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U.S.A. (1938)

de John Dos Passos

Altres autors: Mira la secció altres autors.

Sèrie: U.S.A. Trilogy (omnibus 1-3)

MembresRessenyesPopularitatValoració mitjanaMencions
1,2421311,379 (4.05)82
Unique among American novels for its epic scope and panoramic and social sweep, John Dos Passos' U.S.A. has long been acknowledged as a monument of modern fiction. In the novels that make up the trilogy - The 42nd Parallel (1930), 1919 (1932), and The Big Money (1936) - Dos Passos creates an unforgettable collective portrait of America, shot through with sardonic comedy and brilliant social observation. He interweaves the careers of his characters and the events of their time with a narrative verve and breathtaking technical skill that make U.S.A. among the most compulsively readable of modern classics. In his prologue Dos Passos writes: "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...But mostly U.S.A. is the speech of the people." The trilogy is filled with American speech: labor radicals and advertising executives, sailors and stenographers, interior decorators and movie stars. The volume contains newly researched chronologies of Dos Passos' life and of world events cited in U.S.A., notes, and an essay on textual selection.… (més)
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Es mostren 1-5 de 13 (següent | mostra-les totes)
Een omvangrijke roman - verdeeld over drie boeken - die de levens van een handvol personages volgt, doorspekt met nieuwsstromen, 'camerstandpunten' en iet of wat speelse biografieën van enkele grote namen uit de 19de eeuwse en vroeg twintigste eeuwse Amerikaanse geschiedenis. De levenslijnen van de verschillende personages lopen dooreen, soms opzichtig en kronkelend, soms haast als een terzijde. We volgen ze in de anticipatie van de arbeidersrevolutie, in de aanloop naar de Eerste Wereldoorlog, aan het front, tijdens de vredesbesprekingen, in de opkomende vliegtuigindustrie, Hollywood, naar Sacco en Vanzetti.
Knap, uitgebreid, maar ook wat langdradig en eentonig. De newsreels en camera-eyes geven de verhalen hun kleur, het boek zijn soundtrack. Ze tijdens het lezen overslaan is eigenlijk geen optie ... ( )
  razorsoccam | Nov 25, 2016 |
My what a splendid book this is. Vast in its scope and magnanimous in its treatment of the varied strata that made up a nation coming to terms with the 20th century. I defy you to enjoy this, despite it being well over 1,000 pages long, a trilogy that follows 12 characters some related and others not. Not only is it written in a style that is incredibly accessible for such a long novel, it’s written in four styles that are incredibly accessible. Even the stream of consciousness episodes are so well crafted and (ahem) so short, that they fly by.

While I enjoyed the characters and what they got up to, what I most enjoyed was how I saw the nation of the US through their eyes and experiences. It was a promising time for the US and various ideals are put to the test including the spectral opposites of capitalism and socialism. Neither of them come off well, but I kind of felt, a bit like in Sinclair’s masterpiece The Jungle, that it was the ones who espoused a more societal basis for life that were painted with more touches of heroism. Certainly, you sympathised a lot more with those who fell victims to mass industry and the drive to industrialise at the sake of the common man.

Certainly Dos Passos here composed a classic but not just for his storytelling skills. It’s a nation analysed and put to the test of history. Interestingly, it shows how weak the ideals are, ideals that, even today are either praised or vilified in equal measure depending on which facet of US citizenry you talk to. I’m not sure that the US has really grown much more mature in its pursuit of an identity than it is portrayed in this novel. I wonder what the USAnians among you would respond to that.

For outsiders who want to know more of why the US is as it is, this is a good novel to reflect on. There’s such a vast amount here to consider there’s no way to do it justice. Even just one of the 12 character threads would provide book clubs with hours of discussion. For those of you on the inside, I think this is a good one to have under your belt to say you know where US literature is coming from and to provide food for thought as you continue to build on what those 12 characters built before you. ( )
  arukiyomi | Oct 11, 2015 |
da "42.mo Parallelo", "Millenovecentodiciannove" e "Un mucchio di quattrini" di Dos Passos. Versione italiana di Ettore Capriolo
  gianoulinetti | Dec 3, 2013 |
The U.S.A. trilogy is a major work of American writer John Dos Passos, comprising the novels The 42nd Parallel (1930); 1919, (1932); and The Big Money (1936). The three books were first published together in a single volume titled U.S.A. by Harcourt Brace in January, 1938. Dos Passos had added a prologue with the title "U.S.A." to The Modern Library edition of The 42nd Parallel published the previous November, and the same plates were used by Harcourt Brace for the trilogy.[1] Houghton Mifflin issued two boxed three-volume sets in 1946 with color endpapers and illustrations by Reginald Marsh.[2] The first illustrated edition was limited to 365 copies, 350 signed by both Dos Passos and Marsh,[3] in a deluxe binding with leather labels and beveled boards.[4] The binding for the larger 1946 trade issue was tan buckram with red spine lettering and the trilogy designation "U.S.A." printed in red over a blue rectangle on both the spine and front cover.[5] This illustrated edition was reprinted in various bindings[4] until the Library of America edition appeared in 1996, 100 years after Dos Passos' birth.[5]

