What about Yossarian then?

Lee Siegel blames it all on the good doctor:
"In one important sense, Freud's ideas have had an undeniable impact. They've spelled the death of psychology in art. Freud's abstract, impersonal concepts have worn away the specificity of fictional character. By the 1950's, here and in Western Europe, it was making less and less sense to fashion the idiosyncratic, original inner and outer lives of a character in a novel. His or her behavior was already accounted for by the universal realities of id, ego, superego, not to mention the forces of repression, displacement and neurosis.
Thus the postwar rise of the nouveau roman, with its absence of character, and of the postmodern and experimental novels, with their many strategies -- self-annulling irony, deliberate cartoonishness, montage-like ''cutting'' -- for releasing fiction from its dependence on character. For all the rich work published after the war, there's barely a fictional figure that has the memorableness of a Gatsby, a Nick Adams, a Baron Charlus, a Leopold Bloom, a Settembrini. And that's leaving aside the magnificent 19th century, when authors plumbed the depths of the human mind with something on the order of clairvoyance. Of course, before that, there was Shakespeare. And Cervantes. And Dante. And . . . It seems that the further back you go in time, away from Freud, the deeper the psychological portraits you encounter in literary art. Nowadays, often even the most accomplished novels offer characters that are little more than flat, ghostly reflections of characters. The author's voice, or self-consciousness about voice, substitutes mere eccentricity for an imaginative surrender to another life."