Manhattan Transfer: A Novel
Manhattan Transfer: A Novel book cover

Manhattan Transfer: A Novel

Paperback – September 2, 2003

Price
$9.99
Format
Paperback
Pages
352
Publisher
Mariner Books Classics
Publication Date
ISBN-13
978-0618381869
Dimensions
5.5 x 0.93 x 8.25 inches
Weight
12.8 ounces

Description

"A novel of the very first importance." - Sinclair Lewis — John Dos Passos (1896-1970), a member of the Lost Generation, was the author of more than forty works of fiction and nonfiction, including THREE SOLDIERS and MANHATTAN TRANSFER. Excerpt. © Reprinted by permission. All rights reserved. Manhattan Transfer By John Dos Passos Houghton Mifflin Harcourt Publishing Company Copyright © 1925 John Dos PassosAll rights reserved.ISBN: 978-0-618-38186-9 Contents Title Page, Contents, Copyright, FIRST SECTION, Ferryslip, Metropolis, Dollars, Tracks, Steamroller, SECOND SECTION, Great Lady on a White Horse, Longlegged Jack of the Isthmus, Nine Days' Wonder, Fire Engine, Went to the Animals' Fair, Five Statutory Questions, Rollercoaster, One More River to Jordan, THIRD SECTION, Rejoicing City That Dwelt Carelessly, Nickelodeon, Revolving Doors, Skyscraper, The Burthen of Nineveh, CHAPTER 1 Ferryslip Three gulls wheel above the broken boxes, orangerinds, spoiled cabbage heads that heave between the splintered plank walls, the green waves spume under the round bow as the ferry, skidding on the tide, crashes, gulps the broken water, slides, settles slowly into the slip. Handwinches whirl with jingle of chains. Gates fold upwards, feet step out across the crack, men and women press through the manuresmelling wooden tunnel of the ferryhouse, crushed and jostling like apples fed down a chute into a press. The nurse, holding the basket at arm's length as if it were a bedpan, opened the door to a big dry hot room with greenish distempered walls where in the air tinctured with smells of alcohol and iodoform hung writhing a faint sourish squalling from other baskets along the wall. As she set her basket down she glanced into it with pursed-up lips. The newborn baby squirmed in the cottonwool feebly like a knot of earthworms. On the ferry there was an old man playing the violin. He had a monkey's face puckered up in one corner and kept time with the toe of a cracked patentleather shoe. Bud Korpenning sat on the rail watching him, his back to the river. The breeze made the hair stir round the tight line of his cap and dried the sweat on his temples. His feet were blistered, he was leadentired, but when the ferry moved out of the slip, bucking the little slapping scalloped waves of the river he felt something warm and tingling shoot suddenly through all his veins. "Say, friend, how fur is it into the city from where this ferry lands?" he asked a young man in a straw hat wearing a blue and white striped necktie who stood beside him. The young man's glance moved up from Bud's roadswelled shoes to the red wrist that stuck out from the frayed sleeves of his coat, past the skinny turkey's throat and slid up cockily into the intent eyes under the brokenvisored cap. "That depends where you want to get to." "How do I get to Broadway? ... I want to get to the center of things." "Walk east a block and turn down Broadway and you'll find the center of things if you walk far enough." "Thank you sir. I'll do that." The violinist was going through the crowd with his hat held out, the wind ruffling the wisps of gray hair on his shabby bald head. Bud found the face tilted up at him, the crushed eyes like two black pins looking into his. "Nothin," he said gruffly and turned away to look at the expanse of river bright as knifeblades. The plank walls of the slip closed in, cracked as the ferry lurched against them; there was rattling of chains, and Bud was pushed forward among the crowd through the ferryhouse. He walked between two coal wagons and out over a dusty expanse of street towards yellow streetcars. A trembling took hold of his knees. He thrust his hands deep in his pockets. EAT on a lunchwagon halfway down the block. He slid stiffly onto a revolving stool and looked for a long while at the pricelist. "Fried eggs and a cup o coffee." "Want 'em turned over?" asked the redhaired man behind the counter who was wiping off his beefy freckled forearms with his apron. Bud Korpenning sat up with a start. "What?" "The eggs? Want em turned over or sunny side up?" "Oh sure, turn 'em over." Bud slouched over the counter again with his head between his hands. "You look all in, feller," the man said as he broke the eggs into the sizzling grease of the frying pan. "Came down from upstate. I walked fifteen miles this mornin." The man made a whistling sound through his eyeteeth. "Comin to the big city to look for a job, eh?" Bud nodded. The