Authors:
Historic Era:
Historic Theme:
Subject:
July/August 1996 | Volume 47, Issue 4
Authors:
Historic Era:
Historic Theme:
Subject:
July/August 1996 | Volume 47, Issue 4
Dos Passos’s trilogy begins as it ends: with a young man walking. This is from the opening pages.
No job, no woman, no house, no city. . .
It was not in the long walks through jostling crowds at night that he was less alone, or in the training camp at Allentown, or in the day on the docks at Seattle, or in the empty reek of Washington City hot boyhood summer nights, or in the meal on Market Street, or in the swim off the red rocks at San Diego, or in the bed full of fleas in New Orleans, or in the cold razorwind off the lake, or in the gray faces trembling in the grind of gears in the street under Michigan Avenue, or in the smokers of limited expresstrains, or walking across country, or riding up the dry mountain canyons, or the night without a sleepingbag among frozen beartracks in the Yellowstone, or canoeing Sundays on the Quinnipiac;
but in his mother’s words telling about longago, in his father’s telling about when I was a boy, in the kidding stories of uncles, in the lies the kids told at school, the hired man’s yarns, the tall tales the doughboys told after taps;
it was the speech that clung to the ears, the link that tingled in the blood; U. S. A.
U. S. A. is the slice of a continent. U. S. A. is a group of holding companies, some aggregations of trade unions, a set of laws bound in calf, a radio network, a chain of moving picture theatres, a column of stockquotations rubbed out and written in by a Western Union boy on a blackboard, a publiclibrary full of old newspapers and dogeared historybooks with protests scrawled on the margins in pencil. U. S. A. is the world’s greatest river-valley fringed with mountains and hills, U. S. A. is a set of bigmouthed officials with too many bankaccounts. U. S. A. is a lot of men buried in their uniforms in Arlington Cemetery. U. S. A. is the letters at the end of an address when you are away from home. But mostly U. S. A. is the speech of the people.
“The Camera Eye” sections are the most personal in the trilogy. This one suggests Dos Passos’s simultaneous disgust and infatuation with that great engine of monopoly capitalism, New York City.
THE CAMERA EYE
the narrow yellow room teems with talk under the low ceiling and crinkling tendrils of cigarettesmoke twine blue and fade round noses behind ears under the rims of women’s hats in arch looks changing arrangements of lips the toss of a bang the wise I-know-it wrinkles round the eyes . . .
this warmvoiced woman who moves back and forth with a throaty laugh