The Fiction Of John Dos Passos

“It is not simply that [Dos Passos] has a keen eye for people, but that he has a keen eye for so many different kinds of people.”—The New York Times Marking the end of “one of the most ambitious projects that an American novelist has ever undertaken” (Time), The Big Money brings us back to America after the Great War, a nation on the upswing. Industrialism booms. The stock market surges. Lindbergh takes his solo flight. Henry Ford makes automobiles. From New York to Hollywood, love affairs to business deals, it is a country taking the turns too fast, speeding toward the crash of 1929. Ultimately, whether the novels of John Dos Passos’s classic USA Trilogy are read together or separately, they paint a sweeping portrait of collective America—and showcase the brilliance and bravery of one of its most enduring and admired writers. The Big Money, focusing on a passionate pilot whose compromises culminate in despair and an actress led astray by her ambitions, completes this “fable of America's materialistic success and moral decline” (American Heritage).

This grimly realistic depiction of army life follows a trio of idealists as they contend with the regimentation, violence, and boredom of military service. Incited past the point of endurance, the soldiers respond with rancor and murderous rage. This powerful exploration of warfare's dehumanizing effects remains chillingly contemporary.

A record of his childhood, young adulthood, and twenties, The Best Times is a collage of cherished memories. He reflects on the joys of an itinerant life enriched by new and diverse friendships, customs, cultures, and cuisines. Luminary personalities and landscapes abound in the 1920s literary world Dos Passos loved. F. Scott Fitzgerald, Ernest Hemingway, E.E. Cummings, Gerald and Sara Murphy, Horsley Gantt—they are his beloved friends. Spain, the French Riviera, Paris, Persia, the Caucasus—they are his beloved footpaths.

Before he began the U.S.A. trilogy, Dos Passos prefigured his groundbreaking epic through three novels that provide a fascinating glimpse into his achievement as an avant-garde prose stylist while they incisively chronicle early 20th-century Europe and America.

Every generation rewrites the past. In easy times history is more or less of an ornamental art, but in times of danger we are driven to the written record by a pressing need to find answers to the riddles of today. We need to know what kind of firm ground other men, belonging to generations before us, have found to stand on. In spite of changing conditions of life they were not very different from us. This is a prime example of Dos Passos as an American novelist and reporter on American reality. In times of change and danger when there is fear under men's reasoning, a sense of continuity with generations gone before can stretch like a lifeline across the scary present. That is why, in times like ours, when old institutions are caving in and being replaced by new institutions not necessarily in accord with most men's preconceived hopes, political thought has to look backwards as well as forwards. It is not a question of what we want; it is a question of what is. American history, the successes and failures of the men who went before us, is only alive in so far as some seeds are still stirring and growing in us today. Divided up into three major sections: The Use of the Past, Roger Williams and the Planting of the Commonwealth in America, and On the White Porch of the Republic; The Ground We Stand On traces the backgrounds and the rise of America's early political structure, the variety of influences upon it, and the men who gave it a stable foundation. John Dos Passos (1896-1970), American novelist, was born in Chicago. During and after the Second World War, he became increasingly interested in the roots of American culture and produced a number of historical studies relating to the problems of American democracy. He wrote both fiction and nonfiction. Among his works are Manhattan Transfer, the trilogy U.S.A. and his autobiographical The Best Times.

The journal of the author on a trip through Russia and the Levant (the eastern Mediterranean, including Syria and Lebanon), published in 1927.

Despite sickness in the final years of his life, Dos Passos presses on for adventure. He and his wife journey to Easter Island, where they explore the history behind the famous statues—called maois. “When I was a small boy,” Dos Passos says, “some kind person took me to the British Museum. There I saw a statue, a huge, rough, dark-gray statue with [a] long, sad, dark-gray face. The statue stared back out of deep, sunken eyes. What was it trying to say? To this day I can remember the feeling it gave me of savage, brooding melancholy.”

This authorized biography of John Dos Passos is both important and highly engaging -- important because it provides a portrait-in-action of one of the ablest American writers of this century, searching critiques of all his works, and straightforward analyses of the complex political and social backgrounds out of which they grew; and engaging because of this shy, modest, friendly, endearing, and indefatigable man whose sterling character springs out of every page. - Carlos Baker, on back of jacket.