man flopped the eggs sizzling and netted with brown out onto the plate and pushed it towards Bud with some bread and butter on the edge of it. "I'm goin to slip you a bit of advice, feller, and it won't cost you nutten. You go an git a shave and a haircut and brush the hayseeds out o yer suit a bit before you start lookin. You'll be more likely to git somethin. It's looks that count in this city." "I kin work all right. I'm a good worker," growled Bud with his mouth full. "I'm tellin yez, that's all," said the redhaired man and turned back to his stove. When Ed Thatcher climbed the marble steps of the wide hospital entry he was trembling. The smell of drugs caught at his throat. A woman with a starched face was looking at him over the top of a desk. He tried to steady his voice. "Can you tell me how Mrs. Thatcher is?" "Yes, you can go up." "But please, miss, is everything all right?" "The nurse on the floor will know anything about the case. Stairs to the left, third floor, maternity ward." Ed Thatcher held a bunch of flowers wrapped in green waxed paper. The broad stairs swayed as he stumbled up, his toes kicking against the brass rods that held the fiber matting down. The closing of a door cut off a strangled shriek. He stopped a nurse. "I want to see Mrs. Thatcher, please." "Go right ahead if you know where she is." "But they've moved her." "You'll have to ask at the desk at the end of the hall." He gnawed his cold lips. At the end of the hall a redfaced woman looked at him, smiling. "Everything's fine. You're the happy father of a bouncing baby girl." "You see it's our first and Susie's so delicate," he stammered with blinking eyes. "Oh yes, I understand, naturally you worried. ... You can go in and talk to her when she wakes up. The baby was born two hours ago. Be sure not to tire her." Ed Thatcher was a little man with two blond wisps of mustache and washedout gray eyes. He seized the nurse's hand and shook it showing all his uneven yellow teeth in a smile. "You see it's our first." "Congratulations," said the nurse. Rows of beds under bilious gaslight, a sick smell of restlessly stirring bedclothes, faces fat, lean, yellow, white; that's her. Susie's yellow hair lay in a loose coil round her little white face that looked shriveled and twisted. He unwrapped the roses and put them on the night table. Looking out the window was like looking down into water. The trees in the square were tangled in blue cobwebs. Down the avenue lamps were coming on marking off with green shimmer brickpurple blocks of houses; chimney pots and water tanks cut sharp into a sky flushed like flesh. The blue lids slipped back off her eyes. "That you Ed? ... Why Ed they are Jacks. How extravagant of you." "I couldn't help it dearest. I knew you liked them." A nurse was hovering near the end of the bed. "Couldn't you let us see the baby, miss?" The nurse nodded. She was a lanternjawed grayfaced woman with tight lips. "I hate her," whispered Susie. "She gives me the fidgets that woman does; she's nothing but a mean old maid." "Never mind dear, it's just for a day or two." Susie closed her eyes. "Do you still want to call her Ellen?" The nurse brought back a basket and set it on the bed beside Susie. "Oh isn't she wonderful!" said Ed. "Look she's breathing. ... And they've oiled her." He helped his wife to raise herself on her elbow; the yellow coil of her hair unrolled, fell over his hand and arm. "How can you tell them apart nurse?" "Sometimes we cant," said the nurse, stretching her mouth in a smile. Susie was looking querulously into the minute purple face. "You're sure this is mine." "Of course." "But it hasnt any label on it." "I'll label it right away." "But mine was dark." Susie lay back on the pillow, gasping for breath. "She has lovely little light fuzz just the color of your hair." Susie stretched her arms out above her head and shrieked: "It's not mine. It's not mine. Take it away. ... That woman's stolen my baby." "Dear, for Heaven's sake! Dear, for Heaven's sake!" He tried to tuck the covers about her. "Too bad," said the nurse, calmly, picking up the basket. "I'll have to give her a sedative." Susie sat up stiff in bed. "Take it away," she yelled and fell back in hysterics, letting out continuous frail moaning shrieks. "O my God!" cried Ed Thatcher, clasping his hands. "You'd better go away for this evening, Mr. Thatcher. ... She'll quiet down, once you've gone. ... I'll put the roses in water." On the last flight he caught up with a chubby man who was strolling down slowly, rubbing his hands as he went. Their eyes met. "Everything all right, sir?" asked the chubby man. "Oh yes, I guess so," said Thatcher faintly. The chubby man turned on him, delight bubbling through his thick voice. "Congradulade