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 Woodrow Wilson and Henry Ford and fragments of autobiographical stream of consciousness writing labeled "Camera Eye". The trilogy covers the historical development of American society during the first three decades of the twentieth century.

In 1998, the Modern Library ranked U.S.A. Trilogy 23rd on its list of the 100 best English-language novels of the 20th century.
  DeeringPublicLibrary | Aug 17, 2013 |
My reaction to reading the trilogy in 1997. Spoilers may follow.

I read this trilogy to get some appreciation of the style so successfully used by science fiction writers John Brunner and Joe Haldeman, and I found that style interesting. I liked the Camera Eye sections – impressionistic vignettes sometimes told from the point of view of some of the characters and sometimes they seem to feature viewpoint characters never seen elsewhere in the trilogy. The Newsreel sections were compelling, and the very best thing about the trilogy is a series of biographies of historical personages. Told in a variety of styles, a variety of tones, they sometimes approach prose-poems and are always interesting and very revealing in the large and small details of the people’s lives (cultural, political, scientific, and business figures).

These techniques, together with straight fictional prose, create, as they do in sf novels, a definite sense of place and time – here America in the first approximately 25 years of the 20th Century. Unfortunately, while this book evokes a time and place, it doesn’t work as drama. Many of the characters blurred together in my mind. All were on the make – at least in The Big Money. Unplanned pregnancies play a major part in the plot (as they probably did in the real lives of people during the time of this trilogy since artificial contraception was often illegal) and, for that reason, I probably confused the female characters more often than the male, but all the characters suffered from lack of memorable distinctions.

However, I’m glad I read this book to examine Dos Passos’ wonderful, groundbreaking, influential style and the history I learned. ( )
1 vota RandyStafford | Jul 25, 2013 |
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Nom de l'autorCàrrecTipus d'autorObra?Estat
Dos Passos, Johnautor primaritotes les edicionsconfirmat
Marsh, ReginaldIl·lustradorautor secundarialgunes edicionsconfirmat

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U.S.A. Trilogy (omnibus 1-3)

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This work is titled U.S.A. by the publisher (Library of America) and contains "The 42nd Parallel", "1919", and "The Big Money". Each of these titles also appear as separate works by the author, John Dos Passos, which should NOT be combined with this omnibus entry.
This is the main work - dos Passos's "1919" (unabridged). Please do not combine this unabridged work with the Library of America omnibus called "U.S.A." or any other omnibus/anthology/combined edition setup as a separate work on LT. Abridged editions are also considered separate works on LT.
Combining an unabridged "1919" listed as a separate work from the publisher's omnibus "U.S.A" is acceptable, as long as the work is clearly identified by the owner as the work "1919" (even though bound with, or published with, other works) and not as the combined work or omnibus. So, for example, "1919 (bound w/The 42nd Parallel; The Big Money)", by John Dos Passos, is the same work as "1919" by John Dos Passos, and should be combined with this work. However, "U.S.A" (containing "1919") by John Dos Passos is NOT the same work as "1919" by John Dos Passos, and should NOT be combined with this work.
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Unique among American novels for its epic scope and panoramic and social sweep, John Dos Passos' U.S.A. has long been acknowledged as a monument of modern fiction. In the novels that make up the trilogy - The 42nd Parallel (1930), 1919 (1932), and The Big Money (1936) - Dos Passos creates an unforgettable collective portrait of America, shot through with sardonic comedy and brilliant social observation. He interweaves the careers of his characters and the events of their time with a narrative verve and breathtaking technical skill that make U.S.A. among the most compulsively readable of modern classics. In his prologue Dos Passos writes: "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...But mostly U.S.A. is the speech of the people." The trilogy is filled with American speech: labor radicals and advertising executives, sailors and stenographers, interior decorators and movie stars. The volume contains newly researched chronologies of Dos Passos' life and of world events cited in U.S.A., notes, and an essay on textual selection.

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