Ajtay-Horváth Magda

JOHN DOS PASSOS U.S.A.TRILOGY: THE RADICAL NOVELS

AZ ÚTKERESÉS REGÉNYEI: JOHN DOS PASSOS U.S.A.
TRILÓGIÁJA
ABSTRACT

The paper aims to present the social sensitivity of the author that led him to the creation of a round
panorama of the first three decades of the 20th century American society focusing on the period prior
World War I (The 42nd Parallel), The Great War (1919) and the post-war years (Big Money) through
the Great Depression. The novel is radical both politically and aesthetically. It expresses a heightened
sense of class solidarity with the members of the working class who are betrayed even by their own
political institutions and who are compelled to acknowledge that the American Dream remains an
illusion for most of them. The novel mingles artful (career developments, stream of consciousness)
and artless (newsreel and camera-eye) techniques to depict society as multi-faceted as possible in a
provocative and innovative way. Dos Passos himself was socially active with leftist ideals until, due to
his personal experiences in the Soviet Union and the Spanish Civil War, turned away towards a
conservative attitude. After the traumatic experience of World War I Passos tried to reconstruct the
fragmented and alienated world by surpassing the border of traditional literature experimenting with
new methods of expression which were adequate to capture more accurately the complexity of the
world and compress the enormous experience Passos had accumulated.

Key Words: newsreel, camera eye technique, stream of consciousness, individual political
institutions relationship

ÖSSZEFOGLALÓ

Dolgozatom célja e rendkívüli alkotói energiákkal és társadalmi érzékenységgel rendelkező amerikai

író, Jonh Dos Passos, U.S.A. trilógiájának a bemutatása, melyben az író a huszadik század első három
évtizedét foglalja össze, az első világháborút megelőző éveket (Negyvenkettedik szélességi kör), az
első világháború borzalmait, (1919) illetve a háború utáni korszakot (Dől a pénz), ami végül a nagy
gazdasági válságba torkollott. A regénytrilógia politikai és esztétikai szempontból egyaránt radikális.
A munkássággal és a nemzetközi munkásmozgalommal szimpatizáló szerző döbbenten tapasztalja,
hogy a munkásságot a saját politikai képviselői is elárulják, a párt önös és személyes érdekeket
képvisel, és egyre erősödő anyagi erejével a nagycégek logikája szerint működik, saját választóinak
ellenében. A egyénintézmény feloldhatatlan ellentéte valamint „az amerikai álom” örök illúziója
alapvető élményei a regénytrilógiának. A regény a hagyományos irodalmi művészi módszerek kereteit
szétfeszíti; a valós és fikcionális élettörténetek mellett montázsszerűen idéz hírlaprészleteket,
slágerszövegeket, újságcímeket, amelyek a szociológiai objektivitást erősítik. Ezt az objektivitást
ellenpontozza a tudatfolyam, mely az érzékelt valóság szubjektív megjelenítése. Ideológiai útkeresései
a regény művészi megújításának kísérletével párosult, azokat az írói módszereket kereste, melyekkel
legpontosabban fejezhette ki az amerikai társadalom komplexitását és azt a hatalmas tapasztalatot,
melyet élete során felhalmozott.

Kulcsszavak: a regény megújítója, híradó, lencsevég, tudatfolyam, az egyén és a politikai

