Author Archives: Hunter Patterson

Humor – Catch 22

Let’s look at a novel you probably read in high school…


Catch 22 is an antiwar novel published in 1961. Though it takes place in WW2, the novel is a satire of postwar America, which was at the time waging a bloody and stupid war in Korea.

Let’s look at chapter 1. We meet the protagonist, Yossarian, in the hospital, where he is heroically pretending to be sick to avoid doing his job.

  1. The novel has a reality that veers from horrifying to cartoonishly silly. Why do we accept it? How does he introduce this world, and its strange rules?
  2. Yossarian is a coward, in a war we culturally think of as heroic. Do we like him, regardless? Why?
  3. Do you use humor or satire in your work? How, and why? To lighten the mood, to make us like a certain character, to connect to the reader, etc.? How is Heller using it, here?
  4. This is a novel obsessed with paradoxes, in its characters, dialogue, plot, and even structure. Which ones stand out to you? What purpose do these paradoxes serve?

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‘Master & Commander’, Character Introductions


‘Master and Commander’ is the first of a twenty-part book series, published in 1969, by Patrick O’Brian. O’Brian, born 1914, was a successful biographer for most of his life (he wrote a definitive, if sleep-inducing, book on Picasso) before discovering his true love: writing about dudes on boats, at the age of fifty-five.

The first novel, ‘Master and Commander’, was rejected by his longtime UK publisher for being too full of jargon (a fair criticism, as you will see). It was picked up by a US publisher in 1969, where it sold middlingly, before falling out of print for fifteen years or so. He persevered, writing ten more books in the series, through that madness which possesses us, before a publisher reluctantly decided to give them another shot. When they were republished, they exploded in popularity with people who also like dudes on boats, spawning a devoted following (the books are still in most bookstores), and a surprisingly good Russel Crowe movie. O’Brian found commercial success, at age 70.

My question is why? What makes people fall in love with this series, or any series? While the world of the Napoleonic Wars is remarkably well-realized, and the action is excellent, I think most would agree that it comes down to its strong main characters.

Here is an excerpt from Chapter One (apologies, I could only find an excerpt on Amazon). Let’s read up until the scene where Jack speaks to Commandant Harte, which is the scene that ends with the line, “Was it you at the Governor’s, then?”

See the sample here:

  1. The books rely on us wanting Jack to succeed. How does O’Brian attempt to make us like, or at least empathize with Jack?
  2. Dropping the reader into this world reminds me of science-fiction novels, where the early chapters are spent attempting to understand the new rules and language of the world. How does O’Brian use the character’s point-of-view to inform us both about the character, and the world he inhabits?
  3. Similarly, what do you think of the slow pace of the opening? Does it help flesh out the world, before the action scenes, or would it’ve been better served by opening with a bang? Does the book feel old-fashioned?
  4. O’Brian’s limited third-person style is heavily informed by the character’s voice. Later, we will get scenes, and even whole books, from the point of view of Maturin. See this short excerpt from much later in the book: Great characters must have a consistent point of view and distinct voice: what techniques do you notice O’Brian doing? Are they effective?


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The Lathe of Heaven by Ursula Le Guin


Ursula Le Guin is a legend in the SciFi world, noted for her fearlessness, progressive themes, deep thinking about utopias, and so on. I haven’t read her YA work, but her SF stuff is terrific. Supplementals about her:

A New Yorker article:

A speech she gave recently: .

For the next meeting, let’s read the opening of one of my favorite novels, the Lathe of Heaven, about a man who dreams new realities into being.

Here’s a PDF:

Let’s read the first two chapters.

  1. How effectively do the first two chapters set up the world, characters, and main problem of the story?
  2. How does Le Guin establish characters of our protagonist (Orr) and antagonist (Haber)? How does she show Haber’s personality?
  3. How effectively does Le Guin introduce her worldbuilding and science details? Is it necessary to the plot/themes?
  4. If you hadn’t been told this story was ‘Science Fiction’, how would you have categorized it? Does it neatly fall into the genre?

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