Joseph Heller’s

Catch-22The Aquila Theatre Company

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The State Theatre in New Brunswick, NewJersey welcomes you to the school-dayperformance of Aquila Theatre Company inCatch-22. The show is based on Heller’s ownstage adaptation of his groundbreaking novel.With the full support of Joseph Heller’s estate andfamily, Aquila Theatre has created the first-everprofessional production to tour nationally. Thisshow is scheduled to be the first majorproduction of the play to be seen in London andNew York.

These Keynotes provide information andactivities that will help you follow and enjoy the show. We hope itwill also help you find connections between what you see on thestage and your own personal experience.

CONTENTSWelcome/Acknowledgements........................................................................2

About the Play......................................................................................................3

Meet the Author ..................................................................................................4

The Story ................................................................................................................5

The Characters ......................................................................................................6

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 agenerous grant from Bank ofAmerica Charitable Foundation.

The State Theatre’s education program is funded in part by Bank of America Charitable Foundation,Bristol-Myers Squibb, Brother International Corporation,The Horizon Foundation for New Jersey,Johnson & Johnson Family of Companies, the John F. Kennedy Center for the Performing Arts, J. SewardJohnson, Sr. 1963 Charitable Trust, The Blanche and Irving Laurie Foundation, McCrane Foundation,MetLife Foundation, Mid Atlantic Arts Foundation, National Starch and Chemical Foundation, Inc., PNCFoundation, Provident Bank Foundation, Robert Wood Johnson Foundation, Verizon, and WachoviaFoundation. Their support is gratefully acknowledged.

Funding has been made possible in part bythe New Jersey State Council on theArts/Department of State, a partner agencyof the National Endowment for the Arts.

Continental Airlines is the officialairline of the State Theatre.

Keynotes are produced by the EducationDepartment of the State Theatre, NewBrunswick, NJ.Wesley Brustad, PresidentLian Farrer, Vice President for Education

Keynotes for Catch-22 written and designedby Lian Farrer© 2007 State Theatre

The State Theatre, a premier nonprofit venuefor the performing arts and entertainment.

Welcome!

The B-25 crew

“Catch-22 asks us toconsider: what is thereal cost of war?”

—Peter Meineck, director

The play, Catch-22, was adapted by Joseph Heller fromhis novel of the same name. During World War II, Hellerhad been stationed in Italy with the U.S. Army Air Corpsand flew 60 combat missions as a B-25 bombardier. Hedrew on this experience in writing Catch-22, a satiricallook at military bureaucracy and the insanity of war.Published in 1961, during the Vietnam War, the novel wascontroversial both for its criticism of the military and forits complicated, convoluted narrative structure. The novelwas a landmark in American culture; the phrase “catch-22”has become part of our vocabulary, used to describe anysituation where whatever choice you make, you lose.

Many believed that Heller’s absurdist, non-linear storycould not be told effectively onstage. This belief—alongwith the disappointing reception of the 1970 filmadaptation of the novel—kept the play from becomingwidely known. It received one small production, at theJohn 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 AquilaTheatre Company, is the first-ever professional touring production of the play.

Realizing that it would be impossible to cover all of the characters andepisodes in the novel in a 2fi-hour play , Heller made some changes inadapting his story for the stage. In the play, the story does not jump aroundas much nor repeat itself as much as it does in the novel. A number ofcharacters and plot lines have been left out, but the essential elements of theoriginal book are all there.

Meet the DirectorCatch-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 mythologyat New York University. He founded Aquila Theatre in 1991 and has since been involved asproducer, 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 JosephHeller’s story about the insanity of war. “It asks the question of why do we fight wars, and whobenefits 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. Herespects them.”

Meineck says that his objective in staging this rarely-seen drama is “to make a very entertainingplay very funny, but also thought-provoking.”

About the Play

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“I thought this was agreat, undiscoveredAmerican play thatneeds to be done.”