intézmények kapcsolata

1. Radical Content

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The U.S.A. trilogy by John Dos Passos undoubtedly represents a novelty in the history of the
American novel both in form and dimension. The three volumes are roughly 1300 pages long
consisting of the volumes: The 42nd Parallel (1930), 1919 (1932) and Big Money (1936). The
too general and uncommon title: U.S.A., which would befit a work on history or geography
rather than a piece of imaginative literature, implies the endeavour of the author to give a
broad and comprehensive panorama of a period which led to and followed the World War I.
and the Great Depression, two major events in American history.
The puzzling title of the first novel, The 42nd Parallel, which was a stand-alone novel
at its publication (1930) comes from a booked published in 1865 entitled American
Climatology, which suggested that storms in America followed the 42th Parallel (Michael
Denning,1996: 190). It can also be supposed that the author may have associated social unrest
when he chose the title suggested by the climatology book. Indeed, the thirties, when Dos
Passos’s first novel of the trilogy was published, is already the period of the common men
who left a „social democratic and a pro labor” imprint on the period (Denning,1996: 152).
The emergence of the left culture could be sensed along with the appearance of a powerful
mass social movement and formed a cultural scene where authors, artists gave expression to a
heightened sense of class solidarity. The geography of the trilogy is also embracing cities and
countries from Chicago, New York, San Francisco, Mexico (The 42nd Parallel, Big Money)
to France and Italy (1919).
The U.S.A. trilogy is considered the great American novel, striving to provide an all
round panorama of the American society by surpassing the boundary of the fictional narrative.
In one of the interviews given by the author he declares that he “was trying to get something a
little more accurate than fiction, at the same time to work these pieces into the fictional
picture. The aim was always to produce fiction”(Sanders, 1969: 248).
The 42nd Parallel baffles its readers with description of the strong social tension that
characterized American society in the first two decades of the twentieth century. It focuses
primarily on the lives of the working class people whose representatives are conscious
members of their class, with strong class ideology and anti-capitalist, anti-rich, anti-war
attitudes. This militant content ensures the novel a conspicuous place among some of the
canon-forming American novels of the twenties and thirties of the 20th century.
Its sequel 1919 is an ironic and harsh criticism of the World War I into which
America entered in 1917 and, which, according to the author, served the narrow interest of
the powerful circles and sacrificed powerless people by deceiving them with demagogic
propaganda.
1.2 Radical form
The writing technique conceived and used by Dos Passos is also experimental, randomly
altering four types of texts, forming a patchwork, which are meant to complement one another
in the deep consciousness of the reader. The four altering text types are the fictional narrative,
the biography, the Newsreel and the so called Camera Eye technique.
The Newsreel provides a non-fictional background to the fiction by quoting newspaper
articles, headlines, advertisements, political speeches, fragments of popular songs. Critics
generally agree that the montage technique was inspired by the Russian realistic filmmaking
technique.
The biography section contains life or character sketches of real and imagined people, some
of whom are famous figures of the American present and past (Woodrow Wilson, Thomas

