Joseph Heller's

Total Page:16

File Type:pdf, Size:1020Kb

Joseph Heller's Joseph Heller’s Catch-22 The Aquila Theatre Company Welcome! The State Theatre in New Brunswick, New Jersey welcomes you to the school-day performance of Aquila Theatre Company in Catch-22. The show is based on Heller’s own stage adaptation of his groundbreaking novel. With the full support of Joseph Heller’s estate and family, Aquila Theatre has created the first-ever professional production to tour nationally. This show is scheduled to be the first major production of the play to be seen in London and New York. The B-25 crew These Keynotes provide information and activities that will help you follow and enjoy the show. We hope it will also help you find connections between what you see on the stage and your own personal experience. CONTENTS Welcome/Acknowledgements........................................................................2 “Catch-22 asks us to About the Play......................................................................................................3 consider: what is the Meet the Author ..................................................................................................4 real cost of war?” The Story ................................................................................................................5 The Characters......................................................................................................6 —Peter Meineck, director The Production ....................................................................................................7 In the Bombardier’s Seat ..................................................................................8 Historical Background........................................................................................9 A Duty to Die?....................................................................................................10 Before, During, & After ..................................................................................11 Be Prepared!........................................................................................................12 Keynotes are made possible by a generous grant from Bank of America Charitable Foundation. Keynotes are produced by the Education Department of the State Theatre, New The State Theatre’s education program is funded in part by Bank of America Charitable Foundation, Brunswick, NJ. Bristol-Myers Squibb, Brother International Corporation,The Horizon Foundation for New Jersey, Wesley Brustad, President Johnson & Johnson Family of Companies, the John F. Kennedy Center for the Performing Arts, J. Seward Johnson, Sr. 1963 Charitable Trust, The Blanche and Irving Laurie Foundation, McCrane Foundation, Lian Farrer, Vice President for Education MetLife Foundation, Mid Atlantic Arts Foundation, National Starch and Chemical Foundation, Inc., PNC Keynotes for Catch-22 written and designed Foundation, Provident Bank Foundation, Robert Wood Johnson Foundation, Verizon, and Wachovia Foundation. Their support is gratefully acknowledged. by Lian Farrer © 2007 State Theatre Funding has been made possible in part by Continental Airlines is the official the New Jersey State Council on the airline of the State Theatre. The State Theatre, a premier nonprofit venue Arts/Department of State, a partner agency for the performing arts and entertainment. of the National Endowment for the Arts. 2 About the Play The play, Catch-22, was adapted by Joseph Heller from his novel of the same name. During World War II, Heller had been stationed in Italy with the U.S. Army Air Corps and flew 60 combat missions as a B-25 bombardier. He drew on this experience in writing Catch-22, a satirical look at military bureaucracy and the insanity of war. Published in 1961, during the Vietnam War, the novel was controversial both for its criticism of the military and for its complicated, convoluted narrative structure. The novel was a landmark in American culture; the phrase “catch-22” has become part of our vocabulary, used to describe any situation where whatever choice you make, you lose. Many believed that Heller’s absurdist, non-linear story could not be told effectively onstage. This belief—along with the disappointing reception of the 1970 film Doc Daneeka and Yossarian adaptation of the novel—kept the play from becoming widely known. It received one small production, at the John Drew Theater in East Hampton, NY, in 1971, but never made it to Broadway, as Heller had originally intended. The performance you’ll be seeing, by Aquila Theatre Company, is the first-ever professional touring production of the play. Realizing that it would be impossible to cover all of the characters and “I thought this was a episodes in the novel in a 2fi-hour play, Heller made some changes in adapting his story for the stage. In the play, the story does not jump around great, undiscovered as much nor repeat itself as much as it does in the novel. A number of American play that characters and plot lines have been left out, but the essential elements of the original book are all there. needs to be done.” —Peter Meineck Meet the Director Catch-22 is directed by Peter Meineck, Artistic Director of Aquila Theatre. Originally from London, Meineck lives in New York and teaches Greek literature, ancient drama, and classical mythology at New York University. He founded Aquila Theatre in 1991 and has since been involved as producer, director, lighting designer, writer, and/or translator for nearly 40 Aquila productions. Having himself served in the military (the Royal British Marines), Meineck was attracted to Joseph Heller’s story about the insanity of war. “It asks the question of why do we fight wars, and who benefits from wars, and why are wars fought today,” he says. “You could argue that Heller was the first one to really define the military-industrial complex. Yet he doesn’t denigrate soldiers. He respects them.” Meineck says that his objective in staging this rarely-seen drama is “to make a very entertaining play very funny, but also thought-provoking.” 