—Peter Meineck

Doc Daneeka and Yossarian

The American writer Joseph Heller was born into a poor Jewishfamily in Brooklyn in 1923. After graduating from high school in1941, he enlisted in the Army Air Force—less than a year after theUnited 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 returningWorld War II veterans. He went on to get a master's degree inEnglish from Columbia University and then attended OxfordUniversity in England as a Fulbright scholar. Returning to New York,Heller worked at a number of writing jobs (including one at anadvertising 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

comic antiwar novel. In Catch-22, Heller drew upon his ownexperience as a bomber pilot in World War II to present a satiricalview of war and bureaucracy. The book received mixed reviews when it wasfirst published in 1961, but soared in popularity in the late 1960s and early1970s as its themes found a receptive audience in the Vietnam War era.Critical acclaim grew as well. Controversial for its ideas, attitudes, and literarystyle, Catch-22 went on to become a major influence on literature, politicalthought, and popular culture. Its title is now a part of our everydayvocabulary.

Heller wrote five additional novels, including Something Happened (1974),Good As Gold (1979), and Closing Time (1994), a sequel to Catch-22, as wellas short stories, plays, screenplays, and the 1998 memoir Now and Then. LikeCatch-22, much of his writing draws on incidents and characters from Heller’sown life, painting a satirical, often absurd picture of middle-class America. Forhis use of irony and blackhumor Heller is often groupedwith the authors Kurt Vonnegut,Thomas Pynchon, and PhilipRoth.

In 1981, Heller wasdiagnosed with Guillian-BarréSyndrome, which left himseverely paralyzed. Heeventually made a full recovery.He died of a heart attack in1999 at the age of 76.

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Joseph Heller in 1961

Meet the Author

“People go to fightwars because theydon't understandthe seriousness ofwhat they're doing.”

—Joseph Heller

More WarStories

WORLD WAR I:

All Quiet on the WesternFront, by Erich Maria Remarque

The Good Soldier Svejk, by Jaroslav Hasek

WORLD WAR II:

Mister Roberts, by Thomas Heggen

The Naked and the Dead, by NormanMailer

Slaughterhouse Five, by Kurt Vonnegut

KOREAN WAR:

M*A*S*H, by Richard Hooker

VIETNAM WAR:

Fallen Angels, by Walter Dean Myers

The Things They Carried, by Tim OÕBrien

Catch-22 is the story of Yossarian, an American Air Forcebombardier stationed on Pianosa (a small island off the coastof Italy) during World War II. He finds himself caught in acrazy, terrifying maze of military bureaucracy from whichthere seems to be no escape. Sent out again and again onthe most dangerous missions by a power-hungry colonel whois more interested in gaining a promotion than in winning thewar, Yossarian decides that the enemy is not just the Germanswho fire at his plane, but “anybody who’s going to get youkilled, no matter which side he’s on...” That includes hiscommander, Colonel Cathcart, who keeps raising the numberof missions his officers are required to fly before they can besent home. As he keeps a grim tally of the members of hissquadron who are killed or missing in action, Yossarian keepslooking for ways to stay alive, including pretending that he issick. He’s even willing to be declared insane, but he runs intothe infamous “Catch-22”:

There was only one catch and that was Catch-22, which

specified that a concern for one’s safety in the face of

dangers that were real and immediate was the process

of a rational mind. Orr was crazy and could be

grounded. All he had to do was ask; and as soon as he

did, he would no longer be crazy and would have to fly

more missions. Orr would be crazy to fly more missions

and sane if he didn’t, but if he was sane he had to fly

them. If he flew them he was crazy and didn’t have to;

but if he didn’t want to he was sane and had to.

There are other characters who develop their own survivalstrategies for these impossible conditions. Major Major hidesfrom his men and his responsibilities. Ex-PFC Wintergreen, incharge of communications, controls the flow of informationby destroying or altering documents. Doc Daneeka’sseemingly foolproof plan to avoid danger only snares him inanother Catch-22: the military declares him dead, though heis clearly alive and well. The one character who truly managesto escape the system is Orr, whose ingenious scheme givesYossarian a small glimmer of hope for the future.

Mess officer Milo Minderbinder actually thrives in thischaotic environment, building a hugely profitable black-market business by ripping off the government and evenattacking his own troops.

The local civilian population has also struggled to survivethese hard times. The war has been particularly brutal on thewomen, who are forced to use sex as a means of survival. InRome, the American soldiers are on the prowl for sex.Yossarian has a brief but intense encounter with a womannamed Luciana. Young Lieutenant Nately falls in love with aprostitute (known only as “Nately’s Whore”). His death, in acollision with another American plane, sends her on avengeful mission to kill Yossarian, even though he played nopart in Nately’s accident.

