I have a deep affection for Catch-22. However, being a passionate fan of well-portrayed historical characters, classical and medieval history, as well as geopolitical history, my love for this book intensifies even further.

Interestingly, I was completely unaware of my enjoyment of art history until I happened upon Picture This. After reading it, the experience of viewing Aristotle Contemplating a Bust of Homer at the Metropolitan Museum of Art in NY was indescribable.

I was filled with an overwhelming sense of happiness and excitement. The painting truly brought the book to life, allowing me to vividly imagine the scenes and characters described within its pages.

It was as if a whole new world had opened up before my eyes, connecting my love for history and literature in a most unexpected and wonderful way.

Is there another book even remotely similar to "Imagine a Picture"? I doubt it.

Heller's unique, unusual, and completely unrivaled book came to my attention quite by chance. Specifically, after reading the famous "Catch-22," I decided to continue exploring Joseph Heller.

The annotation is completely unimpressive. The genre - historical novel - is also not very enticing. But once I started reading, I couldn't stop.

The book has no beginning - if we don't consider Aristotle's musings on Homer's bust as the beginning. Or perhaps Rembrandt van Rijn's thoughts as he depicts Aristotle, musing on Homer's bust, wondering how much money he can get for this bust. The book also has no end - if we don't count the execution of Socrates, which was known from the very beginning, or the story of Aristotle's installation in the Metropolitan Museum, still musing on Homer's bust. There are no main characters in the book, or rather - there are many. There is Rembrandt van Rijn, in essence, a not-too-distant, irascible, and unpleasant person - but at the same time a great artist. There is Plato - the most famous philosopher, who spent his whole life promoting the idea of a totalitarian state led by a "virtuous tyrant." There is Socrates - a philosopher who left no writings, and whom we know only from Plato's books.

And there is Aristotle, musing on Homer's bust. He, perhaps, can be called one of the main characters, because it is precisely from Aristotle's musings, by which we mean the author's, that the entire composition consists.

At the order of Don Ruffo from Sicily, a great connoisseur of fine art, Rembrandt paints the picture of Aristotle, musing on Homer's bust. As the painting is created, Aristotle comes to life, and in his thoughts, three epochs overlap one another, almost identically coinciding. The era of Aristotle - the times of the endless war between Athens and Sparta. The era of Rembrandt - the Anglo-Dutch war, in which there is also no winner. And finally, the present era, in which Aristotle is in the Metropolitan Museum, and the whole world, like the ancient world once was, is gripped by the confrontation between the USA and the USSR.

The numerous plot branches, such as the biographies and dialogues of Plato, Socrates, the Athenian tyrants, the private life of Rembrandt, his clients, excursions into other historical layers, and Aristotle's discomfort in the museum - all of this combines into one curious composition of historical parallels and strong personalities.

And also into one powerful idea of the novel - people have not changed at all over time. In Plato's double standards, in Aristotle's hypocrisy, in the paradoxical court sessions in Athens and the unimaginable, unholy reasons for declaring war, in the Dutch pride of the trading empire of the rebel ancestors, in Rembrandt's flattering and boastful letters, in the completely false and pragmatic relations between the USSR and the USA - this idea links everything with a sad final stroke.

And at the same time, all the best that is in humanity is not forgotten - these features are reflected in the "naive" Socrates, who knows exactly that he knows nothing. Socrates, perhaps, is the only character who evokes sympathy, because he embodies the ideas of enlightened and much-needed justice. In him - sincerity and naivete, in him - penetration and wisdom, in him - that which we should strive for.

This book is by no means an easy entertainment read, so popular nowadays. Because it is not difficult to mentally add a fourth era - ours - and clearly see another coincidence. This book makes you think, and I am sure - such thoughts will be beneficial to all of us.

Through this remarkable book, Joseph Heller once again showcases his literary virtuosity. It stands as a worthy testament to his genius. By skillfully intertwining the worlds of Ancient Greece and 17th century Amsterdam, he unleashes his boundless imagination. He boldly transcends the conventional perceptions of a novel's structure and purpose. While the overwhelming introduction of numerous facts may prove tiresome for some readers, I firmly believe that it enriches the contextual depth, thereby enhancing one's understanding of the book. As a consequence, one inevitably gleans a wealth of knowledge.

And here lies the subject of the book.

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It was an extremely challenging book to read.