me, congradulade me; mein vife has giben birth to a poy." Thatcher shook a fat little hand. "Mine's a girl," he admitted, sheepishly. "It is fif years yet and every year a girl, and now dink of it, a poy." "Yes," said Ed Thatcher as they stepped out on the pavement, "it's a great moment." "Vill yous allow me sir to invite you to drink a congradulation drink mit me?" "Why with pleasure." The latticed halfdoors were swinging in the saloon at the corner of Third Avenue. Shuffling their feet politely they went through into the back room. "Ach," said the German as they sat down at a scarred brown table, "family life is full of vorries." "That it is sir; this is my first." "Vill you haf beer?" "All right anything suits me." "Two pottles Culmbacher imported to drink to our little folk." The bottles popped and the sepia-tinged foam rose in the glasses. "Here's success. ... Prosit," said the German, and raised his glass. He rubbed the foam out of his mustache and pounded on the table with a pink fist. "Vould it be indiscreet meester ...?" "Thatcher's my name." "Vould it be indiscreet, Mr. Thatcher, to inquvire vat might your profession be?" "Accountant. I hope before long to be a certified accountant." "I am a printer and my name is Zucher — Marcus Antonius Zucher." "Pleased to meet you Mr. Zucher." They shook hands across the table between the bottles. "A certified accountant makes big money," said Mr. Zucher. "Big money's what I'll have to have, for my little girl." "Kids, they eat money," continued Mr. Zucher, in a deep voice. "Wont you let me set you up to a bottle?" said Thatcher, figuring up how much he had in his pocket. Poor Susie wouldn't like me to be drinking in a saloon like this. But just this once, and I'm learning, learning about fatherhood. "The more the merrier," said Mr. Zucher. "... But kids, they eat money. ... Dont do nutten but eat and vear out clothes. Vonce I get my business on its feet. ... Ach! Now vot mit hypothecations and the difficult borrowing of money and vot mit vages going up und these here crazy tradeunion socialists and bomsters ..." "Well here's how, Mr. Zucher." Mr. Zucher squeezed the foam out of his mustache with the thumb and forefinger of each hand. "It aint every day ve pring into the voirld a papy poy, Mr. Thatcher." "Or a baby girl, Mr. Zucher." The barkeep wiped the spillings off the table when he brought the new bottles, and stood near listening, the rag dangling from his red hands. "And I have the hope in mein heart that ven my poy drinks to his poy, it vill be in champagne vine. Ach, that is how things go in this great city." "I'd like my girl to be a quiet homey girl, not like these young women nowadays, all frills and furbelows and tight lacings. And I'll have retired by that time and have a little place up the Hudson, work in the garden evenings. ... I know fellers downtown who have retired with three thousand a year. It's saving that does it." "Aint no good in savin," said the barkeep. "I saved for ten years and the savings bank went broke and left me nutten but a bankbook for my trouble. Get a close tip and take a chance, that's the only system." "That's nothing but gambling," snapped Thatcher. "Well sir it's a gamblin game," said the barkeep as he walked back to the bar swinging the two empty bottles. "A gamblin game. He aint so far out," said Mr. Zucher, looking down into his beer with a glassy meditative eye. "A man vat is ambeetious must take chances. Ambeetions is vat I came here from Frankfort mit at the age of tvelf years, und now that I haf a son to vork for ... Ach, his name shall be Vilhelm after the mighty Kaiser." "My little girl's name will be Ellen after my mother." Ed Thatcher's eyes filled with tears. Mr. Zucher got to his feet. "Veil goodpy Mr. Thatcher. Happy to have met you. I must go home to my little girls." Thatcher shook the chubby hand again, and thinking warm soft thoughts of motherhood and fatherhood and birthday cakes and Christmas watched through a sepia-tinged foamy haze Mr. Zucher waddle out through the swinging doors. After a while he stretched out his arms. Well poor little Susie wouldn't like me to be here. ... Everything for her and the bonny wee bairn. "Hey there yous how about settlin?" bawled the barkeep after him when he reached the door. "Didnt the other feller pay?" "Like hell he did." "But he was t-t-treating me...." The barkeep laughed as he covered the money with a red lipper. "I guess that bloat believes in savin." A small bearded bandylegged man in a derby walked up Allen Street, up the sunstriped tunnel hung with skyblue and smokedsalmon and mustardyellow quilts, littered with second hand gingerbread-colored furniture. He walked with his cold hands clasped over the tails of his frockcoat, picking his way among