While there are elements of science fiction in his stories, he is more clearly a fantasist "one who creates a believable but purely imaginary world such as one finds in Lewis Carroll's, Alice's Adventures in Wonderland (1865). ... The story's narrator never passes judgment on the words or deeds of the characters. ...
The introductory female voiceover is interrupted by the character himself at the moment of pronominal identification: "But when he- that is, I" (Tilde Swinton's Orlando interjects, looking straight at the camera) - cam into the world (the voiceover continues), he was looking for something else. ... Thus, "the classic" functions as the discursive equivalent of Alice's "tiny golden key" in Wonderland, opening doors marked "authority", "truth", and "value". ...
This also defines the entire style in which the novel is written, including the plots and the characters - especially the protagonist, Yossarian. ... Scheisskopf (meaning "shit head", which is an accurate comic description of the character) concentrates on his parades with ridiculous attention to detail which are irrelevant to the war. ... The dialogue is reminiscent of Alice in Wonderland, with the "Why? ... However, in Catch-22, the situations that the characters are put through are more outrageously bizarre, which in turn lead to the illogical arguments that plague the story throughout. ...