At certain moments, I truly doubted whether I could complete it. Heller constantly jumps around, discussing Socrates, Plato, and Rembrandt.

He incorporates numerous facts, many of which are unessential (such as who owned a particular painting at a specific time), along with a great deal of strange dialogues between the characters.

It was a difficult read, and I am relieved that I have finally finished it.

Overall, it was a complex and demanding literary work that required a great deal of concentration and perseverance to get through.

Despite its difficulties, however, it did offer some interesting insights and perspectives on various topics.

Perhaps with a second reading, I might be able to better appreciate its nuances and subtleties.

But for now, I am content to have completed this arduous task and move on to other books.

I happened to choose this book for a particular reason. It was one of the few that seemed interesting in the lending library at the Longboat Key Club Moorings marina.

When I was 16, I had the pleasure of reading Heller's "Catch 22" and absolutely loved it. I also had a great time reading "All that Glitters".

Now, I'm not entirely sure that everyone would find this book interesting. However, I thoroughly enjoyed it. This was because I had just been to Greece and I'm half Greek. Additionally, I had recently read "The History of Greece". So, it was really fascinating for me to learn a little more about Aristotle, Socrates, Homer, and even Rembrandt.

I also found the satirical humor in the book quite enjoyable. Although it wasn't as uproariously funny as "Catch 22", it still had its moments that made me smile and think. Overall, it was a great read for me, especially considering my personal interests and experiences.

I cannot think of another novel quite like it--surely not one by Joseph Heller. Still, it's classic Heller, and arguably the most Heller novel of the seven he wrote.

Picture This either conforms to how I view the world--specifically the western world, which permeates and dominates my thought process--or has influenced me more than any other piece of literature. The lines are blurred, just like Picture This' genre. With parts philosophy, history, and fiction, this book blends every literary genre Heller found interesting.

Through The Dutch Golden Age via Rembrandt to Aristotle and Socrates representing Ancient Athens, Heller proves how terrible Democracy, western thought and free enterprise are. In case you doubt how hopeless Heller thinks humanity in general is, he says, "Just government cannot exist in the civilized world. About the rest of the world we do not know."

Picture This shares the distinction with Something Happen as being the most ambitious, original, risky and well executed novels of his career. Catch-22 will forever remain his most popular. I shutter to criticize his work in the least, but in comparing it with his following novels and breadth of novels that precede it--the massive influence of Celine's Journey to the End of the Night, and even Nabokov's Laughter in the Dark willingly accepted by Heller--Catch-22 is found lacking the fortitude and originality apparent in Something Happened and Picture This. Both of those books are less cheerful; perhaps this is why they are less popular.

Heller is sarcastic and incredibly pessimistic, when he has complete freedom to be himself. Not in the double talk kind of way, but more like a sarcastic nihilist, who paints a bleak picture through pathetic protagonists; and every now and again, he tells a sad joke. In Something Happened, the existential crisis of every day is stretched out into his longest book--his longest joke. That was my introduction to Joseph Heller. Something happened to me when I read it. Did this dude just do this? Who the hell writes a book like this? I was kind of pissed off. Maybe it's timing, but Something Happened immediately preceded two months of depression. Luckily, Picture This fails to suppress dopamine nearly as well, with none of the side effects of Something Happened and most of the benefits. We're still fucked, Heller says in Picture This. It stings a little less delivered at the expense of the ancients.

Heller was widely recognized to have been at his best in his almost-juvenile first work, "Catch-22".

In this disjointedly-constructed novel, he combines his obvious historical fascination with ancient Greece and the philosophical triumvirate of Socrates, Plato, and Aristotle. He also incorporates sketchy observations of Rembrandt van Rinj's life, which was evidently predominated with financial concerns and failures.

Here, he finds some fertile field for some of his signature biting wit. I enjoyed reading it, although the novel's structure was a bit of a stretch in the end. I was quite impressed with Heller's wealth of historical knowledge, especially of Periclean Athens.

It's not a lasting literary work, but it is enjoyable, despite having a tad depressing wrap-up. The story takes the reader on a wild ride through a world of absurdity and chaos, where the rules seem to change at every turn. Heller's use of humor and satire to comment on the human condition is both clever and thought-provoking.

Overall, "Catch-22" is a unique and entertaining read that offers a fresh perspective on life, love, and war.

