John Dos Passos
John Dos Passos
John Roderigo Dos Passoswas an American novelist and artist active in the first half of the twentieth century. Born in Chicago, Illinois, he graduated from Harvard College in 1916. He was well-traveled, visiting Europe and the Middle East, where he learned about literature, art, and architecture. During World War I he was a member of the American Volunteer Motor Ambulance Corps in Paris and in Italy, later joining the U.S. Army Medical Corps...
NationalityAmerican
ProfessionNovelist
Date of Birth14 January 1896
CountryUnited States of America
The mind of a generation is its speech. A writer makes aspects of that speech enduring by putting them in print. He whittles at the words and phrases of today and makes of them forms to set the mind of tomorrow's generation. That's history. A writer who writes straight is the architect of history.
[Hemingway] always used to bawl me out for including so much topical stuff. He always claimed that was a great mistake, that in fifty years nobody would understand. He may have been right; it's getting to be true.
There is a part of me in every character, naturally. That's why novelists rarely write good autobiographies. You start one and it becomes another novel.
Walt Whitman's a hell of a lot more revolutionary than any Russian poet I've ever heard of.
Letters are largely written to get things out of your system.
The only excuse for a novelist, aside from the entertainment and vicarious living his books give the people who read them, is as a sort of second-class historian of the age he lives in. The "reality" he missed by writing about imaginary people, he gains by being able to build a reality more nearly out of his own factual experience than a plain historian or biographer can.
I think the satirist is always basically optimistic. The satirist's complaint about society is always that it doesn't measure up to a fairly high ideal he has. I think that even the bitterest satirist, even a man like Swift, was probably rather an optimist at heart.
One of the most extraordinary things about industrial society of the present day is its idiot lack of memory. Tabloids and movies take the place of mental processes and revolts, crimes, despairs pass off in a dribble of vague words and rubber stamp phrases without leaving a scratch on the mind of the driven instalment-paying, subway-packing mass.
The Enormous Room seems to me to be the book that has nearest approached the mood of reckless adventure in which men will reach the white heat of imagination needed to fuse the soggy disjointed complexity of the industrial life about us into seething fluid of creation. There can be no more playing safe.
Time has an undertaking establishment on every block and drives his coffin nails faster than the steam riveters rivet or the stenographers type or the tickers tick out fours and eights and dollar signs and ciphers.
Curiosity urges you on-driving force.
Isn't it curious how completely ignorant we all are of the most important part of our bodily mechanism. It is really criminal. Yet there is no nation in the world that doesnt surround sex with fantastic walls. Of course ours are sillier than any-but not much.
Mealtime's the only time I get to devote to the things of the spirit.
Marxism has not only failed to promote human freedom, it has failed to produce food.