packing boxes and scuttling children. He kept gnawing his lips and clasping and unclasping his hands. He walked without hearing the yells of the children or the annihilating clatter of the L trains overhead or smelling the rancid sweet huddled smell of packed tenements. At a yellowpainted drugstore at the corner of Canal, he stopped and stared abstractedly at a face on a green advertising card. It was a highbrowed cleanshaven distinguished face with arched eyebrows and a bushy neatly trimmed mustache, the face of a man who had money in the bank, poised prosperously above a crisp wing collar and an ample dark cravat. Under it in copybook writing was the signature King C. Gillette. Above his head hovered the motto NO STROPPING NO HONING. The little bearded man pushed his derby back off his sweating brow and looked for a long time into the dollarproud eyes of King C. Gillette. Then he clenched his fists, threw back his shoulders and walked into the drugstore. His wife and daughters were out. He heated up a pitcher of water on the gasburner. Then with the scissors he found on the mantel he clipped the long brown locks of his beard. Then he started shaving very carefully with the new nickelbright safety razor. He stood trembling running his fingers down his smooth white cheeks in front of the stained mirror. He was trimming his mustache when he heard a noise behind him. He turned towards them a face smooth as the face of King C. Gillette, a face with a dollarbland smile. The two little girls' eyes were popping out of their heads. "Mommer ... it's popper," the biggest one yelled. His wife dropped like a laundrybag into the rocker and threw the apron over her head. "Oyoy! Oyoy!" she moaned rocking back and forth. "Vat's a matter? Dontye like it?" He walked back and forth with the safety razor shining in his hand now and then gently fingering his smooth chin. CHAPTER 2 Metropolis There were Babylon and Nineveh; they were built of brick. Athens was gold marble columns. Rome was held up on broad arches of rubble. In Constantinople the minarets flame like great candles round the Golden Horn ... Steel, glass, tile, concrete will be the materials of the skyscrapers. Crammed on the narrow island the millionwindowed buildings will jut glittering, pyramid on pyramid like the white cloudhead above a thunderstorm. When the door of the room closed behind him, Ed Thatcher felt very lonely, full of prickly restlessness. If Susie were only here he'd tell her about the big money he was going to make and how he'd deposit ten dollars a week in the savings bank just for little Ellen; that would make five hundred and twenty dollars a year. ... Why in ten years without the interest that'd come to more than five thousand dollars. I must compute the compound interest on five hundred and twenty dollars at four per cent. He walked excitedly about the narrow room. The gas jet purred comfortably like a cat. His eyes fell on the headline on a Journal that lay on the floor by the coalscuttle where he had dropped it to run for the hack to take Susie to the hospital. MORTON SIGNS THE GREATER NEW YORK BILL COMPLETES THE ACT MAKING NEW YORK WORLD'S SECOND METROPOLIS Breathing deep he folded the paper and laid it on the table. The world's second metropolis. ... And dad wanted me to stay in his ole fool store in Onteora. Might have if it hadnt been for Susie. ... Gentlemen tonight that you do me the signal honor of offering me the junior partnership in your firm I want to present to you my little girl, my wife. I owe everything to her. In the bow he made towards the grate his coat-tails flicked a piece of china off the console beside the bookcase. He made a little clicking noise with his tongue against his teeth as he stooped to pick it up. The head of the blue porcelain Dutch girl had broken off from her body. "And poor Susie's so fond of her knicknacks. I'd better go to bed." He pushed up the window and leaned out. An L train was rumbling past the end of the street. A whiff of coal smoke stung his nostrils. He hung out of the window a long while looking up and down the street. The world's second metropolis. In the brick houses and the dingy lamplight and the voices of a group of boys kidding and quarreling on the steps of a house opposite, in the regular firm tread of a policeman, he felt a marching like soldiers, like a sidewheeler going up the Hudson under the Palisades, like an election parade, through long streets towards something tall white full of colonnades and stately. Metropolis. (Continues...) Excerpted from Manhattan Transfer by John Dos Passos . Copyright © 1925 John Dos Passos. Excerpted by permission of Houghton Mifflin Harcourt Publishing Company. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site. Read more

