2. Chapter 15 “Piltchard and Wren” Or... The Bombastic Bombardier Balks at Bombing Bologna

3. Structure Inter-chapter connections: chronological Heller keeps the time frame to illustrate the protracted impact of one mission. Inter-chapter connections: chronological Heller keeps the time frame to illustrate the protracted impact of one mission. Ch 14 ends as we learn that Bologna was “a milk run”(144). Ch15 opens w/Captains Piltchard and Wren who contrast Y in their love of combat. It is they who announce the second Bologna bomb run. Ch 14 ends as we learn that Bologna was “a milk run”(144). Ch15 opens w/Captains Piltchard and Wren who contrast Y in their love of combat. It is they who announce the second Bologna bomb run.

4. Chapter 15 moves directly into chapter 16 chronologically to illustrate Y’s need (and the other airmen’s need) to escape the maelstrom of battle through the debauchery of Rome. Chapter 15 moves directly into chapter 16 chronologically to illustrate Y’s need (and the other airmen’s need) to escape the maelstrom of battle through the debauchery of Rome. Yossarian takes his leave “in Rome, where he found Luciana and her invisible scar that same night” (152) “He found her sitting alone at a table in the Allied officer’s night club...” (153). “He found her sitting alone at a table in the Allied officer’s night club...” (153).

5. Intra-chapter connections: mostly chronological Intra-chapter connections: mostly chronological After a transition explaining the 2 nd run to Bologna, Heller drops us into the plane mid- mission: “[S]uddenly they were shooting the living s*** out of him. Heavy flak was everywhere!” (146). After a transition explaining the 2 nd run to Bologna, Heller drops us into the plane mid- mission: “[S]uddenly they were shooting the living s*** out of him. Heavy flak was everywhere!” (146). The rest of the chapter is a meticulously drawn out and harried depiction of the perilous bomb run. Analysis to follow.

6. Satire Heller uses very little satire or even humor in this chapter. Offers a sharp contrast to broader humor and farce of earlier scenes, but maintains the almost surreal intensity. Offers a sharp contrast to broader humor and farce of earlier scenes, but maintains the almost surreal intensity. We are pre-Avignon – Yoss still takes the job (or his personal safety) seriously enough to work quickly and get out alive. We are pre-Avignon – Yoss still takes the job (or his personal safety) seriously enough to work quickly and get out alive.

7. Heller juxtaposes the “grinding howl of the engines,” the "vast churning wave... of coal-black smoke” from the bombed out ammunitions dump, and the “crunching, thudding, voluminous barrage of bursting anti-aircraft missiles” with Aarfy’s fatuous, maddeningly sanguine demeanor. As a “large chunk of flak rip[s] up from the floor through Aarfy’s colossal jumble of maps and... inches away from their heads,” Heller presents “Aarfy’s joy [as] sublime.” Heller juxtaposes the “grinding howl of the engines,” the "vast churning wave... of coal-black smoke” from the bombed out ammunitions dump, and the “crunching, thudding, voluminous barrage of bursting anti-aircraft missiles” with Aarfy’s fatuous, maddeningly sanguine demeanor. As a “large chunk of flak rip[s] up from the floor through Aarfy’s colossal jumble of maps and... inches away from their heads,” Heller presents “Aarfy’s joy [as] sublime.” While Aarfy may offer some comic relief, Y’s reaction to him is more telling of Heller’s purpose. To Yoss, “Aarfy [is] like an eerie ogre in a dream, incapable of being bruised or invaded” (149). While Aarfy may offer some comic relief, Y’s reaction to him is more telling of Heller’s purpose. To Yoss, “Aarfy [is] like an eerie ogre in a dream, incapable of being bruised or invaded” (149).

8. Style In the absence of satire and humor, Heller’s more descriptive talents come forward. In the absence of satire and humor, Heller’s more descriptive talents come forward. Actual bombing (146-147) – Heller weaves long fluid sentences that are narrowed to Y’s perspective and heighten the impact of the scene. In these instances, Heller’s penchant for modifiers and unique and vivid similes becomes most apparent. Actual bombing (146-147) – Heller weaves long fluid sentences that are narrowed to Y’s perspective and heighten the impact of the scene. In these instances, Heller’s penchant for modifiers and unique and vivid similes becomes most apparent.

9. “Behind him, men were dying. Strung out for miles in a stricken, tortuous, squirming line, the other flights of planes were making the same hazardous journey over the target, threading their swift way through the swollen masses of new and old burst of flak like rats racing in a pack through their own droppings. One was on fire, and flapped lamely off by itself, billowing gigantically like a monstrous blood-red star. As Yossarian watched, the burning plane floated over on its side and began spiraling down slowly in wide, tremulous, narrowing circles, its huge flaming burden blazing orange and flaring out in back like a long, swirling cape of fire and smoke... [then] fell the rest of the way to the ground, fluttering insensibly inside its vivid pyre like a shred of colored tissue paper” (150). “Behind him, men were dying. Strung out for miles in a stricken, tortuous, squirming line, the other flights of planes were making the same hazardous journey over the target, threading their swift way through the swollen masses of new and old burst of flak like rats racing in a pack through their own droppings. One was on fire, and flapped lamely off by itself, billowing gigantically like a monstrous blood-red star. As Yossarian watched, the burning plane floated over on its side and began spiraling down slowly in wide, tremulous, narrowing circles, its huge flaming burden blazing orange and flaring out in back like a long, swirling cape of fire and smoke... [then] fell the rest of the way to the ground, fluttering insensibly inside its vivid pyre like a shred of colored tissue paper” (150).

10. Foreshadowing/Déjà Vu Heller’s purpose here is to hold the reader in the plane with Yossarian, not to distract from the terror with tricks of timing. Therefore, he employs no déjà vu or repeated scenes. There is some subtle foreshadowing, but I’m not gonna tell you what it is! Heller’s purpose here is to hold the reader in the plane with Yossarian, not to distract from the terror with tricks of timing. Therefore, he employs no déjà vu or repeated scenes. There is some subtle foreshadowing, but I’m not gonna tell you what it is!