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to the social and economic forces that drive them. Those characters who pursue "the big money" without scruple succeed, but are dehumanized by success. Others are destroyed, crushed by capitalism, and ground underfoot. Dos Passos does not show much sympathy for upwardly mobile characters who succeed, but is always sympathetic to the down and out victims of capitalist society. He explores the difficulty faced by winners and losers alike when trying to make a stable living for themselves as well as wanting to settle down in some means. The book depicts with considerable sympathy the activists of the
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issued two boxed three-volume sets in 1946 with color endpapers and illustrations by
Reginald Marsh. The first illustrated edition was limited to 365 copies, 350 signed by both Dos Passos and Marsh in a deluxe binding with leather labels and beveled boards. The binding for the larger 1946 trade issue
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The trilogy was written in the period when Dos Passos placed himself unequivocally on the political Left, before the major political shift which characterized his later career. Dos Passos portrays the everyday situations of the characters before, during, and after World War I, with special attention
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in the context of readings of
Hegelian Marxism with respect to the particular historical time of the novel. Arnold Goldman has commented on the "progressive disenfranchisement" of Dos Passos from 20th century America in the trilogy. Justin Edwards has discussed the use of cinematic techniques in
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The trilogy employs an experimental technique, incorporating four narrative modes: fictional narratives telling the life stories of twelve characters, collages of newspaper clippings and song lyrics labeled "Newsreel", individually labeled short biographies of public figures of the time such as
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with red spine lettering and the trilogy designation "U.S.A." printed in red over a blue rectangle on the spine and front cover. The illustrated edition was reprinted in various bindings until the
Library of America edition appeared in 1996, 100 years after Dos Passos' birth.
435:, calling into question the strict separation between fictional characters and biographies. Coherent quotes from newspaper articles are often woven into the biographies as well, calling into question the strict separation between them and the "Newsreel" sections.
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which took the fore in the
American Radical Left after World War I; though some Communists are depicted sympathetically, they are shown as caught up in the increasing bureaucratization of the party. The book expresses an obvious animosity to President
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Janet
Galligani Casey has analysed Dos Passos' treatment and development of the growth of his female characters in the trilogy. Stephen Lock has examined the cinematic ideas behind Dos Passos' use of the 'Camera Eye' sections.
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trilogy relates the lives of twelve characters as they struggle to find a place in
American society during the early part of the 20th century. Each character is presented to the reader from his/her childhood on and in
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of Dos Passos, tracing the author's development from a child to a politically committed writer. Camera Eye 50 contains the arguably most famous line of the trilogy, when Dos Passos states upon the executions of
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writing labeled "Camera Eye". The trilogy covers the historical development of
American society during the first three decades of the 20th century. In 1998, the US publisher Modern Library ranked
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The separation between these narrative modes is rather a stylistic than a thematic one. Some critics have pointed out connections between the fictional character Mary French in
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The biographies are accounts of historical figures. The most often anthologized of these biographies is "The Body of an
American", the story of an unknown soldier killed in
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Edwards, Justin (1999). "The Man with a Camera Eye: Cinematic Form and
Hollywood Malediction in John Dos Passos's
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Casey, Janet
Galligani (2005). ""Stories Told Sideways Out of the Big Mouth": Dos Passos's Bazinian Camera Eye".
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The fragmented narrative style of the trilogy later influenced the work of British science-fiction novelist
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bookseller descriptions: copies for sale, December 2010, at ABEbooks, Alibris, Amazon, Biblio and elsewhere
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Corkin, Stanley (Fall 1992). "John Dos Passos and the American Left: Recovering the Dialectic of History".
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Mac (Fainy McCreary) – A wandering printer, train-hopping newspaperman, and crusader for the working man
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was inspired by the trilogy to write the lyrics for the song "The Camera Eye" released on their
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The novel has been adapted a number of times, for purposes such as radio and stage production.
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also collaborated with Dos Passos and wrote a musical theater work set to U.S.A. in 1959.
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Janey Williams – A young stenographer from Washington, D.C. (assistant to Moorehouse)
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noted their qualities as extensions of Dos Passos' techniques in his earlier novel
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Daniel Aaron & Townsend Ludington, eds. New York: Library of America, 1996. (
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Margo Dowling – Attractive, cagey and adventurous, eventually a Hollywood actress
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695:(1985). "The "only words against POWER SUPERPOWER" Passage in John Dos Passos'
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also adapted it for a well-received 1968 audio production with Caedmon Books.
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19:"The Big Money (novel)" redirects here. For the novel by P. G. Wodehouse, see
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Eveline Hutchins – Artist and designer, Eleanor's long-time friend and rival
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Daughter (Anne Elizabeth Trent) – A spirited Texas belle and volunteer nurse
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Joe Williams – A rugged, slow-witted sailor, brother of Janey Williams
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Richard Ellsworth Savage – A Harvard graduate, employee of Moorehouse
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Gold, Michael (February 1933). "The Education of John Dos Passos".
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Charley Anderson – A gullible, good-natured mechanic and flying ace
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and the same plates were used by Harcourt Brace for the trilogy.
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created a "dramatic revue", working together with Dos Passos.
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J. Ward Moorehouse – A slick, influential public relations man
208:). The books were first published together in a volume titled
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Goldman, Arnold (Spring 1970). "Dos Passos and His U.S.A.".
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Ben Compton – A law student and labor activist/revolutionary
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Lock, Stephen (Autumn 1995). "Historicizing the Female in
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Eleanor Stoddard – A cold, haughty young social climber
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Mary French – Dedicated labor activist and journalist
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The Papers of the Bibliographical Society of America
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100 best English-language novels of the 20th century
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372:: "all right we are two nations."
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463:Industrial Workers of the World
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467:American Communist Party
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