3 Meet the Author The American writer Joseph Heller was born into a poor Jewish family in Brooklyn in 1923. After graduating from high school in 1941, he enlisted in the Army Air Force—less than a year after the United States had entered World War II. Trained as a bombardier, Heller was sent to Corsica in 1944, where he flew sixty missions. After the war Heller attended New York University on the G.I. bill, a program that provided educational opportunities for returning World War II veterans. He went on to get a master's degree in English from Columbia University and then attended Oxford University in England as a Fulbright scholar. Returning to New York, Heller worked at a number of writing jobs (including one at an advertising agency) before publishing a few short stories in Esquire and the Atlantic Monthly. One of these stories provided the seed for Catch-22, a darkly Joseph Heller in 1961 comic antiwar novel. In Catch-22, Heller drew upon his own experience as a bomber pilot in World War II to present a satirical view of war and bureaucracy. The book received mixed reviews when it was first published in 1961, but soared in popularity in the late 1960s and early 1970s as its themes found a receptive audience in the Vietnam War era. Critical acclaim grew as well. Controversial for its ideas, attitudes, and literary More War style, Catch-22 went on to become a major influence on literature, political thought, and popular culture. Its title is now a part of our everyday Stories vocabulary. WORLD WAR I: Heller wrote five additional novels, including Something Happened (1974), All Quiet on the Western Good As Gold (1979), and Closing Time (1994), a sequel to Catch-22, as well Front, by Erich Maria Remarque as short stories, plays, screenplays, and the 1998 memoir Now and Then. Like The Good Soldier Svejk, by Jaroslav Hasek Catch-22, much of his writing draws on incidents and characters from Heller’s own life, painting a satirical, often absurd picture of middle-class America. For WORLD WAR II: his use of irony and black Mister Roberts, by Thomas Heggen humor Heller is often grouped with the authors Kurt Vonnegut, The Naked and the Dead, by Norman Mailer Thomas Pynchon, and Philip “People go to fight Roth. wars because they Slaughterhouse Five, by Kurt Vonnegut In 1981, Heller was KOREAN WAR: diagnosed with Guillian-Barré don't understand Syndrome, which left him the seriousness of M*A*S*H, by Richard Hooker severely paralyzed. He VIETNAM WAR: eventually made a full recovery. what they're doing.” Fallen Angels, by Walter Dean Myers He died of a heart attack in 1999 at the age of 76. —Joseph Heller The Things They Carried, by Tim OÕBrien 4 The Story Catch-22 is the story of Yossarian, an American Air Force bombardier stationed on Pianosa (a small island off the coast of Italy) during World War II. He finds himself caught in a crazy, terrifying maze of military bureaucracy from which there seems to be no escape. Sent out again and again on the most dangerous missions by a power-hungry colonel who is more interested in gaining a promotion than in winning the war, Yossarian decides that the enemy is not just the Germans who fire at his plane, but “anybody who’s going to get you killed, no matter which side he’s on...” That includes his commander, Colonel Cathcart, who keeps raising the number of missions his officers are required to fly before they can be sent home. As he keeps a grim tally of the members of his squadron who are killed or missing in action, Yossarian keeps looking for ways
Recommended publications
  • EVALUATING PEACE OPERATIONS: the CASE of CAMBODIA Jeni
    EVALUATING PEACE OPERATIONS: THE CASE OF CAMBODIA Jeni Whalan* For Colonel Cathcart, Joseph Heller’s ambitious group commander in the novel Catch-22, policy evaluation is an exercise in binary simplicity: outcomes are either ‘feathers in his cap’ or ‘black eyes’.1 His purpose for evaluation is clear: to ascertain whether a particular endeavor would reflect well or poorly on him in the eyes of his superiors. Heller’s example serves to remind us that evaluation is not a neutral exercise. The purposes – and consequences – of evaluating a peace opera- tion are the cause of much contestation. In organizational terms, who deserves the ‘black eye’ of failure: the UN or its member states; the Secretariat in New York or the field operation; or particular agencies or components within an operation? Or, indeed, is it agents within the con- flict environment: parties to the conflict, political leaders, or spoilers? Who deserves the ‘feather’ of success? And as Colonel Cathcart so tragi- cally discovers, when might a feather by one standard turn out to be a black eye by another? In a practical sense, the outcomes of evaluation can have real policy effects. Success has a legitimizing function for peace operations and fail- ure a delegitimizing one. In the field, an operation’s ability to point to success may help peacekeepers to gain the local support they need to achieve further goals. Internationally, evaluations of success help to justify particular acts of intervention, courses of action and, perhaps most important, the expenditure of resources. While independent academic analysis can more often stand back from the sharp end of such contestation and apply a seemingly neutral evalua- tive framework, here too we must be mindful of our purpose.