Heller does a better job with "Picture This" than with some of his other books. However, it still has its shortcomings. A significant portion of the book is narrated from the perspective of Aristotle within Rembrandt's renowned painting of Aristotle contemplating the bust of Homer. There is a wealth of history, both genuine and embellished, scattered throughout the text. Some parts are interesting or humorous, but the majority seems to drone on and on without much purpose. I wouldn't wholeheartedly recommend this book to anyone unless they had first read "Catch 22".

The concept of presenting the story from Aristotle's viewpoint inside the painting is quite novel and initially engaging. It allows for a unique exploration of art, history, and philosophy. However, as the book progresses, the excessive use of historical details and digressions begins to wear thin. The narrative loses its focus and becomes a meandering journey through various facts and ideas that don't always cohere.

Despite its flaws, "Picture This" does have its moments. Heller's writing style is still sharp and witty in places, and there are some thought-provoking insights into the nature of art and the human condition. But overall, it fails to live up to the high standards set by "Catch 22". If you're a die-hard Heller fan or have a particular interest in art history, you may find something of value in this book. Otherwise, it might be best to skip it and stick with his more classic works.

This is a rather challenging one to explain.

A book that revolves around the subject of a painting and recalls 2000 years of history?

I surely found it fascinating. However, when it comes to liking it as a whole, I'm not entirely certain.

Some parts of it are both funny and deeply moving, but as a unified story, I remain undecided.

Perhaps it's because it isn't truly a traditional story. In fact, it almost reads more like a humorous non-fiction essay, despite the presence of a fair amount of fiction.

Overall, it's enjoyable to read if you appreciate Heller's writing style and a unique perspective on Greek history, art, 1600s Holland, and so on.

But it is indeed a bit different from what one might expect.

It offers a fresh and engaging take on various topics, but its unconventional structure and blend of fact and fiction may leave some readers with mixed feelings.

Nonetheless, it's an interesting read that can expand one's knowledge and provide an entertaining experience.

I thoroughly enjoyed this book and would highly recommend it to any history buff.

It is especially suitable for those who have an interest in either or both of the ancient world, with a particular focus on Greece, and/or the life and times of Rembrandt.

The book centers around Rembrandt's painting Aristotle Contemplating a Bust of Homer (or at least the title ascribed to it) and skillfully weaves back and forth between the two time and place settings.

Interestingly, a long time ago, a friend was full of praise for Heller's Something Happened. I picked it up and delved into it, only to find myself thoroughly bored.

However, as for Picture This, I anticipate reading it again sometime in the future. It is truly captivating!

The way the author presents the connection between the ancient world and Rembrandt's work is both engaging and thought-provoking.

It offers a unique perspective on history and art, making it a must-read for anyone with an appreciation for either or both.

I can't wait to explore it further on my next reading.

Heller utilizes a solitary tone, namely acerbic or cynical, all through Picture This. This tone has a propensity to become tiresome upon prolonged reading. The book reaches its zenith when it is subtle and thought-provoking; conversely, it descends to its nadir when Heller's overpowering cynicism veers towards pettiness, nastiness, and smart-assery.

Moreover, the book gives the impression of being dated, a remnant of the Cold War tensions, proxy wars, and contending ideologies. Interestingly, the relative peace brought about by American hegemony and liberal-democratic ideals is actually emphasized by the history presented in Picture This.

One might argue that while the book has its flaws in terms of tone and its somewhat outdated feel, it still offers valuable insights into a bygone era. It serves as a reminder of the complex geopolitical landscape that once prevailed and how it has evolved over time.

I truly relished the premise of Heller's Picture This.

Certain parts of it were indeed captivating and held my attention firmly. However, a significant portion of the narrative adhered to history in an almost "history book" manner.

The selection of what to include and the way it was presented made it more interesting, yet those sections could prove to be extremely slow and tiresome.

The novel commences with the painting of Aristotle Contemplating a Bust of Homer by Rembrandt. It then traces, in a witty narrative style, the creation of the painting.

It delves into the lives of Rembrandt, Aristotle, Plato, and Socrates, as well as the socio-political history of Holland, Greece, and America, where the painting ultimately finds its home.

The narrator also attributes perceptions to the Aristotle in the painting and the other historical characters, taking into account the, at times admittedly, unreliable writings that we have unearthed about their lives.

This unique combination of art, history, and speculation makes Picture This a thought-provoking and engaging read, despite its occasional drawbacks.