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Sunday, April 1, 2012

The 42nd Parallel: Volume One of the U.S.A. Trilogy


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The 42nd Parallel: Volume One of the U.S.A. Trilogy

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The 42nd Parallel: Volume One of the U.S.A. Trilogy


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With his U.S.A. trilogy, comprising THE 42nd PARALLEL, 1919, and THE BIG MONEY, John Dos Passos is said by many to have written the great American novel. While Fitzgerald and Hemingway were cultivating what Edmund Wilson once called their "own little corners," John Dos Passos was taking on the world. Counted as one of the best novels of the twentieth century by the Modern Library and by some of the finest writers working today, U.S.A. is a grand, kaleidoscopic portrait of a nation, buzzing with history and life on every page.

The trilogy opens with THE 42nd PARALLEL, where we find a young country at the dawn of the twentieth century. Slowly, in stories artfully spliced together, the lives and fortunes of five characters unfold. Mac, Janey, Eleanor, Ward, and Charley are caught on the storm track of this parallel and blown New Yorkward. As their lives cross and double back again, the likes of Eugene Debs, Thomas Edison, and Andrew Carnegie make cameo appearances.
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The 42nd Parallel: Volume One of the U.S.A. Trilogy

The 42nd Parallel: Volume One of the U.S.A. Trilogy

The 42nd Parallel: Volume One of the U.S.A. Trilogy
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A parallel America : The 42nd Parallel: Volume One of the U.S.A. Trilogy


"The 42nd Parallel," the first volume of John Dos Passos's "U.S.A." trilogy, is a novel about America and Americans from the 1890s up to the first World War. That sounds ordinary enough, but "The 42nd Parallel"--the title possibly refers to the latitude of Chicago, Dos Passos's city of birth and where a good portion of the action of the novel takes place--is notable more for its style than for its content, not that the latter is uninteresting. Dos Passos invents five young people from different backgrounds and parts of the country and follows the courses of their lives until their destinies eventually intersect.

The first to be introduced is a poor kid from Connecticut by way of Chicago named Fenian "Mac" McCreary who, starting out as an apprentice printer not unlike Benjamin Franklin, travels from city to city hopping trains and falling haplessly into a variety of odd jobs--assisting a con man, writing propaganda for a labor organization--until he ends up in Mexico running a bookstore on the fringe of a revolutionary movement. Then we meet Janey Williams, a middle-class girl from Washington, D.C., who makes a living as a stenographer while she is looking for a husband.

Next is a diligent, intelligent boy from Wilmington, Delaware, named J. Ward Moorehouse who after some bad luck in his career and his marriage becomes a successful public relations consultant for corporations. Eleanor Stoddard, a Chicago girl who dreams of a fashionable and cultured life for herself, breaks the social and economic barriers and becomes a highly reputable interior decorator in New York. Finally, Charley Anderson, a North Dakota native, struggles to find and keep work as a mechanic while he roams the country as a vagrant, ultimately volunteering for the ambulance corps in France as the United States enters the European war.

What all these people have in common is that they each epitomize some facet of the new American socioeconomic picture of the emerging twentieth century--the socialist, the working single girl, the corporate image softener. The novel reflects the changes America was undergoing at the time, especially in light of the problematic relations between labor, industry, and government, and the country's potential position as a new global superpower awaiting the biggest, bloodiest war the world would witness to date. Dos Passos wrote this in 1930, so of course he had the benefit of some hindsight; there was no second world war, nor even yet the threat of one, to obscure his vision of the era.

The narratives of the main characters alternate with "Newsreels" that provide glimpses of contemporary events, headlines, and snippets of popular songs; sections called "The Camera Eye" which record random prattle from snapshot subjects and look like modernist prose poems; and brief versified sketches of actual personalities and prominent figures of the day who shaped American history, from Eugene V. Debs to Thomas Edison to Charles Proteus Steinmetz. The novel is experimental in structure, but Dos Passos is breezily conversational in his prose, telling pure stories with natural drama; there is no unbelievable comedy or tragedy here, no sentimentality or jingoism, just life as it is lived.

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