EVALUATING PEACE OPERATIONS: the CASE of CAMBODIA Jeni
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Catch-22, Joseph Heller Was Working in New York City in Advertising, Serving Three Large Publi- Cations from 1952 to 1961
W Brett Wiley Cathcart and the Magazine hile writing Catch-22, Joseph Heller was working in New York City in advertising, serving three large publi- cations from 1952 to 1961. In 1952, he began working for TimeW, until 1956 when he became the advertising man- ager for Look. In 1958, he was hired as the promotion manager at McCall’s,a position he held until the release of the novel in 1961. He had an insider’s view of the magazine business and was familiar with the coverage, the adver- tisements, and the layout. The copywriter turned novelist had also published five stories in the Atlantic Monthly, Story, and Esquire by the time he began working in the industry.1 While writing the novel, Heller would spend two hours every night working on the manuscript after working a full day at the office.2 His employment at Time, Look, and McCall’s appeared to be simply the backdrop for the writing of his first book. However, because he formulated the initial plans for the book during his employment at three magazines, the inclusion of a periodical in the novel was significant. Joseph Heller’s incorporation of a magazine was designed to display the ambitiousness of Colonel Cathcart and likewise the aspiration of American society. For Heller, ambition was the defining characteristic of Yossarian’s superior. According to James Nagel in “The Catch-22 Note Cards,” when the author first planned the section on the colonel his notes began with item one, “Cathcart’s background and ambition.” The colonel was obsessed with aspiring and achieving the rank of general, the highest level of command in the military.3 Nagel also explained that a fourth item on the same card of notations, “Tries to have Chaplain say prayer at briefing,” related “log- ically to Cathcart’s ambition.”4 In the book, the novelist connected his idea to have the chaplain say prayers before briefings to coverage of such an event that Cathcart discovered in The Saturday Evening Post. -
Describe Catch 22 As Doc Daneeka Explains It
Catch 22 Question Answers Describe Catch 22 as Doc Daneeka explains it. § It is a doctor’s duty to ground anyone who’s crazy. § BUT the doc cannot ground any pilot for reasons of insanity unless the pilot first asks him. § YET if a pilot asks to be grounded because he’s crazy, then he must be sane. Who doesn’t want to fight? § A soldier who doesn’t want to fight is sane (it’s impossible to want to fight). § Therefore, it’s impossible for a soldier to be excused from battle on the grounds of insanity. Describe the growth and expansion of M & M Enterprises. § This brainchild of Milo’s grows from a small operation into an international syndicate. § Within two weeks, Milo convinces Major de Coverley to name him mess officer and put squadron planes at his disposal for transactions and acquisitions. Milo’s ambition § As milo tries to get the best food for his mess hall and as he makes the best deals for the highest profit, his operations expand beyond the local level. § His operation becomes large enough to be considered a syndicate in which everyone supposedly has a share. Syndicate’s Success § Milo’s planes are everywhere. § Milo makes big deals all over the world. § Milo’s status at the head of the syndicate earns him respect-even fame- wherever he goes. § Mayor of Palermo § Assistant governor-general of Malta § Vice-shah of Oran § Caliph of Baghdad § Sheik of Araby Explain the significance of the character’s names. Yossarian § Colonel Cathcart’s reaction to the name suggests the trouble and rebellion we see in the character. -
Michael C. Scoggins Joseph Heller's Combat Experiences in Catch-22
Michael C. Scoggins Joseph Heller’s Combat Experiences in Catch-22 n the forty-one years since the initial publication of Catch-22, Joseph Heller’s best-selling 1961 novel about World War II, the book has been a favorite subject for analysis and commentary, and an enormous bodyI of literary criticism on the work has been published. There have been numerous essays on the novel’s structure, its debt to other works of literature, its humor and logic, its moral and ethical values, and its religious themes and mythical overtones (Nagel 4). However, Heller’s treat- ment of the war itself has received scant attention by most critics. A few writers have compared Catch-22 to other war novels, especially the novels of Ernest Hemingway (Nolan 77-81; Aubrey 1-5), and David M. Craig has written two essays for War, Literature and the Arts demonstrating how Catch-22 incorporated some of Heller’s own combat experiences (Craig “Revisited,” 33-41; Craig “Avignon,” 27-54). But the majority of Heller’s crit- ics have taken the stance that Catch-22 has very little to do with World War II and is in fact not a war novel at all (Kiley and McDonald v; Merrill Joseph Heller, 11). Heller himself consistently minimized the war’s influence on the novel in many of his statements and interviews. For instance, in a 1970 speech in New York City, he told his audience that “Catch-22 is not really about World War II” (Heller “Translating,” 357), and in a 1975 interview he reiterated those sentiments: “As I’ve said, Catch-22 wasn’t really about World War Two. -
