DOCSLIB.ORG

4.100A February 7, 1977 P

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
4.100A February 7, 1977 P THE WEEK Editor: Madalynne Reuter HELLER MOVES BACK TO "ROOTS" TO HAVE MILLION but surmised that it represented a "peak S&S FOR THIRD NOVEL COPIES IN PRINT BY MARCH 1 of momentum." Joseph Heller, whose "Something When a fourteenth printing for "Roots" The television adaptation, according Happened" was published with Knopf. was ordered on January 27, which will to ratings, had 61% of the share of the is moving to Simon and Schuster for bring the number of copies in print to national market with the opening epi- his next novel, to be called "Good as 1-million by March 1. five months after sode, viewed in almost 29-million Gold." The deal was reportedly con- publication day. Doubleday officials homes, rising to 70% with Thursday's cluded for a very large sum, which decided that they had topped their episode. An audience share of 30% is rumor has placed anywhere from $1.2- previous record breaker, Billy considered the usual measure of a suc- million to $2-million, but which no one, Graham's "Angels." "Angels" was cessful show. including the author, confirmed. published September 19. 1975, and after, Simon & Schuster. Inc., was being an eighth printing, 1.110.000 copies mum about the money involved and the were available by December 19, 1975. WILEY WITHHOLDS BOOK terms of the contract; the company said Doubleday points out, however, that WITH POSSIBLE CIA LINK only that it owned world rights, that the Billy Graham title was priced at John Wiley & Sons is withholding from "Good as Gold" would be published $4.95 and received a hefty push through further distribution "Chile's Marxist by Simon and Schuster and Pocket religious bookstore sales. The Alex Experiment" by Robert Moss, pub- Books, and that hardcover publication Haley title, which was published Oc- lished by its Halsted Press division in was scheduled for 1978. tober 1, 1976, is priced at $12.50 and 1974. until allegations that it was com- When asked to comment on the ru- is distributed primarily through general missioned by a CIA front organization mored. wide-ranging sum, a jocular trade outlets. in London can be cleared up. Keller said, tongue in cheek, "I'll give Surging sales reflected the phenom- "We're trying to run down the facts you a humorous answer: I really don't enally successful ABC-TV adaptation on this to determine whether the report know. I take no interest in the com- presented on eight consecutive even- is accurate," Richard Schmidt, Wiley's mercial side of publishing." ings beginning Sunday, January 23. On attorney in Washington, told PW. The move from one house to the oth- Monday, 6691 copies of "Roots" were "We're just as puzzled as we can be, er is, in a way, all in an extended fam- sold; on Tuesday. 67,159; on Wed- Wiley and Halsted are naturally very ily. Heller published his first novel, nesday, 12,334; and on Thursday, the upset if they have published a CIA "Catch-22." in 1961 at Simon and last day for which figures were avail- book and didn't know about it." Schuster with Robert Gottlieb as his ed- able as PW went to press, 10.935. A House Judiciary Subcommittee is itor. When Gottlieb moved to Knopf in Industry observers were unable to looking into the matter of CIA book 1968 (where he is now president and ed- account for Tuesday's remarkable total, connections. Chairman Donald Ed- itor-in-chief), Heller moved with him and published "Something Happened" in 1974. Now, as S&S president Rich- "An Evening with Alex Haley" ard E. Snyder says of Heller, "We feel he is coming home." Gottlieb said the move was "a straightforward business matter and no reflection on the quality of the book. I just don't believe in guaranteeing such immense sums of money, and money is what Joe wanted this time." He added that he was sad because it was "fun" working with Heller, and pointed out that the two of them. as well as Candida Dona/Ea, Heller's agent, had been friends for 20 years and would go on being friends. A lunch is already scheduled for the coming week: "Nobody is as much fun to talk to about these things as Joe." Heller told PW that he did not yet know who his editor at Simon and Schuster would be. He said that "Good as Gold" would be finished by summer and that it had required two and a half "There are more people here than in the whole county where I grew up in Henning, years of writing, in contrast with Tennessee," remarked Alex Haley as he surveyed his audience in New York's "Something Happened," which re- Avery Fisher Hall on January 24. According to the house count, 2542 people, in- quired 