The play cuts back and forth between the differentcharacters and story lines to create a complex, many-layeredportrait of the insanity of war.

The Story

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Catch-22 raises questions faced by any person who isasked to go to war. Is this a cause worth fighting for andpossibly dying for? Am I obligated to risk my life insupport of my country even if I don’t believe in whatweÕre fighting for? Why should I put my life on the linewhen those with money and power can avoid sharingthe risk? These questions are being asked again today inthe context of America’s war in Iraq.

Debate these questions with your class. Are your answersthe same for World War II and the war in Iraq? Why?

The Chaplain is trapped by Catch-22: “Why wouldwe be questioning you if you werenÕt guilty?”

The Characters

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CAPTAIN YOSSARIAN - Army Air Force bombardier whose mainpreoccupation is to avoid getting killed.

MCWATT - The pilot of Yossarian’s B-25 bomber plane.

CLEVINGER - Co-pilot of Yossarian’s B-25, he has complete faith inthe military establishment.

SERGEANT KNIGHT - The turret gunner on Yossarian’s B-25.

CAPTAIN “AARFY” AARDVARK - The pipe-smoking navigator onYossarian’s B-25 who keeps getting in the way.

SNOWDEN - A member of Yossarian’s crew who is mortallywounded on a mission. Yossarian is unable to save his life.

LIEUTENANT NATELY - An idealistic 19-year-old who falls in lovewith a prostitute, known in the story only as “Nately’s Whore.” Heis killed in a midair collision with another American plane.

DOC DANEEKA - The chief medical officer at Pianosa, he is moreconcerned about avoiding danger and preserving his own lifethan taking care of his patients.

MAJOR MAJOR MAJOR MAJOR - His father gave him the samefirst, middle, and last name as a joke. Promoted to squadroncommander when his predecessor is killed in action, he spendsmost of his time trying to avoid his duties and his men.

EX-PRIVATE FIRST CLASS WINTERGREEN - Though his rank giveshim very little official authority, Wintergreen controls thesquadron’s communications and therefore actually wields a greatdeal of power.

CHAPLAIN TAPPMAN - A naive, kindhearted minister who is falselyaccused of tampering with the mail.

THE TEXAN - A highly patriotic, opinionated, and talkative soldierthat no one can stand.

COLONEL CATHCART - The group commander; he will stop atnothing to become a general, even if it means breaking promisesto his men and placing their lives at the greatest possible risk.

LIEUTENANT COLONELKORN - Older andsmarter than his boss,Colonel Cathcart, Kornis the one who reallyruns the squadron. Heis cruel and cynical, anexpert manipulator.

MILO MINDERBINDER -Mess officer at thebase who uses the AirCorps as his ownpersonal businessenterprise. He stealssupplies, sellsworthless goods backto the military,conducts businesswith the Germans, andeven bombs his own squadron, all in the name of making aprofit.

ORR - A bomber pilot who is always being shot down and thencrash landing in the ocean. In the play, he is frequently talkedabout, but never actually seen.

NURSE DUCKETT - One of the nurses in the military hospital atPianosa, she has an affair with Yossarian.

MAJOR SANDERSON - A neurotic psychiatrist who examinesYossarian in the hospital.

DOCTORS - At the Army Air Force hospital.

MOTHER, FATHER, BROTHER - Italian-American family who cometo visit their son in the military hospital. They don’t seem tonotice that their “son” is actually Yossarian.

INVESTIGATING OFFICERS - They interrogate the Chaplain aboutthe oddly censored letters.

P I ANOSA

LUCIANA - A young Italian woman that Yossarian meets in Rome.She was badly injured in a bombing attack by American forces.

NATELY’S WHORE - A prostitute who holds Yossarian responsiblefor Nately’s death. She makes repeated attempts to kill him.

OLD MAN - He runs a whorehouse in Rome that is visited by thesoldiers from Yossarian’s unit. He does not hesitate to switch hisloyalty if it will help him stay alive.

OLD WOMAN - She is left behind at the whorehouse in Rome afterthe military police drive away all of the prostitutes.

ROME

Lt. Col. Korn

Can you identify which characters from the novel Heller leftout of the play? Do you think leaving out certain scenes andcharacters changes the meaning of the story? How?