    [Show full text]
  • ASEBL Journal Vol 4 No 1 Fall 2008
    ASEBL Journal, Fall 2008, Volume 4 Numbers 1/2 ≈ St. Francis College, Brooklyn Heights, NY A ssociation for the S tudy of E thical B ehavior Volume 4, Issue 1/2 in L iterature, St. Francis College, Brooklyn Fall 2008 ASEBL JOURNAL Good Books Catch-22, by Joseph “A Modest Attempt to Demonstrate a Somewhat Moderate Heller Understanding of Yossarian and His Inclinations toward Death in Catch-22” Sex, Economy, Freedom By Brad D. Baumgartner and Community , by Wendell Berry “Everything is water.” this book’s thematic absurd in the world - An early philosophical central character of Catch-22, he What Ought I to Do? by statement. Yossarian, is an en- achieves victory over Catherine Chalier No, no. Strike that. tity in and of him- his captors. I intend * “One must Imagine Sysi- self. Joseph Heller to explain how Yos- phus happy.” has assembled for sarian’s realization of New Books - Albert Camus, his readers a charac- his own death is the from The Myth of ter whose own death very thing that gives Origins of English Literary Sysiphus is the means to truly his life meaning. Modernism, 1870-1914, Edited by There, that’s much better. living. Suicide or Catch-22 is an Now we can begin… Life? Or both? absurdist novel. Gregory F. Tague Could death truly be Seemingly, its char- * Catch-22 the key to living au- acters are absurd. holds the key to an thentically? But why is Yossarian Good Quote existential door; a Through Yossarian’s considered an ab- “We colour and mould door that opens to realization of the surd character? according to the wants either a dry cellar, or meaninglessness of Yossarian lives in a within us whatever our an old attic.
    [Show full text]
  • Catch.22.Pdf
    CATCH-22 JOSEPH HELLER Copyright (c) Joseph Heller, 1955, 1961 The island of Pianosa lies in the Mediterranean Sea eight miles south of Elba. It is very small and obviously could not accommodate all of the actions described. Like the setting of this novel, the characters, too, are fictitious. TO MY MOTHER AND TO SHIRLEY, AND MY CHILDREN, ERICA AND TED CONTENTS: CHAPTER 1 - THE TEXAN CHAPTER 2 - CLEVINGER CHAPTER 3 - HAVERMEYER CHAPTER 4 - DOC DANEEKA CHAPTER 5 - CHIEF WHITE HALFOAT CHAPTER 6 - HUNGRY JOE CHAPTER 7 - McWATT CHAPTER 8 - LIEUTENANT SCHEISSKOPF CHAPTER 9 - MAJOR MAJOR MAJOR MAJOR CHAPTER 10 - WINTERGREEN CHAPTER 11 - CAPTAIN BLACK CHAPTER 12 - BOLOGNA CHAPTER 13 - MAJOR - DE COVERLEY CHAPTER 14 - KID SAMPSON CHAPTER 15 - PILTCHARD & WREN CHAPTER 16 - LUCIANA CHAPTER 17 - THE SOLDIER IN WHITE CHAPTER 18 - THE SOLDIER WHO SAW EVERYTHING TWICE CHAPTER 19 - COLONEL CATHCART CHAPTER 20 - CORPORAL WHITCOMB CHAPTER 21 - GENERAL DREEDLE CHAPTER 22 - MILO THE MAYOR CHAPTER 23 - NATELY'S OLD MAN CHAPTER 24 - MILO CHAPTER 25 - THE CHAPLAIN CHAPTER 26 - AARFY CHAPTER 27 - NURSE DUCKETT CHAPTER 28 - DOBBS CHAPTER 29 - PECKEM CHAPTER 30 - DUNBAR CHAPTER 31 - MRS. DANEEKA CHAPTER 32 - YO-YO'S ROOMIES CHAPTER 33 - NATELY'S WHORE CHAPTER 34 - THANKSGIVING CHAPTER 35 - MILO THE MILITANT CHAPTER 36 - THE CELLAR CHAPTER 37 - GENERAL SCHEISSKOPF CHAPTER 38 - KID SISTER CHAPTER 39 - THE ETERNAL CITY CHAPTER 40 - CATCH-22 CHAPTER 41 - SNOWDEN CHAPTER 42 - YOSSARIAN APPENDIX CHAPTER 1 - THE TEXAN It was love at first sight. The first time Yossarian saw the chaplain he fell madly in love with him. Yossarian was in the hospital with a pain in his liver that fell just short of being jaundice.
