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114 American Modernism, 1914–1945
to the United States when John was ten, and he entered Choate School. In 1910his father’s wife died; his parents married three months later, and John took hisfather’s last name. When the circumstances of his birth were discovered by theChoate headmaster, Dos Passos was denied a diploma. He earned early admissionto Harvard University, entering at the age of sixteen. He graduated in 1916 andstudied art and architecture in Spain for a year.Dos Passos joined a gentleman’s volunteer ambulance corps at the beginningof U.S. participation in World War I and spent most of the war in France andItaly. He began his first published novel,
One Man’s Initiation—1917 
(1920), inthe trenches, and in the next fifty years he wrote fifteen novels, three plays, one volume of poetry, and nineteen nonfiction books, including his autobiography.His
U.S.A.
trilogy—
The 42nd Parallel 
(1930),
1919
(1932), and
The Big Money
 (1936)—was considered the most significant fiction work of the period. Afterobserving the abuses of the Russian Communists during the Spanish Civil Warin 1937, Dos Passos abandoned his radicalism and became one of the chief oppo-nents in the literary community of the Communist Party. His reputation sufferedamong liberal critics as a result. Though
 Manhattan Transfer 
was John Dos Passos’s fourth novel, it was hisfirst fully successful work. At the time Dos Passos wrote the novel, he was heav-ily influenced by the various currents of Modernism that had been developing inEurope at the end of the nineteenth century and had influenced the Americanexpatriate writers who gathered in Paris after World War I. A trained artist, DosPassos sought to apply the concepts of impressionism, Expressionism, and collage,as well as more-modern artistic modes such as Cubism, Fauvism, and Futurism, tohis writing. The cinematic technique of abruptly shifting scenes clearly influencedhim. He adapted the discordant tones and surprising rhythms of Igor Fyodoro- vich Stravinsky’s music and the performances of the Ballets Russes to literary applications in his novel.
 Manhattan Transfer,
which takes its title from the station in the Meadow-lands of New Jersey where passengers caught the train to Manhattan, is set in thefirst quarter of the twentieth century—from 1896 to 1923 or 1924. It attempts apanoramic view of the people in the city, the first great metropolis in the UnitedStates, the second in the world after London. The cast of characters is largeand eclectic. It includes bootleggers, chorus girls, and petty thieves; blue-collar workers, newspapermen, and shopkeepers; socialites, stockbrokers, and wealthy businessmen. The setting is the streets of Manhattan, from the Bowery at thesouthern tip to 125th Street, then at the northern limit of urban development. The overriding theme is the comparison of Manhattan with the great biblicalcities of Babylon and Nineveh destroyed by God because of the immorality of their people.Dos Passos uses real places, real events, newspaper accounts, contemporary songs, and other elements of contemporary culture to draw his portrayal of New  York. He develops the stories of two featured characters, the earnest newspaper-man Jimmy Herf and the opportunistic actress Ellen Thatcher (whose namechanges as she remakes her identity) over the period of the novel to demonstratethe destructive effect of the city on its inhabitants and their moral direction.
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