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Edison, Henry Ford, Theodore Roosevelt, J.P Morgan, Jack Reed, Wilbur and Orville Wright,
Frederick Winslow Taylor, Thornstein Veblen, Isadora Duncan and many others).
Finally, the so called camera-eye technique is seemingly a random outbreak of
thoughts, bearing similarity with the Joycean stream of consciousness, or Walt Whitman’s
free verse, having odd punctuation, often omitting capital letters at the beginning of the new
paragraphs. The images reproduce memories and acute perceptions, most probably belonging
to the fictional narrator. These sections, if read attentively, contain certain vague references to
what has been narrated in the previous sections. Sanders, a critique of Dos Passos, called the
Camera eye a „safety valve” for the author’s own subjective feelings (Sanders, 1969: 247)
suitable to convey a vague self-portrait. The tone of the Camera Eye section gradually
changes through the novels of the trilogy. In the first volume it is more reminiscent,
evocative, in the second volume it is horrified, shocked at the war experiences, while in the
third volume, when describing the harsh realities of the monopoly capitalism at the dawn of
the Great Depression, the tone becomes sharp and the vision acute: the power of the rich is
unquestionable, it cannot be countervailed with radical political forces, who themselves are
corrupted and seek similar aims against which they allegedly work.
The strong realistic quality of the Neewsreel sections is in subtle juxtaposition with
the highly subjective Camera Eye flow of impressions and both provide a firm background to
the fictional narrative. The narrative consists of the life stories of twelve main characters,
thus they can be considered individual, realistic character development novelettes presented
in fragments. Each chapter of the fictional narrative bears the name of a hero, whose life at a
given moment intersects with the life of another character. The main hero of one narrative
may occur as a minor hero of another narrative. The reader’s attention has to be on alert all
through the process of reading because the characters course of life may meet at very
unexpected moments and it cannot be foretold which minor character and which seemingly
unimportant incident told will become important later on in the novel or in the subsequent
novels. The protagonists appear and disappear, they fade in and out of focus. It should also be
highlighted that the development of the characters is presented in free indirect style, a mode
between speech and thought, which hides the individual and impersonalizes the narrator. The
absence of the characters is also a sign of alienation, a modern and postmodern characteristic.
Due to the techniques applied, the novel gives the impression of fragmentation,
subconsciously reflecting the experience of the intellectuals after the Great War: everything
has gone to pieces and it is impossible to capture reality in a traditional manner, applying a
linear structures.
Béja, a French scholar points out that Dos Passos creates a „paradoxical aesthetics” by
mingling fiction with documentaries, „artfulness and artlessness”, constructed life stories with
real biographies, reality with the highly subjective contents of the subconscious. Thus, Béja
concludes that this paradoxical aesthetics generates a tension between literariness and lack of
literariness, resulting in „a literary text which is perpetually at war with its own literariness.”
Similarly a tension exists between the author’s endeavour to present a large panorama of the
American society by simultaneously focusing on individual life progressions. The realistic
presentation of the characters, however, lacks any reflection, be it from the part of the author
or self reflection of the characters, or any psychological development.
2. The ideological background
Jean Paul Sartre, the great admirer of Dos Passos’s literary activity declares the
following about the author: „He arouses indignation in people who never get indignant, he
frightens people, who fear nothing” (Sartre, 1962: 95),
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 By the turn of the 19th and 20th century America was no longer the land promising the
fulfilment of the American dream, but rather the land of a divided society where some
prospered and many were dissatisfied with the opportunities that could have allowed them to
pursue happiness. Strong social controversies and America’s versimilitude is characterized in
a Whitmanesque vision the end of the introductory chapter.
„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 stock-quotations rubbed out and written in by a Western Union boy on a
blackboard, a public library full of old newspapers and dogeared history books with protests
scrawled on the margins in pencil, U.S.A. is a set of bigmouthed officials with too many bank
accounts. 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” (Passos The 42nd Parallel: 3).
The first Newsreel, Nation Greets Century’s Dawn, which contains quotations
covering the celebrations welcoming the 20th century (New Year’s Eve 1900), claims the
following about America’s role in the forthcoming millennium: “By the advantages of
abundant and cheap coal and iron, of an enormous overproduction of food products and of
invention and economy in production, we are now leading by the nose the original and the
greatest of the colonizing nations” (Passos, The 42nd Parallel: 14).
By the 20s of the 20th century, however, social tension between the politically radicals
and government became critical. The social dissatisfaction of the working class channelled
people into milder socialist organizations and more radical even violent anarchist groups.
Riots, strikes, demonstrations were often organized which were mercilessly retaliated by the
authorities. Prior writing his novel, Dos Passos was involved in organizing a strike and carried
out an active role in defending two anarchist Nicola Sacco, a fish peddler, and Bartolomeo
Vanzetti, a shoemaker, two Italian immigrants who were sentenced to death after being
accused of murder. The case was much it the public’s focus for a period of six years from the
moment when Sacco and Vanzetti were taken into custody till their execution in 1927. As
evidence against the two accused was not convincing, the death sentence of the jury
generated great protest from the part of the liberal intellectuals, Dorothy Parker, Edna St.
Vincent Millay, Bertrand Russell, Katherine Anne Porter, George Bernard Shaw, H.G. Wells
and Dos Passos among them. A committee was formed to persuade the jury to change the
death sentence, which, the members of the defence committee thought was unfair and actually
was pronounced for the political conviction of the two accused. Large protest were held in
different big cities all over the world, but the capital punishment, however, was not altered. In
1927, after the execution was performed, Dos Passos wrote a pamphlet entitled Facing the
Chair. The Americanization of two Foreigners and Upton Sinclair dedicated a novel (Boston)
to the case. In the third novel of the trilogy, Big Money (1936), two characters: Mary French
and Don Stevens become strong supporters of Sacco and Vanzetti.
After the serious involvement in the struggle to save Sacco and Vanzetti’s lives, Dos
Passos proceeded writing the first volume of the USA trilogy: The 42nd Parallel. He realized
that political institutions, like parties, once become strong are unable or rather unwilling to
support the interest of larger groups of people; quite contrary, they serve the interests of the
party elects who become corrupted along with controlling significant material means. The
leaders of the organized labour institution operate the party on business principles, developed
hierarchical structures to pursue self-interest abusing, using, manipulating or even sacrificing
the members of the organization.

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 Dos Passos’s disillusionment of socialism was strengthened by his visit to Mexico and
the Soviet Union with the original aim to obtain first hand experience about the operation of
these socialist systems. He returned from the Soviet Union with deep doubts after having
acquainted with the dread of a Trotskyite couple whose only option to save their lives was to
flee the country. The author’s final disillusionment came when he arrived in Spain during the
Spanish Civil War in 1938 with the view to produce a documentary film depicting the life of
the common men during the Civil War (Ludington, 1980: 363). On this occasion he wanted to
contact one of his friends and his translator, José Robles, a former fellow from the times they
both had attended the university in Madrid. The friend disappeared prior to Dos Passos’s
arrival, and as it turned out as a result of the author’s enquiries, he was executed by the
communists immediately following his arrest being accused of fascist espionage.
Dos Passos’s disillusionment was final, he had to admit that he searched in vain to find a
political movement which truly supported the benefit of those who were not empowered.

