During this rainy season I revisited two old favourites: Siddhartha by Hermen Hesse and Small Gods by Terry Pratchett. The two protagonists, Siddhartha and Brutha, despite the vast gulf of time and space – intergallactic in this instance – that separate them, share a similar quest which they persue with almost foolhardy zeal. In their confidence, courage and mistakes, I find inspiration. Their stories are poetic and soul-stirring in their unique ways.
And then I also encountered the stunning brilliance of Joseph Heller in Catch-22. The story of Yossarian, the antihero of this emotional rollercoaster of a novel, reflects the horrible struggle of a rebel who defies glorified social norms and tries to remain sane among mad men. His quest is of a less noble nature. Nontheless, in its uncompromising reality, no less relevant to us. Through his sheer humanity, Yossarian seems to be closer to us than Siddhartha and Brutha.
Siddhartha
It’s easy to see the attraction of Siddhartha to a Buddhist monk. For one thing, he is an admirer of the Buddha. But he is no follower of the Buddha. A fiercely independent, intelligent and arrogant young man, Siddhartha, unlike the other historical Siddhartha who he meets in Jetavana, keeps taking side alleys and wastes many years of his life before reaching his goal. In his ignorance, Siddhartha seems to be closer to us than the Buddha.
Even closer to us, perhaps alarmingly so, is Govinda, Siddhartha’s childhood friend. Govinda is Siddhartha’s shadow, devoted to him and always looking up to him for guidance. Yet, the encounter at Jetavana changes everything. Govinda’s faith stands in stark contrast to Siddhartha’s ready scepticism. The way their lives unfold after separation is revealing in the way their different attitudes affect their practice.
With half of a smile, with an unwavering openness and kindness, Gotama looked into the stranger’s eyes and bid him to leave with a hardly noticeable gesture.
“You are wise, oh Samana.”, the venerable one spoke.
“You know how to talk wisely, my friend. Be aware of too much wisdom!”
The Buddha turned away, and his glance and half of a smile remained forever etched in Siddhartha’s memory.
I have never before seen a person glance and smile, sit and walk this way, he thought; truly, I wish to be able to glance and smile, sit and walk this way, too, thus free, thus venerable, thus concealed, thus open, thus child-like and mysterious. Truly, only a person who has succeeded in reaching the innermost part of his self would glance and walk this way. Well so, I also will seek to reach the innermost part of my self.
I saw a man, Siddhartha thought, a single man, before whom I would have to lower my glance. I do not want to lower my glance before any other, not before any other. No teachings will entice me any more, since this man’s teachings have not enticed me.
I am deprived by the Buddha, thought Siddhartha, I am deprived, and even more he has given to me. He has deprived me of my friend, the one who had believed in me and now believes in him, who had been my shadow and is now Gotama’s shadow. But he has given me Siddhartha, myself.
Brutha
Dulan introduced me to the Discworld series during our early Vesess days. Small Gods remain my favourite of the series, closely followed by Thief of Time, again partially because of the Buddhist allusions, especially in the form of Lu-Tze, the enigmatic history monk. The entire book is a sustained unrelenting satire on organized religion. A ‘religious’ man admiring this thoroughly unreligious book says as much about the radical nature of early Buddhism as it does about Terry Pratchett’s insightful creativity.
Buddhists don’t pray to a God. At least, not explicitly. Unfortunately, though, it hasn’t prevented the Buddhist teachings from being subjected to the same inevitable changes that affected the Church of Great God Om.
“Right,” said Om. “Now … listen. Do you know how gods get power?”
“By people believing in them,” said Brutha. “Millions of people believe in you.”
Om hesitated.
All right, all right. We are here and it is now. Sooner or later he’ll find out for himself …
“They don’t believe,” said Om.
“But-”
“It’s happened before,” said the tortoise. “Dozens of times. D’you know Abraxas found the lost city of Ee? Very strange carvings, he says. Belief, he says. Belief shifts. People start out believing in the god and end up believing in the structure.”
“I don’t understand,” said Brutha.
“Let me put it another way,” said the tortoise. “I am your God, right?”
“Yes.”
“And you’ll obey me.”
“Yes.”
“Good. Now take a rock and go and kill Vorbis.”
Brutha didn’t move.
“I’m sure you heard me,” said Om.
“But he’ll … he’s … the Quisition would-”
“Now you know what I mean,” said the tortoise. “You’re more afraid of him than you are of me, now. Abraxas says here: ‘Around the Godde there forms a Shelle of prayers and Ceremonies and Buildings and Priestes and Authority, until at Last the Godde Dies. Ande this maye notte be noticed.’”
“That can’t be true!”
“I think it is. Abraxas says there’s a kind of shellfish that lives in the same way. It makes a bigger and bigger shell until it can’t move around any more, and so it dies.”
“But … but … that means … the whole church … ”
“Yes.”
Yossarian
Yossarian’s dilemma is best summed up in these few paragraphs:
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 were 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.
“That’s some catch, that Catch-22,” he observed.
“It’s the best there is,” Doc Daneeka agreed.
Yossarian saw it clearly in all its spinning reasonableness. There was an elliptical precision about its perfect pairs and parts that was graceful and shocking, like good modern art, and at times Yossarian wasn’t quite sure that he saw it at all, just the way he was never quite sure about good modern art or about the flies Orr saw in Appleby’s eyes. (p. 46)
In his insightful analysis of Catch-22, Ven. Bodhesako wrote:
Indeed, in a world in which “men went mad and were rewarded with medals” — p.16 — who is sane, save he who would escape from that world? This is Yossarian’s dilemma, the “vile, excruciating dilemma of duty and damnation” (p.136): he doesn’t want to be in the war. He doesn’t want to die. “He thirsted for life” – p. 331. For Yossarian the enemy is not the Germans, or at least not only the Germans. “‘The enemy,’ retorted Yossarian with weighted precision, ‘is anybody who’s going to get you killed …’” And because of this “morbid aversion to dying” – p. 297 – men shrink from him and regard him as crazy. Clevinger is such a one. “You’re crazy!” Clevinger shrieks at Yossarian on p. 16; but later (p. 75) we are told that the patriotic and idealistic Clevinger was a dope “who would rather be a corpse than bury one”; and finally (p. 103): “Clevinger was dead. That was the basic flaw in his philosophy.” And yet, by the very fact of being part of such a world one cannot be completely sane; and to be not completely sane is to be not sane at all. But if one tries to escape is that not then evidence of a spark of sanity? Perhaps so; but the problem is that when we try to escape we discover that we can’t: every effort to free oneself from (in Buddhist terms) involvement with craving, aversion, and delusion or (in the novel’s terms) the war – every effort apparently brings one back to the same dilemma, and results only in making the problem more urgent (and perhaps also more evident), as will be recognized by anyone who has ever tried to extirpate the root of craving, and failed. Is it not madness, then, to try to escape?
And yet, if to do nothing is regarded as less insane, still that too does not lead to disengagement from a mad world. This is the very crux of Yossarian’s dilemma, and ours as well: a dilemma illuminated in experience by the effort to practice the Buddha’s Teaching and in fiction by Yossarian’s effort to escape from the war.
There lies the beauty of Catch-22. Yossarian’s story is the story of us.