12. The novel, he said, dealt cluding eight members of a delegation from the Republic of Gambia, come to hear with "a college professor from Coney Haley describe the "miracles" which led to "the book that was meant to be." Island who does a lot of intellectual "An Evening with Alex Haley" was sponsored by Doubleday di Company, Inc. hack writing and almost becomes the which invited all Doubleday employees, employees of the Literary Guild which country's first Jewish secretary of selected "Roots." employees of Dell Publishing Company which purchased paper- state." back rights, and "friends of the house" 4.100A FEBRUARY 7, 1977 P. 37 have published the book if they had Solzhenitsyn Plans a Publishing Firm in Vermont known. They were not told the full facts by the English publisher." Vermont's most celebrated recluse He evaded inquiries about his Cav- Warren Sullivan, president of Hal- sauntered casually through downtown endish home and said merely that he sted, said the book on Chile, first pub- Montpelier, the state's small capital was living "in Vermont." He added: lished in England by David & Charles city, on January 21 and thereby pro- "Vermont is a good place for a Rus- in 1973. had "come through a normal vided an enterprising local reporter sian. When my children go back to Rus- publishing arrangement. We do a lot of with something of a journalistic scoop. sia, I don't want them to be surprised," business with David & Charles, and Elizabeth Slater's story. reprinted in an he said laughingly, referring to the piles have imported many titles from them— abridged form from the Barre-Montpe- of snow around him. all the way from astronomy to geology lier Times Argus, follows. He said he hopes to go back to the to political science. It was a topical Soviet Union, but has no "plans" to re- book in the political science arena by Exiled Soviet author Alexander I. Sol- turn soon. His publishing plans seemed an author with good credentials. We zhenitsyn said he will start a nonprofit to indicate that the author thought the have talked with David & Charles and publishing business in Vermont to dis- road home may be long. they knew nothing about the alleged tribute literature on Russia in America connection with the CIA. Nor did Hal- and abroad. The 1970 Nobel Prize win- sted Press. This news about the book is ner. who moved to Vermont last sum- news to us as well." mer, said the business would publish lit- Edwards said that Forum World Fea- erature on "Russian culture, history tures, which closed two years ago, has and religion." Much of this material, he been replaced in London by Rossiter said, he will write himself. Publications. "It's the same outfit un- In the first interview Solzhenitsyn der a different name. It's also a CIA has given since coming to this state, the front." Soviet author also acknowledged he is Only 900 or so copies of the Moss indeed living here: "I live in Ver- book were sold in the United States. mont." he said, smiling—although he "It wasn't any 'Forever Amber,' " shied away from naming Cavendish, Representative Edwards commented. the small town in Windsor County he But he said a Subcommittee staffer pro- reportedly has settled in. duced a copy merely by going to the Solzhenitsyn earlier in the day had Chilean Embassy in Washington and visited the office of the secretary of asking for it. SUSAN WAGNER state to pick up papers needed for es- tablishing a nonprofit corporation in Vermont and papers needed for a for- ROGER KLEIN AWARD FOR 1977: eign nonprofit corporation to do busi- NO AGE LIMIT FOR NOMINEES ness in Vermont. A spokesman in the Nominees for the 1977 Roger Klein office said Solzhenitsyn had referred to Award for Editing are no longer re- a Swiss corporation that apparently stricted to those under the age of 40, ac- would handle the Vermont-printed ma- cording to Thomas C. Wallace, editor- terial. The author himself did not com- 1in-chief of Holt. Rinehart and Winston, ment on that setup. and secretary to the committee that ad- Asked whether he hoped to distrib- ministers the award. Wallace, in a let- ute the material in his homeland, Sol- ter that is being circulated to the pub- zhenitsyn gestured broadly and said it lishing community soliciting nomi- was for "Westerners." nations for the award, states: "The The Soviet author, accompanied by award is named for Roger Klein (1937- an interpreter, also made stops in the During his day in Montpelier, Solzhen- 1968) who during his short but distin- offices of the Internal Revenue Service itsyn dropped in at the Bear Pond Book- guished career in publishing worked at and the state Tax Department.