Features & Highlights

  • Considered by many to be John Dos Passos's greatest work,
  • Manhattan Transfer
  • is an "expressionistic picture of New York" (
  • New York Times
  • ) in the 1920s that reveals the lives of wealthy power brokers and struggling immigrants alike.
  • From Fourteenth Street to the Bowery, Delmonico's to the underbelly of the city waterfront, Dos Passos chronicles the lives of characters struggling to become a part of modernity before they are destroyed by it. "A novel of the very first importance" (Sinclair Lewis),
  • Manhattan Transfer
  • is a masterpiece of modern fiction and a lasting tribute to the dual-edged nature of the American dream.

Customer Reviews

Rating Breakdown

★★★★★
30%
(148)
★★★★
25%
(124)
★★★
15%
(74)
★★
7%
(35)
23%
(113)

Most Helpful Reviews

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Something different and worth a second read

I've been reading for more than 50 years and this is one of the books I've liked best. Which is strange, considering that I am a very traditional reader.

Manhattan Transfer is not a traditional story. It does not have a protagonist, story question, climax, resolution. It is a mosaic of scenes involving hundreds of characters. Some of those characters reappear, some more often than others. The latter do have their own plot lines, and many intermingle, but it is not easy to follow them being so many. Plus, to complicate matters, some are named in different ways: Ellen is also Elaine and Helen and Mrs. Oglethorpe and Mrs. Herf...

Then what's so good about the book? For me it's the writing: expressive, pictorial, with vigorous descriptions. I felt completely inmersed in New York City and among it's characters, fully living what was happening.

Do I recommend the book? It depends on your taste. Try "Look Inside", don't consider the introduction in italics to each chapter, instead focus on the text i regular type. You either like it or you don't. The whole book is written in that same style, it doesn't vary, it doesn't sag, it keeps the same pace, the same voice, the same atmosphere.

I'll be reading it a second time.
23 people found this helpful
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Lots of energy but fades into history like the buggy whip

Ask anyone about the 1920's and they may think Jazz Age, Prohibition, Babe Ruth, Hemingway, Fitzgerald maybe Faulkner. Only a minority would throw John Dos Passos into that ring but he was in fact a giant of the time. His "USA Trilogy" and "Manhattan Transfer" were recognized and awarded the same acclaim as writers we know so much better today.

Hemingway wrote that "Manhattan Transfer" finally gave the world the real picture of New York City. Alfred Döblin was deeply influenced by Dos Passos's style. He ran with the same crowd. Drank and partied with them all and yet almost a hundred years later his own fame is far eclipsed by so many others. Why?

A great novel needs great characters and a central theme or conflict. Dos Passos was writing about a time and place; New York City in the first part of the 20 century. His focus is on atmosphere. He wants you to feel the city through it's accents, bustle, the frustrations of daily life, the food and drink and the movement of cars, taxis, subways, street cars and boats of every kind. Through all that he wants to convey the energy that's bursting in every direction but he also wants to expose the contradictions of daily life; war veterans not getting their bonuses, women yearning for more opportunity, backstreet abortions, failed marriages, banks and businesses and later drinking during prohibition.

Characters come in go very briefly, re-appearing later. There are so many that it takes perhaps the first half of the book to keep it straight. For me it was hard to follow let alone develop an empathy or curiosity for them. It felt very flat. He uses major events of the day as a timeline but aside from war and prohibition much of those references are obscure and thus one tends to lose a sense of time passing that he was likely successfully conveying to his contemporaries.

My conclusion is that it's too ambitious and there is too little for the modern reader to grasp. By doing so much there are interesting points and poignant scenes. But too often I was flipping back to see if I had already jumped to yet another vignette and double checking if he'd jumped a few weeks, months or years. Pulling this out of a time capsule I enjoyed this as a 1925 novel of early New York but I wonder if it were the book that I'd want to say best depicted New York at that time and I'd conclude that other works have surpassed it.
16 people found this helpful
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"And the only man who survived the flood / Was longlegged Jack of the Isthmus."

