlier drafts, signifies being alive, but publishers Simon & Schuster urged the author to change it to avoid confusion Leon Uris’ recent Mila 18 and seventeen also rejected for its proximity to another contemporary in Stalag 17. Twenty-two encoded as tav—truth—as the last letter of the alphabet and the doubling (picked by the editors) evokes the feeling of déjà-vu and disjointedness with episodes replayed again and again from different angles.