Load more

Recommended publications
  • "Palinodes and Palindromes"
    "Palinodes and Palindromes" STAN FOGEL, University of St. Jerome's College An interesting phenomenon in contemporary fiction, or at least that strain of it variously called metafiction, surfiction, or postmodernism, and practised by, among others, John Barth, Robert Coover, Donald Barthelme, and Thomas Pynchon, is the proliferation of palinodes and palindromes, both literal and figurative. In Letters, for instance, Harold Bray writes that he longs to discover "History's palindrome."1 In Snow White, Paul is said to be "writing a palinode." 'Perhaps it is wrong to have favorites among the forms,' he reflected, 'But retraction has a special allure for me. I would wish to retract everything, if I could, so that the whole written world would be .. .'"2 Certainly, retraction has a special allure for those writers who eschew linear, sequential narrative, what might be called teleological fiction; who reject the notion that language is a window onto the world; who are sensitive to the poststructuralist tenet enunciated by Michel Foucault in "The Discourse on Language" that discourse is not a neutral conduit between reality and its meaning. Retraction, then, is a way of debunking the whole theory of representation: "We must get the visual, and in particular the mirroring, metaphors out of speech altogether."' The palinode and palindrome, in which one ends where one begins, are excellent media of retraction. In them nothing has been displaced; all has been erased, and this without disappearing. In the palinode one writes or says something, then one denies it; in the palindrome one traverses a series of letters only to turn around when one reaches the end of that series in order to return to the beginning.
    [Show full text]
  • Language and the System: the Closed World of Joseph Heller's Fiction
    Nalional Library Bibliothèque nalionale .+. of Canada du Canada Acquisitions and Direction des acquisitions et Bibliographie Services Branch des services bibliographiques 395 Wellington Streel 395. rue Wellinglon Ottawa. Q:ltario Ottawa (Ontario) K1AON4 K1AON4 NOTICE AVIS The quality of this microform is La qualité de cette microforme heavily dependent upon the dépend grandement de la qualité quality of the original thesis de la thèse soumise au submitted for microfilming. microfilmage. Nous avons tout Every effort has been made to fait pour assurer une qualité ensure the highest quality of supérieure de reproduction. reproduction possible. If pages are missing, contact the S'il manque des pages, veuillez university which granted the communiquer avec l'université degree. qui a conféré le grade. Some pages may have indistinct La qualité d'impression de print especially if the original certaines pages peut laisser à . pages were typed with a poor désirer, surtout si les pages typewriter ribbon or if the originales ont été university sent us an inferior dactylographiées à l'aide d'un photocopy. ruban usé ou si l'université nous a fait parvenir une photocopie de qualité inférieure. Reproduction in full or in part of La reproduction, même partielle, this microform is governed by de cette mlcroforme est soumise the Canadian Copyright Act, à la Loi canadienne sur le droit R.S.C. 1970, c. C-30, and d'auteur, SRC 1970, c. C-30, et subsequent amendments. ses amendements subséquents. Canada LANGUAGE AND THE SYSTEM: THE CLOSED WORLD OF • JOSEPH HELLER'S FICTION By René Rojas A Thesis Submitted to the Faculty of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS • Approved: Yehudi Lindeman Professor of Literature McGill University Montreal, Quebec • June 1994 National Ubrary Bibliothèque nationale .+.
    [Show full text]
  • Joseph Heller 'S ' "Catch-22' Revisited"
    Joseph Heller 's '"Catch-22' Revisited" DAVD M. CRAIG " 'CATCH-22 REVISITED, " Joseph Heller's suave, chattypiece for Holiday magazine, provides a view of the author of Catch-22, of his characteristic narrative patterns, and of his conception of the meaning of war. The article recounts Heller's trip with his family through the sites of his war experiences. On one level, it is a family journal, sketching the features of traveling with a family-what the children will not eat or their impatience with yet another museum. On another level, it unfolds the ritualistic "tour of battlefields" (145) that many veterans make. Like other returnees, Heller finds a landscape in which the war remains only in monuments or in the eyes of the obser~ers.As Heller remarks about his return, "it brought me only to scenes of peace and to people untroubled by the threat of any new war" (145). Beneath these two levels, the article tells Heller's core story, that of the death of a child. As climax, this story provides the organizing principle of "'Catch-22' Revisited." It also contains the genotype for all Heller's narratives. Its patterns-simple, rich, formative, and identifying-reveal the distinctive cast of Joseph Heller's imagination. Little attention need be given to the first narrative level, Heller's descriptions of his family. These accounts are handled with reticence typical of Heller's talk about his personal life. None of the family members are named; they are referred to as "my wife," "my daughter," and "my War, Literature, and the Arts son." The details of family travel are only slightly more individudized.