Directions: the Following Questions Are Here to Help Guide Your Understanding of Catch-22 As You Make Your Way Through the Novel for the First Time
Directions: The following questions are here to help guide your understanding of Catch-22 as you make your way through the novel for the first time. While you are not expected to submit written responses to any of these questions, please refer to them as you read each chapter in order to help you focus on key sections and to assess your own understanding of the material before class. For the complete reading schedule for the novel, please see swcta.net/orapello. Chapter 1: The Texan 1. Why does Yossarian “fall in love” with the chaplain? Consider both the opening sentence as well as Yossarian’s specific actions/task at the time of the chaplain’s arrival. 2. How is antithesis used to introduce the idea of an inefficient medical establishment within the military? How are they described on the opening page? 3. What reaction do the soldiers in the ward have to the Texan? 4. What details suggest the balance of power in the relationship between Yossarian and the chaplain? Chapter 2: Clevinger 5. With regard to the dispute between he and Clevinger, is Yossarian paranoid, or are his fears justified? 6. Near the end of this chapter, how are the conventions of normal language twisted to express Yossarian’s difference from the archetypal soldier? Chapter 3: Havermeyer 7. What is ironic about the initial battles for turf between General Dreedle and General Peckem? 8. Explain the comparison between the pilots who have finished fifty missions and “useless young men in a depression.” 9. Explain how you know that General Peckem chose the wrong person to generate enthusiasm for the USO visits. -
Catch‐22 Reading Guide
Catch‐22 Reading Guide ‘Catch‐22 n. 1. a situation in which a person is frustrated by a paradoxical rule or set of circumstances that preclude any attempt to escape from them. 2 a situation in which any move that a person can make will lead to trouble (C20: from the title of a novel (1961) by J. Heller)’ (Collins) Synopsis Joseph Heller began work on Catch-22, the story of a US airman’s attempts to survive the madness of the Second World War, shortly after returning from the conflict himself. The son of Russian Jewish immigrants to the United States, Heller had joined the US Air Force in 1942 at the age of nineteen, going on to fly sixty bombing missions against enemy targets over southern Europe. After the war, while working as an advertising copywriter, he spent seven years writing a novel that reflected his experience, and what he saw as the insanity of military life. The book - which was originally titled Catch-18 - tells the story of Captain Joseph Yossarian, a member of a US bomber crew stationed on the Mediterranean island of Pianosa. Yossarian is convinced that the military is trying to get him killed, and that those around him are insane, and he spends the course of book trying to get out of flying any more seemingly suicidal missions. Yossarian is surrounded by a cast of bizarre characters, including Colonel Scheisskopf, who is obsessed with military parades at the expense of just about everything else, the newly promoted Major Major, Major, Major, who spends most of the war trying to hide from his men, and the profiteer Lieutenant Milo Minderbinder, a pure capitalist whose only ambition is to make money out of the war, and who ends up charging a commission on every military engagement. -
Catch-22: Man in an Alien Society
CATCH-22: MAN IN AN ALIEN SOCIETY by MICHAEL MCKAY BARBOUR B.A. , University of British Columbia, 1967 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1969 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and Study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thes,is for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada ABSTRACT This paper examines social relationships and pressures of con• temporary society as shown in Joseph Heller's novel Catch-22. Through a brief study of conceptual limitations within Heller's characters it demonstrates that they exist within a totally self-enclosed system di• vorced from reality but supported by complex justifications. Within this social matrix is seen the heroic strivings of Yossarian to save a world he believes to have gone mad. As the study progresses, it shows that Yossarian and his friends do not in fact share the same conceptual basis as their apparent society. Their satiric efforts are seen to be useless to a society convinced of its own justifications for evil, and destructive to their own potential• ities for human-beingness. -