Ambulance chasers, bootleggers, chorus girls, mashers, bums, anarchists, power brokers, working stiffs, abortionists, drunks, soubrettes, cads, and saps -- the shiftless and the soulless. These are the people of MANHATTAN TRANSFER, the people of New York City in the first quarter of the 20th Century.

In a novel of vignettes, from one page to at most six pages in length, John Dos Passos sketches the actions of a large ensemble cast of New Yorkers. Only a few are present from the beginning of the novel to its end. Many have one-shot cameos; others pop up here and there; some have a prominent role for a while and then are forgotten; and a few come to sudden, self-inflicted ends. No one is heroic. New York beats down or corrupts everyone. Behind the glamour and the glitz, Dos Passos shows the squalor and the unrequited yearning. Near the end of the novel, a hack of a judge, in sentencing a penniless young girl who with her unemployed beau had resorted to holding up news stands and the like, unleashes a harangue about "the excitement and wickedness of what has been too well named, the jazz age." That essentially encapsulates MANHATTAN TRANSFER.

Dos Passos matches the excitement and wickedness of New York City with a writing style that is energetic, frenetic even. He loves adjectival neologisms: "he was leadentired"; "a lanternjawed, grayfaced woman"; "dollarproud eyes"; "dustreeking girder forest of the new building"; "rainseething streets"; "her body feels smoothwhittled"; "quiet in the claretmisted afterglow." The novel is innovative, modern. I can well understand the tributes from later American writers such as Tim O'Brien, who said, "The influence of John Dos Passos has been tidal on our national literature." But, to me, the writing is a tad undisciplined and the plotting is loose. MANHATTAN TRANSFER is not nearly as finely crafted as, say, Joyce's "Ulysses", which I suspect was a major influence.

Just before reading it, I read another novel of the Jazz Age, F. Scott Fitzgerald's "The Great Gatsby." Coincidentally, both were published in 1925, and they make for interesting reading in juxtaposition to one another. In addition to the rampant energy of the period, they both capture a kind of mindless and rootless questing. MANHATTAN TRANSFER probably is the more ambitious, but "The Great Gatsby" is - for me, at least - the better novel.
11 people found this helpful
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Jump-cuts: riffs & shots edited & experimented

Yes, a five-star book compared to most of them, but compared to "USA," this novel's a warm-up, between 3 & 4 stars, rounded up for innovation if not poise. In the start of each chapter you get marvelous, miniature modernist riffs, reminding me of saxophones, Carl Sandburg, Whitman, and Joyce (he loves those runoncompounds too); these anticipate the "Camera Eye" vignettes that would enrich "USA"'s own prose concoctions. Jimmy Derf (some surname) and Ellen Oglethorpe emerge at the end as the two main characters; others come and go much like life itself--the central figure is not one human but a cast of millions. As an urban reporter here, Dos Passos excels at capturing the snatches of dialogue, smells of the bums, grit of the air (it's rare that nature itself is shown as less than threatening, when it's evident at all), and shouts and noise that, then as now, relentlessly hums and pounds along Manhattan's streets. It's naturalism combined with realism.

Since "USA" for all its flaws is one of my favorite novels, I wanted to compare "MT." The pace is very quick: I read this in three sittings, one per main section. What still seems innovative eight decades later is Dos Passos' ability to skip forward within a dialogue to show how the minutes pass even as the characters are speaking--you hear enough to understand that moment, but the next line may be a half hour later into the situation or scene or action. This "jump-cut" characteristic becomes a bit maddening at times, as it does in cinema, but technically it's fun to watch! This adds to the filmic parallels that flow through "MT," which keeps the clips coming much as a well-edited docudrama might pull off.