    [Show full text]
  • Narrative Time and Mental Space in the Graduate, Catch-22, and Carnal Knowledge
    Montclair State University Montclair State University Digital Commons Theses, Dissertations and Culminating Projects 8-2020 Architecture of the Mind : Narrative Time and Mental Space in The Graduate, Catch-22, and Carnal Knowledge Monica Cecilia Winston Follow this and additional works at: https://digitalcommons.montclair.edu/etd Part of the English Language and Literature Commons ABSTRACT This thesis explores three of director Mike Nichols’s films produced during the New Hollywood period—The Graduate (1967), Catch-22 (1970), and Carnal Knowledge (1971)—in an effort to trace Nichols’s auteur signature as it relates to the depiction of the protagonist’s subjectivity and renders post-war male anxiety and existential dread. In addition to discussing formal film technique used to depict the mental space of the protagonist, how these subjective sequences are implemented in the film bears implications on the narrative form and situates Nichols alongside other New Hollywood directors who were influenced by art cinema. This analysis, like those posited by other critics influenced by film theorist David Bordwell, distinguishes the term “art cinema” as employing a range of techniques outside of continuity editing that are read as stylistic, and because of this it entails specific modes of viewership in order to find meaning in style. Because of the function of style, the thesis posits thematic kinship among The Graduate, Catch-22, and Carnal Knowledge, which enriches the film’s respective meanings when viewed side by side. MONTCLAIR STATE UNIVERSITY Architecture of the Mind: Narrative Time and Mental Space in The Graduate, Catch-22, and Carnal Knowledge by Monica Cecilia Winston A Master’s Thesis Submitted to the Faculty of Montclair State University In Partial Fulfillment of the Requirements For the Degree of Master of Arts August 2020 College: College of Humanities and Social Sciences Department: English Dr.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • The Theme of Wwii in Joseph Heller's Novel “Catch-22”
    European Journal of Research and Reflection in Educational Sciences Vol. 8 No. 2, 2020 Part II ISSN 2056-5852 THE THEME OF WWII IN JOSEPH HELLER’S NOVEL “CATCH-22” Maftuna Do’sqobilovna Suyunova, Ubaydullayeva Maftunakhon Omonboyev kizi Lecturers of Chair of Foreign languages for the direction of Natural Science. National University of Uzbekistan, Tashkent e-mail: [email protected] ABSTRACT This article is devoted to the theme and time –structure of the American writer Joseph Heller’s novel “Catch-22”. In addition, the author uses black humor in his novel in order to highlights that with the help of humor the author demonstrates the absurdity, anxiety and bureaucracy of the war. As well as the time and structure are also arguable thing in this novel. Keywords: WWII, Joseph Heller, Catch-22, anachronies, time, structure, black humor or dark humor. INTRODUCTION World War II began in 1939 and lasted for 6 years until 1945. It is important to say that WWII was the deadliest conflict in all of human history. It involved more countries, cost more money and killed more people than any other war in the human history. It is obvious from history not only the Uzbeks but also the Ukrains, Russians, Kazakhs, Americans, British and other nations fight against the enemies courageously. It is generally estimated that more than fifty million people lost their lives in the Second World War. Gruesome acts, in which both soldiers and civilians were dying because of absurd desire of some individuals to gain control over the whole world, are not rare in the novels and the way such deeds are depicted is almost breath-taking.