Aquila Theatre Company had to solve a number of challenges inbringing Joseph Heller’s Catch-22 to life on stage. These are someof the factors they had to consider when designing theirproduction, and the solutions they devised:

» This is a touring production. The company is performingCatch-22 in repertory with Shakespeare’s Julius Caesar on aseven-month, 63-city tour. The production (sets, costumes,props) has to be flexible enough to fit on stages of differentdimensions, and everything has to fit into a single truck—alongwith the sets, costumes, and props for Julius Caesar!

Solution: Catch-22 uses a simple set, with everything onwheels: a door-frame, window, chairs, pieces of fabric, and acouple of cots. These elements are moved into differentconfigurations to create that the various locations in the story.The largest set piece is the nose section of the B-25 bomber—Yossarian’s station. It is built to the same scale as the actualplane in order to give the audience a sense of the terrifyingconditions in which a bombardier was required to operate.Another important part of the set is a large screen, locatedupstage center. Images of World War II are projected onto thescreen to help create a sense of time and place.

» There are eight actors in the ensemble. Of course, there aremany more characters in the play, even in Heller’s cut-downversion of the original story. In fact, there are 39 different roles.

Solution: All of the actors (except the actor playing Yossarian)take on multiple roles. For example, one actor plays DocDaneeka, Major Major, the Old Man, the Father, Sanderson,Investigating Officer, and MP. The two female actors in the casteven have to play some of the male roles. The actors arechallenged to create a distinctive personality for each of theirroles so that the audience does not get confused about whichpart they are playing.

» There are a lot of scene changes in the play. There are closeto 20 scenes in the two acts of Catch-22.

Solution: The set design helps make it easy to change scenesquickly and fluidly. Another transition device Aquila uses ismusic, which also helps create a sense of time, place, andemotional atmosphere.

The Production

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Aquila Theatre built the nose section of YossarianÕsB-25 bomber the exact same size as the real thing.

The nose of a B-25 bomber plane, where thebombardier was positioned.

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In preparing their production of Catch-22 Aquila Theatremembers immersed themselves in Yossarian’s world. Theyread World War II Army Air Corps training manuals, watchedtraining films and footage of air combat, reviewed theschematics of the B-25 bomber, and read first-personaccounts of the war. They discovered that a bomber planewas a scary place to be: claustrophobic, noisy, and cold. Inaddition to the dangers of flying in close formation,sometimes in poor weather conditions, the crew facedbarrages of anti-aircraft fire (known as “flak”) that couldliterally cut a plane in half.

The danger did not only come from the enemy, however.When it became inevitable that the U.S. would be enteringthe war, the Army began a radical reorganization andexpansion of its aviation branch. In the three years betweenDecember 31, 1941 and December 31, 1943, the totalnumber of aircraft they deployed grew by nearly 500percent. During the same period, U.S. Air Force personneljumped from 354,000 to nearly 2.4 million. With such rapidgrowth, new aircraft designs were not always thoroughlytested before being deployed. Pilots were sometimes rushedinto action with insufficient training. U.S. Army Air Forcecasualties in World War II totaled 120,000; 40,000 died incombat, while another 15,000 died in training or in aircraftaccidents in the U.S. One-third of the aircraft were lost incrashes that occurred in the U.S.

Each man in the bomber crew had specific duties. Thebombardier and the navigator were stationed in the nose ofthe plane and were in constant communication with eachother. The navigator’s job was to guide the plane toward thetarget, while the bombardier had to release the bombs atjust the right time to hit the intended target. Above andbehind the nose sat the pilot and copilot, who steered theplane, working hard to avoid barrages of flak. In the body ofthe plane were the bomb bay and the radio compartment.Stationed here were the radio operator and engineer (whoboth did dual duty as waist gunner and turret gunner) andthe tail gunner.

The interior bulkheads of the B-25.

Cartoon from a B-25 flight manual.

ArtistÕs rendering of the B-25H

In the Bombardier’s Seat

Historical Background

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Catch-22 takes place in Italy toward the end of World War II. Under theleadership of fascist dictator Benito Mussolini, Italy had entered the war in1940 as one of the Axis countries, on the same side as Germany and Japan.Italy did not have the military or economic power to hold out for longagainst the Allied forces of Great Britain and the United States. By themiddle of 1943, Italy was a divided nation, with the Allies occupyingterritory in the south and the Germans controlling the north. The countrybecame a battlefield, torn not only by the Allied-Axis conflict, but by civilwar between Italian nationalists and Mussolini’s fascists. The country wasfinally liberated on April 25, 1945 (celebrated in Italy today as a nationalholiday). Catch-22 takes place in 1944, at a point in the war when Italy hadlargely withdrawn from the conflict and Germany still occupied portions ofthe country.