2. The dynamism of the American society

In an interview given to David Sanders Passos declared that “he was observing for the
record” and was striving “to put down what you see as accurately as possible”. Furthermore,
he added “I’ve usually been on the fence in partisan matters. I’ve often been partisan for
particular people, usually people who seem to be getting a raw deal” (Sanders, 1969: 4).
The sympathy of Dos Passos towards the repressed is obvious in the novel, in which, among
the several fictional narratives, Mac’s is the dominant: from twenty narratives of the novel
eight belong to Mac, four to Janey, three to J.Ward Moorhouse, four to Eleanore Stoddard
and one to Charley Anderson. The life of the main characters intersect in big towns such as
Chicago, New York and Mexico City. Fenian O’Hara McCreary, Mac, whose life story is
most thoroughly presented in the first novel of the trilogy, is a rootless industrial worker who
is attached to the Industrial Workers of the World Movement (I.W.W.). He is born into a
family of Scottish-Irish background which struggles to make ends meet and is swept
downwards after his father loses his job following a strike. In consequence, the family
decided to move from the provincial Middletown to Chicago taking the advice of uncle Tim
who is the owner of a printing shop and is involved in the socialist movement. Uncle Tim is
Mac’s first employer, but as his business is soon bankrupt, Mac becomes jobless and
uprooted again. He becomes an itinerary worker who grows into a Whitmanesque character:
„The young man walks by himself, fast but not enough, far, but not far enough (…) he must
catch the last subway, the streetcar, the bus, run up the gangplanks of all the steamboats,
register at all the hotels, work in the cities, answer the wantads, learn the trades, take up the
jobs, live in all boarding houses, sleep in all beds. One bed is not enough, one job is not
enough, one life is not enough. At night, head swimming with wants, he walks by himself
alone.
No job, no woman, no house, no city” (Passos, The 42nd Parallel: 1)
He obtains and loses several jobs meanwhile considering working for the Industrial
Workers World Movement more important than his own livelihood: he works as a printer,
organises strikes and meetings, reads Marx and has long debates about the possibility of the
outbreak of the communist revolution.
All through Mac career and also in the career of many male characters of 1919 (Joe
Williams, Richard Savage, J.Ward Moorhouse) there is a tension between domestic life and
the life devoted to social career, social activity and political fight. Mac as a young man is
longing to have a girlfriend and later a wife, but he can never provide for a family. Whatever
little he earns, he would always spends while in-between jobs, and would end up utterly
penniless by the time he finds a new job. He travels from one part of the county to another,