After 9/11, some readers of the opening pages of "Moby Dick" noticed headlines of "war in Afghanistan" and the like that seemed to presage the current turmoil, 150 years before. Towards the end of "MT," my eye lingered as I re-read this paragraph: from a failed con-man talking to a slick lawyer: "I happen to know from a secret and reliable source that there is a subversive plot among undesirable elements in this country...Good God think of the Wall Street bomb outrage...I must say that the attitude of the press has been gratifying in one respect...in fact we're approaching a national unity undreamed of before the war." (part 3. ch. 1)

Dos Passos rarely lets his characters stand still and think things through. They try, but there's always someone bursting through the door, or buttonholing them on the street, or the danger, in one dramatic case, of daydreaming leading to disaster. He captures the frenetic speed demanded by NYC, and 20c city life, in this chronicle of a couple of handfuls of characters drawn to the bright lights, and the indifference of the city towards their ambitions and schemes. It's not uplifting or casual reading, but for an immersion into the sensations that ran through and past those who grew up from about 1900-1925, this novel, while uneven, captures what it must have been like for the latest generation who thought they were the first to invent novelty, encounter licentiousness, or concoct flim-flam and skulk around in deceit and skulduggery. Homosexuality, racism, injustice, bootlegging, protest, complacency, war-fever, and rags-to-riches and back down: all these color and vivify the portrayals of the few who stand for millions more in Manhattan.

The slang may have changed since then, and the buildings have grown higher, but the people, even though they are more types than rounded (with the exception of about half-a-dozen who endure through most of the novel)--they are the kinds of figures you can still encounter today on any crowded street.
9 people found this helpful
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Plodding and disappointing

Too plodding to recommend, but Dos Passos' style is interesting. Running words together, along with his aggressive devotion to the sense of smell, make areas of this quite readable. The disjointed story lines are just too muddled overall, in my opinion (and I am a fan of Dos Passos in general).

Put simply, I expected too much after enjoying 'Three Soldiers' and 'USA'. It just moves.......too......slow.....zzzzzz
6 people found this helpful
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Too many voices, but they were the real deal

Let me first say that Dos Passos is a great author and his ability to write so many different characters is an incredible talent that I'm sure many authors wish they could emulate. That being said, with this novel being as brief as it is, some of the voices get lost in the shuffle. I think that the city vs. humanity motif is a great one and relevant in our bustling and merciless world of today, but I wonder if the story would have been more poignant through a single set of eyes, or at least a central character in the third person narrative.

I'll give Dos Passos credit for being prophetic. I lived in NYC for the last couple of years while I was seeing someone who lived there. It is a world unto itself and many of the chapters concerning the vampire-like quality of Manhattan are spot on. But again, there were many occasions where I began to enjoy a single narrative, like George the attorney, only to have it vanish for twenty pages. I guess it is an acquired taste. From a technical standpoint it is definitely executed well. I am always wowed by authors who can mimic so many different voices and have it feel authentic. But I have to stick to my guns and say that there were just too many.
6 people found this helpful
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A exciting story about a glorious time in NYC and America

I found myself in the middle of NYC in the early 20th century, surrounded by immigrants and Americans from other states trying to find their spot in the booming glory of the city and all its promises. The novel has all the things one can expect: happy love stories, failed love stories, people finding economic success and people finding ruin, unlikely encounters and all the excitement and frustration of an adventurous life in a world where there's lot to gain and learn but no guarantees. One of my favorite American novels!
5 people found this helpful
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Too artistic, too clever

When technique becomes the principal feature an artwork the result is usually boring. There are multiple story threads. The book jumps from one to another. If you isolate one of the threads, paste the snippets together you get a tedious, uninteresting story. I think the hope
is that if you take a bunch of these and mush them together the result will evoke a feeling of big city energy. I put this on the same shelf as Joyce’s Ulysses. The shelf is labeled “Pretentious Tedium”
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"By Jove and By The Living Jingo!

A Classic! One can understand how and why Dos Passos is ranked with Fitzgerald and Hemingway. "Manhattan Transfer" could have been written at any of the demise points of America. 1925, 1935, 2005, 2015. History repeats and stays very consistent and continuitous. This novel has been described as a picture of the "dual-edged nature of the American Dream." In our current death spiral in this country, we can see and feel which edge is literally beheading us.
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America's more readable Joyce.

It is hard to bellieve this novel was written back in the 1920's. The style is contemporary as is the feel. The blacklisting of Dos Passos has hurt his reputation. It is ridiculous that he is taught so rarely in the schools and universities, when he is certainly one of the most important and influential writers of the 20th century whose influence can be witnessed in the works of Steinbeck, Kerouac and many who pick up pen today. And it is a lot of fun to read too...
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