    [Show full text]
  • 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.
    [Show full text]
  • A Polyphonic Reading of Joseph Heller's Good As Gold
    【연구논문】 Identity as Nidus: A Polyphonic Reading of Joseph Heller’s Good as Gold Rama Alapati (Andhra University) 1. Introduction Joseph Heller (1923 – 1999) is remembered as a popular and respected writer in America. He has shown an engaging response to the socio-economic-political events of the postwar decade that mark the contemporary, postmodern period. Heller’s tragi-comic vision of modern life, found in his novels, focused on the erosion of humanistic values and the ways in which language obfuscates and puzzles reality. Joseph Heller not only engages the attention of students of literature and academics but also of the general readers because of the choice and treatment of the theme reflecting society in all its authenticity. His protagonists are anti-heroes, who search for meaning in their lives and struggle to avoid being deluged by such institutions as the military, business, government, and religion. The implication throughout Heller’s career is that institutions are responsible for 138 Rama Alapati turning what might have been individuals into two-dimensional characters, in fact into caricatures. David Buehrer rightly pointed out that Heller is “consistent in many of his works, however, is the theme of the individual in conflict with monolithic systems and institution and one’s quest to make sense out of the chaos and absurdity of contemporary existence” (616). This sensitizes Heller’s growing skepticism towards life and has influenced his works from the traditional genre to parody. Heller was born in Brooklyn, New York, to first-generation Russian-Jewish immigrants. His father Issac Donald Heller, a bakery truck driver, died after a bungled operation when Heller was only five years old and he was parented by his mother Lena, halfbrother Lee and half-sister Sylvia, all considerably older than him.
    [Show full text]
  • European Journal of American Studies, 11-2 | 2016 “Why Don’T You Just Say It As Simply As That?”: the Progression of Parrhesia
    European journal of American studies 11-2 | 2016 Summer 2016 “Why Don’t You Just Say It as Simply as That?”: The Progression of Parrhesia in the Early Novels of Joseph Heller Peter Templeton Electronic version URL: https://journals.openedition.org/ejas/11573 DOI: 10.4000/ejas.11573 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference Peter Templeton, ““Why Don’t You Just Say It as Simply as That?”: The Progression of Parrhesia in the Early Novels of Joseph Heller”, European journal of American studies [Online], 11-2 | 2016, document 6, Online since 11 August 2016, connection on 08 July 2021. URL: http://journals.openedition.org/ejas/ 11573 ; DOI: https://doi.org/10.4000/ejas.11573 This text was automatically generated on 8 July 2021. Creative Commons License “Why Don’t You Just Say It as Simply as That?”: The Progression of Parrhesia ... 1 “Why Don’t You Just Say It as Simply as That?”: The Progression of Parrhesia in the Early Novels of Joseph Heller Peter Templeton 1 The critical placing of Joseph Heller (1923-1999) has long been underdeveloped, likely as a result of the dominance of Catch-22 (1961). As George J. Searles suggested in 1977, Heller was often dismissed as “simply another example of that peculiarly American literary phenomenon, the ‘one book’ author” (74). Despite the five Heller novels that followed the publication of Searles’ article, Catch-22 has seemingly continued to pull the vast majority of critical attention towards it and, consequently, the wider perception of Heller’s early novels has been somewhat neglected.
    [Show full text]
  • 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.