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actually hoboing, constantly on the road like so many of his contemporary peers. Dos Passos
was also fascinated by travelling, he lived in several places in America, visited Europe and the
Middle East as a young man, participated in the Great War on European battlefields, because,
although he “disapproved of war as a human activity”, “he was anxious to see what it was
like” (Sanders, 1969).
3.1 Disrupted relationships
Men  women relationships are affected by the restless lifestyle of the men who are
involved in union work, threatened by existential uncertainties or by the eager struggle to
achieve economic success. Relationships are never harmonious, they often end up in
separation, unwanted pregnancies, divorces or even suicide. Uncle Tim warns Mac right at the
beginning to beware of women because they „it’s women’ll make you sell out every time.
(Passos, The 42nd Parallel 28). The dilemma between private life and social role becomes an
issue in Mac’s life who, while being involved in a miner’s strike, learns about Maisie’s, her
girlfriend’s, pregnancy. Promiscuity goes along with excessive alcohol consumption and the
frequent spread of sexual diseases. Socialists and the female liberal intellectuals do not
believe in traditional marriages but nor do the members of the upper classes.
Concha, a pragmatic woman, Mac’s Mexican girlfriend whom he meets after he steps
out from a tense marriage, formulates clearly the role of material means in defining one’s
political attitudes:
“Every poor man socialista, a como no? But when you get rich, quick you all very much
capitalista” (Passos, 42nd Parallel: 273).
Some middle class intellectuals also sympathize with more radical social views, like
Daughter, the prototype of the American middle class girl. We cannot fail noticing the ironic
characterization of Daughter and the stereotypes defining the mindset of her class when the
author presents Daughter and her social environment:
“The Trents lived in a house on Pleasant Avenue that was the finest street in Dallas that was
the biggest and fastest growing town in Texas that was the biggest state in the Union, and had
the blackest soil and the whitest people and America was the greatest country in the world and
Daughter was Dad’s onlyest and sweetest little girl” (Passos, 1919: 204).
Daughter studied journalism in New York and was involved in welfare, but finally
committed a quasi suicide in Paris, at the end of the war by luring a drunk French pilot to take
her on a flight which ended in a fatal accident. In her case pregnancy was not a good enough
reason to be married by Dick Savage, the man whom she loved. Dick Savage’s life story
presents analogies with the author’s life and with the life of many other members of the Lost
Generation. He is a Harvard graduate, joins the ambulance corps in France during World War
I and is given missions not only in France but also in Italy. Dos Passos attempts to familiarize
the representatives of the middle class with a more radical system of thoughts. Daughter, for
example, is shocked to such an extent by the brutality of the police who kicks a girl full in her
face during a demonstration that she, as an instinctive reaction to the scene, assaults the
policeman. The Newreel section refers to this incident by the headline „Texas Belle Assaults”.
Dos Passos’s The 42nd Parallel is a criticism of the capitalist power, without being a
socialist propaganda. Dos Passos had a more acute eye in realizing the operation of the
societies and the nature of human kind. In Camera Eye 50 he concludes “…all right, we are
two nations: the wealthy and the poor”. The wealthy who “hire and fire the politicians, the
newspaper editors, the old judges, the small men with reputations, the college presidents…
(Passos, The 42nd Parallel 371)”.

3.2 The Capitalist War

In 1919, the sequel to The 42nd Parallel some of the characters whose life we
encounter in the first part of the trilogy become principal characters: e.g. J Ward Moorhouse,

6
Eleanor Stoddard, Charley Anderson, Ben Compton and many others. The scenes of the
novel are placed predominantly in Paris and some in Italy during the peace negotiations,
around the arrival of president Wilson in Paris. The novel unmasks the brutality and the
absurdity of the World War I, in which America finally joined in 1917 for the economic and
political interest of a small but influential ruling elite. The war-propaganda traps many young
men who join the army enthused by a strong sense of adventure, and there are others who are
compelled to enrol, but there are also resistors, who face severe prison sentence for their
pacifism.
Paris and Italy are the two scenes where the characters presented in the previous novel,
complemented by some new characters, meet and face various experiences which all lead to
private and collective disappointment. The standpoint of the author is clear: the war, which is
labelled “Mr.Wilson’s War”, sacrifices the ignorant masses whose brains are washed with
demagogue propaganda. The free-thinker journalists are hindered to report the truth, they are
controlled by strict censorship and intellectuals in general, and radical parties in particular fail
to perform any active role in politics. The author expresses a poor opinion about the adventure
seeking intellectuals working in the ambulance corps and various other welfare organizations.
While people in the front line, in Verdun for example, are brutally massacred, the life of the
Americans in the hinterland is a continuous search for venues of entertainment, cabarets,
restaurants and places which provide the opportunity for dancing, drinking and forming
acquaintances. Boozing and having reckless sex become an everyday practice in the life of
both sexes topped by the privileges secured by their military rank which they often abuse.
This shared experience was familiar to the members of the American “Lost Generation” (F.
Scott Fitzgerald, Hemingway, E.E. Cummings, Archibald Mc Leish, Hart Crane and Dos
Passos) involved in the military actions on the Continent.
The last chapter of 1919 is utterly ironic and strongly articulates the author’s attitude
towards the war. The naturalistic chapter is about selecting and shipping the corpse of one
unknown soldier to be taken home to „God’s Country” on a battleship and to be buried in „a
sarchophagus in the Memorial Amphitheatre in the Arlington National Cemetery” to
symbolize the sacrifice of the unknown average men for their homeland and nation. The crude
naturalistic description of the life of a soldier is contrasted with the solemn and elevated
words describing the ritual of the official funeral ceremony where “Woodrow Wilson brought
a bouquet of poppies”.
„In the tarpaper morgue at Chalons-sur-Marne in the reek of chloride of lime and dead, they
picked out one pine-box that held all that was left of
enie manie minie moe plenty pine-boxes stacked up the
containing what they had scraped up of Richard Roe
and other person or persons unknown. Only one can go. How did they pick John Doe?
Make sure he ain’t a dinge, boys
make sure he isn’t a guinea or a kike,
how can you tell a guy’s a hundredpercent when all you’ve got’s gummysack full of
bones, bronze buttons stamped with the screaming eagle and a pair of roll puttees?” (Passos
1919: 398)
In the first chapters of Big Money characters whom we met in the war-torn Europe
return home and try to find their fortunes in a new environment of the post-war America.
Charley Anderson, a war-hero pilot becomes involved in airplane business, however remains
a booze and a womanizer and finally dies in a car accident. Eveline Johnson is tired and bored
of Moorhouse and his company and exterminates her life by taking sleeping pills. Mary
French remains faithful to the socialist ideals, works hard for the radical party and protests
violently against the execution of Sacco and Vanzetti but, she realizes that the cause she had
fought for was betrayed by the party. With the exception of few careers, the life stories shared