Italy offered a strategic location from which Allied air force divisionscould attack targets in the heart of enemy territory. During his World War IIservice, Joseph Heller was stationed with his squadron on Corsica, a largeisland off Italy’s Mediterranean coast. He set Catch-22 on nearby Pianosa, atiny, uninhabited island that is too small to have actually been used as amilitary base.

NATELY

But Italy was occupied by the Germansand is now being occupied by us. Youdon’t call that doing very well do you?

OLD MAN

But of course I do. The Germans arebeing driven out, and we are stillhere. In a few years you will be gonetoo, and we will still be here. Yousee, Italy is really a very poor andweak country, and that’s what makes usso strong. Italian soldiers are notdying any more. But American and Germansoldiers are. I call that doingextremely well. Yes, I am quite certainthat Italy will survive the war and bein existence long after your owncountry has been destroyed.

Eyewitnesses toHistoryThere are vast resources available that canhelp us understand what World War II waslike, including books, letters, photographs,diaries, films, manuals, posters, andartifacts. Most importantly, we have thememories of those who lived through it.

Interview a family member, neighbor, ormember of your community whoremembers World War IIÑeither as amember of the armed forces or as acivilian. What was their attitude about thewar before America joined the conflict, asit was happening, and after it was over?What special memories do they have fromthat time? Do any of their observationsmake you see Catch-22 in a new light?

Compile your class interviews into a WorldWar II memory book and make copies forthe people you interviewed.

Italy

France

Germany

Austria

England

Corsica Rome

The exchange above between Yossarian and the Chaplain reflectstwo different opinions about duty and self-sacrifice. From thesefew lines, can you figure out where they stand? Write a briefessay in support of either Yossarian’s position or the Chaplain’s.

Did you recognize Yossarian’s paraphrase of Shakespeare’sHamlet? What comparisons can you draw between Yossarian’sdilemma and Hamlet’s?

A Duty to Die?

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YOSSARIAN

To die, or not to die – that is myquestion. And I’m going crazy trying toanswer it.

CHAPLAIN

Men have to die in a war. That’s amatter of necessity.

YOSSARIAN

Yeah – but which men will die, though,is a matter of circumstance. And Ithink I’m willing to be the victim ofanything but circumstance.

Saying NoAfter witnessing the bloody, painful death of Snowden, Yossarian makes a symbolic gesture of rebellion against the Army. Do you know what he does?

Throughout history, there have been many individuals who have spoken out against or resisted a system they felt wasoppressive or unjust. Working with a partner, research a historical or contemporary figure who said no to something orsomeone. Start by answering the questions below. Then create a multimedia presentation on your subject, usingPowerPoint, HyperStudio, or other software. Present it to the rest of the class.

Yossarian: “I have a very simple wish... I want tolive forever... or at least die in the attempt.”

¥ What was this person resisting?

¥ How did he or she say no?

¥ What were the reasons or causes that led to the subject’s

decision to resist?

¥ Were his or her actions justified?

¥ Did the actions achieve an objective? If so, what was it?

¥ What did the person sacrifice or what price did the person

pay to say no?

¥ If your subject is still alive, can you find out if he or shewould, given the situation, make the same decision again?

¥ Should the person be respected or applauded for sayingno?

¥ How would you act in the situation that your subject wasin? Why would you or wouldnÕt you say no?

¥ What alternative action(s), if any, would you have taken?

¥ How is your subject similar to or different from Yossarianin Catch-22?

“The only freedomwe really have is thefreedom to say no.”

—Joseph Heller

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Considering Catch-22Have you ever been faced with a catch-22? Describe thesituation. What did it feel like to find yourself in a no-win position? How did you handle the situation?

Choose one of the institutions or systems that play arole in our livesÑfor example: family, school, work,church, community, the medical establishment,military, or government. See if you can obtain a copy ofthe organization’s written rules and regulations. Do allof the rules and procedures make sense? Are they fair?Consistent? Do they contain any catch-22s?

Why do you think some institutions create systems that are illogical, contradictory, or unjust?