CATCH-22 Study Guide
CATCH-22 Study Guide Chapter 1: The Texan 1. Why does Yossarian “fall in love” (Pg. 1) with the chaplain? 2. How is antithesis used to introduce the idea of an inefficient medical establishment within the military? 3. What is the effect of the simile comparing the Texan to “someone in Technicolor”? (Pg. 17) 4. What reaction do the soldiers in the ward have to the Texan? 5. What words express the lifelessness of the soldier in white on page 18? 6. What details suggest the balance of power in the relationship between Yossarian and the chaplain? Chapter 2: Clevinger 1. Is it a paradox when the narrator says that the Texan is “really very sick”? (Pg. 25) Why or why not? 2. Pages 25 and 26 contain the dispute between Yossarian and Clevinger about whether Yossarian is insane. Is Yossarian paranoid, or are his fears justified? 3. How are the conventions of normal language twisted on pages 26 and 27 to express Yossarian’s difference from the archetypal soldier? Chapter 3: Havermeyer 1. How is repetition used to foreshadow Orr’s eventual fate on page 34? 2. What is ironic about the initial battles for turf between General Dreedle and General Peckem? 3. Explain the comparison between the pilots who have finished fifty missions and “useless young men in a depression.”(Pg. 36) 4. Explain how you know that General Peckem chose the wrong person to generate enthusiasm for the USO visits. 5. What details show Havermeyer’s insanity? How do these characteristics help him as a bombardier? 6. -
WILLIAM STYRON and JOSEPH HELLER William
r\c». ñ TRAGIC AND COMIC MODES IN TWENTIETH CENTURY AMERICAN LITERATURE: WILLIAM STYRON AND JOSEPH HELLER William Luttrell A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY June 1969 Approved by Doctoral Committee /»í J Adviser Dg$artment of English Graduate School Representative ABSTRACT William Styron and Joseph Heller are important contemporary American writers who can be associated with a certain "climate of opin ion" in the twentieth century. The intellectual basis for this climate of opinion is that the world we know today, metaphysically, historical ly, scientifically, and socially, is one that does not admit to a secure and stable interpretation. Within such a climate of opinion one hesi tates to enumerate metaphysical truths about the universe; one doubts historical eschatology, except perhaps in a diabolical sense; one speaks scientifically in terms of probability and the statistics of randomness rather than absolute order; and one analyzes social problems in terms of specific values in specific situations rather than from an unchanging and absolute frame of reference. Indeed, it is because of a diminishing hope of achieving an absolute or even satisfying control over the world that many have come to live with contingency as a way of life, and have little reason to believe that their partially articulated values rever berate much beyond themselves. Through their fictional characters William Styron and Joseph Heller are contemporary observers of this climate of opinion. Styron reveals in his novels a vision of man separated from his familiar values and unable to return to them. -
CATCH-22 Study Questions
CATCH-22 Study Questions Before Reading 1. You’ve probably heard the term catch-22 before. What do Chapter 9 – Major4 you think it means? 28. How is Major Major’s father a hypocrite? 29. “Major Major’s elders dislike him because he is such a Chapter 1 – The Texan flagrant nonconformist.” How so? 2. What’s the effect of the first two sentences? 30. What is Major Major’s only moments of true happiness? 3. What kind of narrator is used? 31. Who are the C.I.D. men? 4. Note any examples of irony you find in this chapter. 32. Is Yossarian still avoiding responsibility even though he 5. Who is Washington Irving? Why did Heller choose him has flown fifty-one missions? for his allusion? 6. What’s ironic about the use of the word “patriotically” in Chapter 10 - Wintergreen regards to the Texan? 33. Why is Yossarian encouraged by what the Grand Conspiracy of Lowery Field? Chapter 2 - Clevinger 34. How is wintergreen like Yossarian? 7. Why does Clevinger think Yossarian is crazy? 35. What does the dead man in Yossarian’s tent satirize? 8. Explain the logic to Yossarian’s argument. 9. What type of person seems to be a target of Heller’s Chapter 11 - Captain Black satire? 36. Characterize Captain Black. 37. Explain how Heller is satirizing patriotism in this chapter. Chapter 3 - Havermeyer 38. How does Major —— de Coverley put an end to the 10. How does Orr try to get to Yossarian? Glorious Loyalty Oath Crusade? 11. Describe Colonel Cargill in one word. -
"What Difference Does It Make" Logic in C.Atch-22
