By John Dos Passos
Foreword by way of E. L. Doctorow.
THE huge funds completes John Dos Passos's three-volume "fable of America's materialistic luck and ethical decline" (American historical past) and marks the top of "one of the main bold tasks that an American novelist has ever undertaken" (Time). right here we come again to the US after the warfare and discover a country at the upswing. Industrialism booms. The inventory marketplace surges. Lindbergh takes his solo flight. Henry Ford makes autos. From long island to Hollywood, amorous affairs to enterprise bargains, it's a kingdom taking the turns too quickly, dashing towards the crash of 1929.
Ultimately, no matter if the novels are learn jointly or individually, they paint a sweeping portrait of collective the US and show off the brilliance and bravado of 1 of its so much enduring and popular writers.
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Additional resources for The Big Money (The USA Trilogy, Book 3)
Circulating as such, Tara enacts the catachrestic logic of the objet a as, in Krips’s words, “a substitute for an object constituted retrospectively through the act of substitution” that, in turn, “creates the false impression that there was something . . ”6 To be sure, Gone with the Wind is not the first text to conjure an Old South as nostalgic compensation for present deprivations. But no cultural text has ever done it better or more completely. Tara is the sim-plantation that all real plantations of the tourist industry strive to reproduce, an ineffable space toward which actual spaces of all kinds are mobilized, a platonic ideal that quotidian objects of all sorts, from wedding cake toppers to Barbie dolls, strive to represent.
4 Apter is not, however, speaking of Tara per se, but of the fetish, and in reading the former through the analytical lens of the latter, I hope to account for what I regard as the narrative’s fundamental rearrangement of (southern) culture from a default condition coding and regulating desire to an object in itself desirable, if never fully attainable. ” Within this economy, the fetish acquires two analogues central to my project: the commodity and the simulacrum. ” Just so, I argue, with Tara: no one ever fully buys into it, which is not to say that no one buys it.
42 But a world so connected is an affront to narrative, and, as it turns out, an affront to Todd and Anna as well: however capriciously, the episode recuperates disarray as a form of order. ”) Critically, we would judge Anna’s conclusion of a southern way of life as having a tacked-on quality. But whatever its aesthetic shortcomings, Anna uses the South to tell a story about her weekend, just as she uses her weekend to fabricate a location of culture. In its broad contours, as I hope to show in the chapters that follow, this logic informs as well more substantive and compelling narratives of cultural reproduction.