War Resisters Many people have noticed similarities between Yossarian and the character of Achilles, thewarrior hero of Homer’s Iliad who becomes trapped in his own “Catch-22” when he refuses tofight. Director Peter Meineck writes, “Heller cast Yossarian as a modern-day AchillesÑnot acoward, nor even anti-war, just reluctant to waste his life in a cause he no longer believes in: ahero or anti-hero trapped by circumstance.” Do you think the comparison is accurate? Do youbelieve Yossarian is justified in trying to escape the war?

Can you think of other characters, from literature or from real life, who have been asked to puttheir lives on the line for something they did not believe in? How did they respond to thesituation? What were the consequences of their actions (or inaction)?

BEFORE THE SHOW :

AFTER THE SHOW :

Col. Cathcart and Milo Minderbinder

How Did It Go?Did the performance of Catch-22 meet your expectations? Do you think it captured the spirit of thenovel? Was it successful as a piece of theater?

With your class, discuss all the elements of the performance: set, costume, and lighting design;music, acting, and directing. What worked for you? What didn’t? What made you see the story andcharacters in a new way? What confused you?

Write a review of the performance and send it to the State Theatre: education@StateTheatreNJ.org.We’ll be sure to share your reviews with Aquila Theatre Company!

Look and listen for:

¥ Examples ofparadoxicalspeech andsituations

¥ Actors playingmultiple roles

¥ The way music isused

¥ The way lightingis used

¥ How the femalecharacters areportrayed

¥ How the storyunfolds over time(linear or non-linear), especiallycompared to thenovel

DUR I NG THE SHOW :

Before, During, & After

Be Prepared!

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Some things you should know before you go...A performance is only a performance if there’s an audience to see and hear it. As a

member of the audience, you are a partner with the artists in bringing the performanceto life.

Live performances have special rules.Attending a live theater performance is not the same as watching a movie or

television show. You will be in the same space with the actors and the rest of theaudience. Any noises or movements you make will disturb the artists and spoil theexperience for the rest of the audience.

Here are some basic rules to follow at the theater:• Before the performance starts, turn off and put away all electronic devices—

cellphones, iPods, handheld games, etc. • Do not bring food or beverages into the theater.• Stay in your seat.• No talking or whispering once the show begins. • Do not take photos or make any sound recording of the show.

Know your role.During the show, your job is to focus all your energy and attention on what’s

happening onstage. The way you respond to the show matters a great deal to theperformers. Laugh at the funny parts. Applaud if you like what you see and hear!

Turn it off.

No photos.

No talking.

ResourcesBOOKS

A Few Small Candles: War Resisters ofWorld War II Tell Their Stories, edited byLarry Gara and Lenna Mae Gara. Kent StateUniversity Press, 1999

The Second World War: A Complete History,by Martin Gilbert. Holt, 2004

Shot to Hell: Stories and the Photos ofRavaged WWII Warbirds, by Cory Graff.Zenith Press, 2003

Untold Valor: Forgotten Stories of AmericanBomber Crews over Europe in World War II,by Rob Morris. Potomac Books , 2006

The Wrong Stuff : The Adventures andMisadventures of an 8th Air Force Aviator,by Truman Smith. University of OklahomaPress, 2001

DVD/VIDEO

Catch-22 (1970), starring Alan Arkin,directed by Mike Nichols. Rated R

Twelve O’Clock High (1949), starringGregory Peck, directed by Henry King.Fictional account of a B-24 squadron andtheir bombing campaign over Germany.

The World at War (1974), televisiondocumentary on World War II narrated byLaurence Olivier

WEBSITES

www.wlajournal.com/15_1-2/scoggins%20213-227.pdf

“Joseph Heller’s Combat Experiences inCatch-22,” an article from the journalWar, Literature & the Arts

www.b25.net/pages/BPview.htmlWatch a video shot from thebombardierÕs position on a B-25.

http://oralhistory.rutgers.edu/Rutgers University’s online oral historyarchives, featuring interviews withRutgers alumni and New Jersey residentswho served in World War II, the KoreanWar, the Vietnam War and the Cold War

www.warexperience.org/video.htmlOnline video archive of interviews withveterans of World War II, the KoreanWar, and Vietnam War

www.loc.gov/rr/program/bib/WW2/WW2bib.html

World War II resources from the Libraryof Congress