W. K. Thomas "WHAT DIFFERENCE DOES IT MAKE" LOGIC IN C.ATCH-22 IN JosEPH HELLER's Catch-22 two of the good-hearted but weak-headed characters complain of the "vile logic" and the "immoral logic, used by their opponents.1 To many readers a "wild logic" or even an "absurdist logic" will also appear to be used by many of the other characters. Yet all these uses and misuses of logic centre on the distinction between form and substance. Consider this early exchange, in which two United States Air Force officers on active duty in World War II are speaking: "They're trying to kill me," Yossarian told him calmly. "No one's trying to kill you," Clevinger cried. uThen why are they shooting at me?" Yossarian asked. "They're shooting at ~veryone," Clevinger answered. "They're trying to kill everyone." i1 I "And what difference does that make?" (p. 17) Clevinger is reduced to apoplexy, and all because he chose the wrong form to express the substance of his thought. When Yossarian says, "They're trying to kill me," he means, of course, "They're trying to kill me personally." Clevinger understands this, and his reply, "No one's trying to kill you," actually implies the thought "you personally." By way of evidence Yossarian offers the fact, "They're shooting at me," and again means personally. At this point Clevinger makes his mistake. He means to say, "They're shooting at everyone impersonally," a form of words that would have implied the sub stantive thought that those shooting regard the mass only and not the indi vidual. -
Catch-22 and the Culture of the 1950S
Catch-22 and the Culture of the 1950s John Raeburn University of Iowa We most often think of Catch-22 as a novel of the 1960s presciently arriving in 1961 just in time to provide a vocabulary for understanding the social and political upheavals which would characterize much of the rest of the decade.1 No American novel of the 1960s seemed to speak more directly to the particular preoccupations of those years, and none found a more attentive or faithful audience. No '60s book entered the wider culture more quickly or fully, either; an understanding of the meaning of its title has so thoroughly permeated the culture that I have yet to see answered correctly in the game Trivial Pursuit the question asking which came first, the term "Catch-22" or the novel (the correct answer is, of course, the novel). Alternatively, we think of it as a work of the 1940s, to be put along- side The Naked and the Dead and From Here to Eternity as a fictional exploration of military experience in the titanic conflict of World War Two. Its action, however satirically or even surrealistically treated, does occur in a real theater of that war and has as its emotional center the wounding of a soldier who is comforted by a comrade unaware of the mortal nature of those wounds, what Paul Fussell has called the "primal scene" of war fiction. We are not wrong, of course, in thinking of Catch-22 as a novel of the 1940s, as in a sense a historical novel, and we are certainly right to understand it as imaginatively anticipating the sensibility of the 1960s. -
Catch-22 and the Humor of Black Humor Author(S): Daniel Green Publication Details: Studies in the Novel 27.2 (Summer 1995): P186-195
1 Title:A World Worth Laughing At: Catch-22 and the Humor of Black Humor Author(s): Daniel Green Publication Details: Studies in the Novel 27.2 (Summer 1995): p186-195. Source:Contemporary Literary Criticism. Ed. Jeffrey W. Hunter. Vol. 196. Detroit: Gale, 2005. From Literature Resource Center. Document Type:Critical essay [(essay date summer 1995) In the following essay, Green examines the lighter aspects of Heller's Catch-22, contending that because critics frequently focus on darker themes in black humor fiction, the comic aspects of these works are often neglected.] One can't help but note that in the commentary about the fiction conventionally identified with the mode of "black humor" there is much discussion of what makes such fiction black, but little of its humor. The most famous expression of this tendency occurs in probably the most frequently cited book on black humor, Max Schulz's Black Humor Fiction of the Sixties. "I have shied away from the humor in Black Humor," writes Schulz. Choosing instead to focus on what he calls the "cosmic labyrinth," Schulz claims that "to give equal value to humor in any consideration of this literature is possibly to let oneself be trapped by a term that came into being somewhat capriciously and may not accurately describe that literature."1 While it may be true that several of the novels labeled as black humor at one time or another are not "humorous" in a narrow sense, or that the term itself was adapted somewhat arbitrarily, Schulz's reluctance to deal at length with books such as Catch-22 or Stanley Elkin's A Bad Man, clearly funny books by any measure, evidences a common scholarly preference for the "cosmic" at the expense of the comic.