    [Show full text]
  • AP English Lit and Comp 4 .Pages
    Brittnee Ward [email protected] AP English Literature and Composition (Grade 12) How to Read Literature Like a Professor by Thomas C. Foster Catch 22 by Joseph Heller The books can be purchased from iBooks, Amazon, Books-A-Million, etc. Any version is acceptable, electronic or hard copy, however, I prefer hard copy to take notes in the margin. Make sure the version you purchase for Catch 22 has a blue cover. My version’s ISBN: 9781451626650 Summer Reading Requirements 1. How to Read Literature Like a Professor Notebook: 100-pt. quiz grade turned in at the beginning of class on the first day of school (Aug 12). (Instructions attached below) Objective: Reading and annotating this work will allow students to easily recognize patterns in literature to use with each novel, play, or poem. Symbols, themes, stereotypical characters, etc., will become familiar and aid in analyzing the deeper meaning of literature as it relates to a particular culture or society. The notebook will serve as a guide for all future works of literature read in class. 2. Reading Guide for Catch 22 (questions will be divided equally among students): 150-pt. daily grade emailed to Mrs. Ward by 8 a.m. on first day of school (Aug 12). You must answer in complete sentences to get credit. No Bullet Points! (Instructions attached below) (Once school starts, you will copy and paste your answers into a Google document shared for class discussion/review before the test.) Objective: Analysis of this novel will help students become familiar with the use of satire and third person point of view.
    [Show full text]
  • Closing Time: a Novel Free
    FREE CLOSING TIME: A NOVEL PDF Joseph Heller | 464 pages | 25 Sep 1995 | SIMON & SCHUSTER | 9780684804507 | English | New York, United States The New York Times: Book Review Search Article If your first novel happens to have been "Catch" -- 10 million copies sold and a phrase added to the language -- just about any follow-up will be judged a letdown. Joseph Heller's fate was to have his four successor novels in variably compared, usually unfavorably, to their mighty predecessor. Now, 33 years after his literary debut, Mr. Heller has given us not just a successor, but the sequel to "Catch Yet, surprisingly enough, he has more than got away with it. Although "Closing Time" won't astonish readers with its inventive brilliance and surprise after all, they've read "Catch"it contains a richness of narrative tone and of human Closing Time: A Novel lacking in the earlier book. Best to admit, however, that I am far from the ideal reader of "Catch"; I didn't and still don't find its black humor as the phrase used to be all that humorous, compared, say, to that of Terry Southern or Thomas Pynchon or Philip Roth or Lenny Bruce. Its length and relative shapelessness are also problems. Norman Mailer wrote that you could cut "Catch" anywhere, like yard goods, and that if you removed pages from its middle not even Mr. Heller himself would know Closing Time: A Novel were gone. Several academic essays have since been written, proving the novel is full of "structure," but that's what English professors like to do.
    [Show full text]
  • THOUGHT EXPERIMENTS Thispage Intentionally !Efi Blank THOUGHT EXPERIMENTS
    ROY A. SORENSEN THOUGHT EXPERIMENTS Thispage intentionally !efi blank THOUGHT EXPERIMENTS ROY A. SORENSEN OXFORD UNIVERSITY PRESS New York Oxford Oxford University Press Oxford New York Athens Auckland Bangkok Bogota Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris Săo Paulo Singapore Taipei Tokyo Toronto Warsaw and associated companies in Berlin lbadan Copyright © 1992 by Roy A. Sorensen First published in 1992 by Oxford University Press, Inc. 198 Madison Av enue, New York, New York 10016 First Issued as an Oxford University Press paperback, 1998 Oxford is a registered trademark of Oxford University Press, !ne. AU rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Sorensen, Roy A. Thought expriments Roy A. Sorensen p. cm. Includes bibliographica1 references and index. ISBN 0-19-507422-X ISBN 0-19-512913-X (pbk.) 1 Thought and thinking. 2. Logic 3. Philosophy and science 1. Title B105.T54S67 1992 !01-dc20 9136760 1357 986 42 Printed in the United States of America on acid-free paper For Julia, a woman of fine distinctions Thispage intentionally !efi blank ACKNOWLEDG MENTS This book has indebted me to many people. The first group consists of the individuals who attended colloquia given at the Graduate Center of the City University of New Yo rk, Columbia University, Dartmouth College, Rutgers University, the State University of New Yo rk at Stony Brook, Virginia Tech, and the 1990 lnter-University Conference for Philosophy of Science in Du­ brovnik.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]