    [Show full text]
  • Joseph Heller University Libraries--University of South Carolina
    University of South Carolina Scholar Commons Irvin Department of Rare Books & Special Rare Books & Special Collections Publications Collections 9-1996 Joseph Heller University Libraries--University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/rbsc_pubs Part of the Library and Information Science Commons Recommended Citation University of South Carolina, “University of South Carolina Libraries – Joseph Heller Exhibition, September 1996”. http://scholarcommons.sc.edu/rbsc_pubs/12/ This Catalog is brought to you by the Irvin Department of Rare Books & Special Collections at Scholar Commons. It has been accepted for inclusion in Rare Books & Special Collections Publications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Joseph Heller an exhibition of material from The Matthew J. and Arlyn Bruccoli Collection in conjunction with The F. Scott Fitzgerald Centenary Celebration Thomas Cooper Library University of South Carolina Columbia, South Carolina September 1996 Joseph Heller With the success of his first novel, Catch-22 (1961), Joseph Heller not only achieved recognition as a major American author: he also contributed a new term to the language. Often celebrated as the best American novel of World War II, Catch-22 attacks the hypocrisy and futility of war. Born in Brooklyn, New York, Mr. Heller joined the Twelfth Air Force at the outbreak of World War II. His wartime experiences as a bombardier in Italy provided background material for Catch-22. Mr. Heller continued his anti-war theme with two plays, We Bombed in New Haven (1968) and an adaptation of Catch-22 (1971). Mr. Heller returned to the novel with Something Happened (1974), exposing the bankruptcy of middle-class American experience.
    [Show full text]
  • Clevinger's Trial (From Catch-22): a Play in One Act
    Clevinger's Trial (from Catch-22): A Play in One Act Clevinger's Trial (from Catch-22): A Play in One Act / 0573642230, 9780573642234 / Samuel French, Inc., 1973 / Joseph Heller / 1973 Download File Here http://resourceid.org/2famf6Q.pdf Joseph Heller's Catch-22 / 1973 / Joseph Heller, Robert M. Scotto / World War, 1939-1945 / 562 pages / STANFORD:36105035484455 / A Critical Edition Download File Here http://resourceid.org/2faludQ.pdf And dis- played at the top in silhouette was the comic cartoon of a uniformed figure in flight, glancing Catch-22 required that each censored letter bear the censoring officer's name CLEVINGER In a way the CID man was pretty lucky, because outside the hospital. Indeed, Heller's fictional version of Clevinger's trial, which satirizes the 'rules' of questioning in court in order Like Clevinger, Mr H. is made aware not only that he is not permitted to ask They make no further references to form, though the text of the Scarman Trials contains much. 395). Trials, Testimonials and Interrogations Trials, testimonies and interrogations trap the characters of Clevinger and the chaplain in bureaucratic and legal absurdities. The trials are slow and inefficient. In The Trial it takes years to bring someone to justice. Often. Truth and thereby rejects exactly the same fatalistic submission to authority as Clevinger unsuccess- fully appeal to 'the script', to prede- termined hidden purposes, and the play's true impact cation ('national defence' is the favourite slogan of Captain Black in Catch-22).29. And questioned about Washington Irving in a scene that repeats the earlier mad trial of Clevinger Men (Yossarian, Snowden, Nately, Clevinger, and the others) make their tentative way through a The conclusion of Catch-22 is frequently criticized, and the third section of the novel.
    [Show full text]
  • From Avignon to Catch-22
    From Avignon to Catch-22 Ruge, rcsge ragainst the dying of the Eight. --Dylan Thomas Joseph HelIer's experiences as a bombardier uver Avlgnon during World War I1 were catalytic t~ his career as a writet: In lthe experiences over Avignon, Catch-22 begins. These experknoes did not spark Heller's desire to be an authot, for that had burned unabated since chiIdhdl Nor did the reaction the Avignon experiences occasioned occur quickly, regularly, or co~~~~ly. Rather, Avignon provided in highly campressed form Hefler's essential subject-human mom.lity+md Avignon engaged his imwnation in a way that this subject owld eventually be given expression. No Catch-22 reader is likely to forget the result, the Snowden death scene over Awon or the secret of Snowden's entrails: "Man was matter. .. Drop him out a window and he'll fall. Set fire to him and he'll burn. Bury him and he'll rot like other kinds of garbage'"429-430). While the evidence for the importance of Avignon is unmistakable, many pieces of the story are unknown Or missing tday Heller's public accounts of these experiences Gome long after he has begun to feature Avignon in his writin& and, predictably, these amounts partake of the persona of Joseph Heller, the author of Catch-22.' The accounts are couched in jokes that distance the experience from the man. Heller's early writing furnishes some of the links between his real-Iife experience and Catch-22, and these early fictio~lal versions of Avignon illuminate the novel (and, for that matter, Heller's subsequent writing) as if by dtmviolet light, defdiarizing the familiar.
