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A. C
B. "On one of his charts Heller wrote, 'In making the decision to dessirt, Yossarian accepts the responsibility he now knows he has to the other men. As he says, he is not running away from his responsibilities, but to them.'"
C. The setting that Yossarian was in made it seem like he was doing good, but he realized he needed to be somewhere else entirely.

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A. O
B. "Heller has in fact divided Catch-22 into three parts."
C. This will be really good to talk about the mood, as it shifts from humorous, to more serious, and the third as dramatic.

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A. C
B. "Americans, like the warrant officer in

Catch 22

fell unpatriotically

asleep during and after the Vietnam War."
C. This is a good quote for my paragraph where I talk about how people carried different views in different parts of history

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A. C
B. "Indeed, to use the term "flashback" is a bit misleading, for the word usually implies an episode rendered dramatically and at some length."
C. Here is a perfect quote to talk about the telling of the story out of order, and I can look deeper into why Heller chose to do this.

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A. C
B. "Reconsideration of the structure of Catch-22 might well begin with the most 'obvious' example of Heller's formlessness: the utterly confusing chronology."
C. The story is told out of order, and here I can talk about how the characters treat each other differently based on when in the story it is.

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A. C
B. "The struggle between Yossarian and Group Headquarters... attests to the basic polarization of modern America into the power of the elite."
C. This bigger power that Yossarian always faces sets up the opportunity to shed light on a bigger picture.

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A. O
B. "Orr is crazy not

just because he

smashed open Appleby's forehead with a ping-pong paddle... but also because he is obsessed with building a gas stove for his and Yossarian's tent."
C. The setting is used here to emphasize how crazy Orr is.

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A. C
B. "Yossarian is deemed crazy because he is 'unable to adjust to the idea of war.'"
C. The world changes around Yossarian, and he is seen as insane.

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A. O
B. "In this perspective, the modern literary hero opposes the current Zeus-figure who may be enshrined in the White House [or] the Headquarters of Heller's 256th Squadron."
C. This gives an example of how setting can give people a sense of status, and thus be treated differently.

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A. P
B. "Englishmen are dying for England, Americans are dying for America, Germans are dying for Germany, Russians are dying for Russia. There are now fifty or sixty countries fighting in this war. Surely so many countries can't all be worth dying for.” p326
C. All of these countries are at war, and the time period sheds light on a deeper issue.

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A. P
B. “They're trying to kill me," Yossarian told him calmly. No one's trying to kill you," Clevinger cried. Then why are they shooting at me?" Yossarian asked. They're shooting at everyone," Clevinger answered. "They're trying to kill everyone." And what difference does that make?” p32
C. The war that is going on during this time period puts a lot of stress on the characters. This could be used in either the paragraph about tone or about time periods.

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B. "The chaplain was not certain at which of the five officers' and five enlisted men's mess halls he was scheduled to have lunch that day, for the system of rotation worked out for him by Colonel Korn was complicated." p200
C. The Chaplain has to scramble from place to place in this chapter, and by using the distance between each of the places he needs to be, the setting gives the feeling of anxiety and rush.

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B.  “You’ll have to turn back’ ‘For an intercom?’ asked Kid Sampson incredulously. ‘Turn back… before I break your head.’” p141
C. This is also good for describing how characters' traits can be emphasized by introducing a change in the setting. As Yossarian faces this danger, he chickens out, and wants to run away, showing you the kind of person he is.

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A. P
B. “...on the day Yossarian came back, [Orr] was tinkering with the faucet…” p22
C. The setting here gives an insight to what Orr is like as a character, and can easily show that setting gives an opportunity to introduce new characters in a specific light.

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A. P
B. “Bologna had been bombed. Bologna was a milk run. There had been no flak there at all.” p144
C. This would be a good quote for the second paragraph, where I talk about how certain events would only happen in those time periods. You would not ever consider bombing somewhere unless you are at war, which gives a good idea of the reality of their situation.

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A. P
B. “They couldn’t dominate Death inside the hospital, but they certainly made her behave.” p165
C. This hospital is a good idea of what the entire tone of the story is. Although it happens halfway through the book, it describes the very first scene that you see. I could easily relate this to the tone paragraph.

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A. P
B. “The island of Pianosa lies in the Mediterranean Sea eight miles south of the Elba, it is very small and obviously could not accommodate all of the actions described.” p3
C. This gives an exact understanding of where the story takes place. It is a real place, and although the author has taken some creative liberties to make it work, you can look up the island to see what it is like.

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Joseph Heller's Catch 22 reflects the importance of setting in books through the way it changes the mood and tone, certain events and outlooks on life are only seen in their respective time periods, and people have treated each other differently as time goes on.

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1. Heller, Joseph. Catch 22. 50th Anniversary ed. New York: Simon and Schuster Paperback, 2011. Print.
2. "Blindfolded and Backwards." Project Muse. William Schopf, 2014. Web. 3 Feb. 2017.
3. Merrill, Robert. "The Structure and Meaning of Catch 22." Project Muse. N.p., 2013. Web. 9 Feb. 2017.
4. Wetta, Frank J. "Project MUSE - "Now a Major Motion Picture": War Films and Hollywood's New Patriotism." Project MUSE. N.p., 2015. Web. 13 Feb. 2017.