The impossibility of filming Catch 22

STARLIFESTYLE ONLY Catch 22 — Episode 1 – Young American flyers arrive in war and discover that the bureaucracy is more deadly than the enemy. Yossarian (Christopher Abbott), shown. (Photo by: Philippe Antonello/Hulu)

I’ve been watching George Clooney’s TV adaptation of Joseph Heller’s Catch 22 and it did that great thing of making me want to read the book all over again, which I have not done for a long, long time. Too long, as it turns out, because it is indeed a unique piece of writing that seemed so much fresher and full of energy than I remembered it.

The Clooney adaptation is very different to the 1970 film but I think that both show the impossibility of capturing the wild, contradictory spirit of the book.

Catch 22 is a novel that has contradictions at its heart. The main one being that in the novel, set in the later years of the Second World War, as a member of a bomber crew you could be grounded and not have to fly any more missions if you were insane. But before you could be grounded you would have to ask to be grounded. And if you asked to be grounded it proved that you were actually in full possession of your faculties, and so could not be grounded.

‘That’s some catch, that catch 22,’ says Yossarian after Doc Daneeka explains it to him.

‘It’s the best there is,’ says Doc Daneeka.

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The genius of Rhasan Roland Kirk

This year has for me been the year of the saxophone – from rediscovering the music of Coleman Hawkins and John Coltrane, and going to see Pharaoh Sanders at Ronnie Scott’s in Soho in July and Too Many Zooz at the Shepherd’s Bush Empire in March, to getting to know Austrian saxophonist Guido Spannocchi, who regularly plays at the Bloomsbury Hotel basement bar just off New Oxford Street. But the crowning glory of the year for me has been finding out about the unique, multi-instrumental  talent of Rhasan Roland Kirk. And I’ve had to ask myself: how has it taken me so long to begin listening to this giant of 20th century music?

I should have arrived at this stage earlier. I came to Rhasan Roland Kirk via Jimi Hendrix. I knew that Jimi Hendrix was a big fan of Kirk’s – it is a well-documented fact that Hendrix had the Kirk album Rip, Rag and Panic in his luggage when he arrived in London from America in 1966. But for some reason I had never checked out his music. I wondered after I had listened to him if this was because Kirk, in a genre of individualists, was such an arch-individualist that he didn’t logically fall into any of the standard family trees of jazz – he was way out there doing his own thing.

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