    [Show full text]
  • Introduction Chapter 1: the Road to Catch-22
    Notes INTRODUCTION 1. W. J. Weatherby, 'The Joy Catcher', Guardian, 20 Nov. 1962, p. 7. 2. James Nagel, 'Catch-22 and Angry Humor: A Study of the Normative Values of Satire', Studies in American Humor vol. 1 (1974) p. 102. 3. 'Humor and the Ability to Create It Cannot Be Taught', US News & World Report, 12 Nov. 1984, p. 71. 4. 'Joseph Heller Replies', The Realist vol. 50 (May 1964) p. 30. 5. 'Howe and Hummel'. MS in Harry Ranson Humanities Research Center, University of Texas at Austin. CHAPTER 1: THE ROAD TO CATCH-22 1. Barbara Gelb, 'Catching Joseph Heller', New York Times Magazine, 4 Mar. 1979, p. 51. Many of my biographical details are taken from this article. 2. Deborah Dash Moore, At Horne in America: Second Generation New York lews (New York: Columbia University Press, 1981) p. 80. 3. 'South Bank Show' BBC Television, 1984; Philip Roth, Reading Myself and Others (Harmondsworth: Penguin, 1985) pp. 125-6. 4. 'South Bank Show'. 5. Moore, p. 98. 6. Peter Lennon, 'Heller's New Gospel', The Times, 9 Nov. 1984, p. 10. 7. New York City by the Editors of Look (Boston: Houghton Mifflin, 1956) p. 279. 8. Leo Rosten, Under the Boardwalk (New York: Grove Press, 1970) p. 51. 9. Rosten, Under the Boardwalk, p. 6. 10. Charles Ruas, Conversations with American Writers (New York: Alfred A. Knopf, 1985) p. 145. 11. On the cover of the 1970 Grove Press edition of the novel. 12. 'Coney Island: The Fun Is Over', Show vol. 2 Ouly 1962) p. 51. 13.
    [Show full text]
  • Joseph Heller, Catch-22 and the Literature of War: a Selective
    Joseph Heller, Catch-22 and the Literature of War: A Selective Bibliography Compiled by Professor Christine S. Fagan and Adam Riccitelli In conjunction with the Eleventh Annual Professor John Howard Birss, Jr. Memorial Lecture February 2011 Many of these titles were acquired through the Professor John Howard Birss, Jr. Memorial Library Fund Joseph Heller and Catch-22: A Selective Bibliography CONTENTS Heller, Joseph .......................................................................................... 1 Works authored by Joseph Heller Heller, Joseph .......................................................................................... 2 Works about Joseph Heller War and Literature .................................................................................. 3 Works about War and Literature War in Literature ..................................................................................... 4 Works about War in Literature Heller, Joseph (Author) Catch-22. Dir. Mike Nichols. Prod. John Calley and Martin Ransohoff. Perf. Martin Sheen, Jon Voigt, Alan Arkin, Martin Balsam, and Richard Benjamin. Hollywood:Paramount, 2001. DVD. Heller, Joseph. Catch-22. New York: Knopf, 1995. ---. Catch-22: A Dramatization. New York: Delacorte Press, 1973. ---. Catch-22: A Novel. New York: Simon and Schuster, 1961. ---. Catch as Catch can: The Collected Stories and Other Writings. Eds. Matthew J. Bruccoli and Park Bucker. New York: Simon & Schuster, 2003. ---. Closing Time: A Novel. New York. Simon & Schuster, 1994. ---. God Knows. 1st trade ed. New York: Knopf: Distributed by Random House, 1984. ---. Good as Gold. New York: Simon and Schuster, 1979. ---. Picture this. New York: Putnam, 1988. ---. Portrait of an Artist, as an Old Man. London, Scribner, 2000. ---. Something Happened. New York: Knopf, 1974. ---. We Bombed in New Haven; a Play. New York: Knopf, 1968. ---. We Bombed in New Haven: A Play in Two Acts. New York: S. French, 1969. 1 Heller, Joseph (Subject) Bloom, Harold. Joseph Heller's Catch-22.
    [Show full text]