7
by the author strengthens his final conclusion: the institutions hinder the aspiration of the
individuals, they work against the possibilities that would allow the fulfilment of the
American dream.
4. Conclusion
Joseph Epstein, a contemporary essayist on the pages of the New Yorker published a
piece of criticism about Dos Passos in 1996 in which he remarks that it is the task of the
academia to determine whether the author “will continue to be read” (Landsberg, 1998: 1).
Challenged by this remark, I allow myself to formulate a personal remark. In the Middle and
East European literatures it is not unusual that authors and artist produced literary pieces to
articulate political content in historical or sociological fiction thus making realistic contents
accessible for the average readers and often to articulate political messages. This may have
resulted in high literature and sometimes in lower quality propaganda pieces. During the
oppressive dominations and dictatorships artist undertook political roles and served social
goals to substitute the non-existent opposition politicians. What appalled me as a 21st century
Middle European reader, was to experience that in the world’s most democratic, most tolerant
and most open state there was place and demand for such militant authors like Dos Passos
who was committed to express the unequal position of the powerless classes to countervail
the empowered. Thus the existence of political and social content is not a matter of the
political system in which the author carries out his artistic activity, but rather the matter of an
inborn sensitivity, interest or inclination of the author. Dos Passos’s intellectual energy was
able to find innovative form for his all-embracing panorama of the first three decades of
America’s history, moreover he was able to convince the later generations of readers about
enduring social truths and ambiguous correlations.

FELHASZNÁLT SZAKIRODALOM

Béja, Alice (2011): Artfulness and Artlessness, the Literary and Political Uses of
Impersonality in John Passos’s U.S.A. Trilogy. In: Revue Francaise D’Etudes Américaines.
2011/1 (no.127) 34-46 old.

Denning, Michael (1996): The Cultural Front: The Labouring of American Culture in the
Twentieth Century. (The Haymarket Seriese) Verso. New York.

Landsberg, Melvin (1998): John Dos Passos Newsletter. No.1. January. 1-5 old.

Ludington, Townsend (1980): John Dos Passos: A Twentieth Century Odyssey. E.P. Dutton.
New York.

N. Hattaway, Douglas (2007): The Politics of the Individual, the Power of the Machine: Dos
Passos’s U.S.A Trilogy and Beyond. Electric Treatises and Dissertations. The Graduate
School. Flrorida State University Libraries.

Sanders, David (1969): The Art of Fiction. Paris Review. No.44. Issue 46. Spring.
https://www.theparisreview.org/interviews/4202/the-art-of-fiction-no-44-john-dos-passos.
Utolsó megtekintés 2011. november 29.

Sartre, Jean Paul (1962) Literary and Philosophical Essays

https://archive.org/stream/SartreJeanPaulLiteraryAndPhilosophicalEssaysCollier1962/Sartre
%2C%20Jean Utolsó megtekintés: 2021. november 29.

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https://booksvooks.com/the-42nd-parallel-pdf-john-dos-passos.html
https://booksvooks.com/nonscrolablepdf/1919-pdf-john-dos-passos.html?page=404
https://booksvooks.com/the-big-money-volume-3-volume-three-of-the-usa-trilogy-pdf.html

Ajtay-Horváth Magda
Nyíregyházi Egyetem
Nyelv- és Irodalomtudományi Intézet
ajtayhorvath.magda@nye.hu