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Literary Politics and the Subversion of Imperialism in Dos Passos’ U.S.A

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Literary Politics and the Subversion of Imperialism in Dos Passos’ U.S.A “WE ONLY HAVE WORDS AGAINST/ POWER SUPERPOWER”: LITERARY POLITICS AND THE SUBVERSION OF IMPERIALISM IN DOS PASSOS’ U.S.A. BY KATHLEEN ROMMEL A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS English May 2012 Winston-Salem, North Carolina Approved By: Barry Maine, Ph.D., Advisor Philip Kuberski, Ph.D., Chair Dean Franco, Ph.D. Your two eyes are an accurate stereoscopic camera, sure enough…but the process by which the upsidedown image on the retina takes effect on the brain entails a certain amount of unconscious selection. What you see depends to a great extent on subjective distortion and elimination which determines the varied impacts on the nervous system of speed of line, emotions of color, touchvalues of form. Seeing is a process of imagination. -- John Dos Passos Iteration alters, something new takes its place. -- Jacques Derrida ii TABLE OF CONTENTS ABSTRACT .................................................................................................................................... iv INTRODUCTION ............................................................................................................................ v CHAPTER ONE .............................................................................................................................. 1 Regulating Discourse, Regulating Empire: Transitions from Classical to Neoteric Imperialism in U.S.A. CHAPTER TWO ........................................................................................................................... 36 Media Discipline and Subversive Mimicry: A Destabilizing Appropriation of Imperial Technique in the Newsreels CHAPTER THREE ........................................................................................................................ 53 Biographical Mimicry and Subversive Iterability in U.S.A. CHAPTER FOUR .......................................................................................................................... 73 Success Through Failures: Recognizing Fictions and Decentering Regulatory Discourse in the Narratives CHAPTER FIVE ............................................................................................................................ 88 The Development of a Literary Mode of Subversion in the Camera Eyes CONCLUSION .............................................................................................................................. 99 WORKS CITED ........................................................................................................................... 104 SCHOLASTIC VITA ................................................................................................................... 111 iii ABSTRACT Despite a history of territorial expansion, “In the United States it is almost heresy to describe the nation as an empire” (Van Alystne 6). Refuting such tendencies for historical revisionism, Dos Passos’ U.S.A. portrays an America where both classical and neoteric imperialisms pervade American political, media, and economic systems during the first three decades of the twentieth century. While various foreign entanglements provide America with classical territorial expansion, World War I facilitates America’s transition towards a form of neoteric imperialism that necessitates the adoption of imperialistic systems of discipline in the domestic sphere. U.S.A. critiques America’s neoteric imperialism by demonstrating how such methods, and specifically the manipulation of discourse, categorize the vast majority of Americans as “non-authentic” Americans who are less “American” than political, industrial, and media elites. However, I argue Dos Passos counters such detrimental public discourse by appropriating imperialistic systems of control for subversion. By exposing the damaging effects of colonial mimicry and exploiting a linguistic interpretation of mimicry through language’s iterability, Dos Passos destabilizes imperialistically motivated fictions that oppress America’s majority. Therefore, U.S.A. empowers marginalized Americans through recognition, as the trilogy provides a model of ethical subversion that limits the continuation of America’s imperialistic discipline and control. iv INTRODUCTION To guide his reading of John Dos Passos’ U.S.A., Jacques Rancière defines the politics of literature, where “Literature is the deployment and deciphering of…signs written on,” and also through, “things themselves” (15). Similarly aware of Dos Passos’ literary politics, Seth Moglen describes U.S.A. as a literary “attempt to mourn a political loss” of America’s divergence from its founding ideals (172). By framing the trilogy’s The 42nd Parallel, 1919, and The Big Money as acts of literary politics, the following chapters examine the various stylistic and structural forms in U.S.A. and how they express the political content of the novels. Such a reading will offer an opportunity to explore the text’s operative relationship to the domestic and international imperialist structures revealed in Dos Passos’ depiction of America, while also establishing a context for a discussion about the transformative powers of literature. Investigating Dos Passos’ use of form within the context of colonial mimicry and linguistic iterability explains how Dos Passos utilizes his text to counter the domestic imperialism of the first three decades of the twentieth century. Moreover, a poststructuralist, postcolonial reading of U.S.A. reveals the subversive potential implicit in the trilogy’s representation of subaltern voices. Consequently, reading U.S.A. in conjunction with Homi Bhabha, Jacques Derrida, Michel Foucault, as well as Judith Butler, establishes the ethical implications of a literature that is simultaneously a product of and a response to potentially oppressive American systems. In the January 1920 issue of the Dial, Dos Passos wrote, “There never has been great art that did not beat with every beat of the life around it” (qtd. in Ludington 193). Written in 1920 and 1925 respectively, Three Soldiers and Manhattan Transfer both reveal this sentiment as Dos Passos recreates the mood and feel of American experience to make a political statement. Yet despite these early literary forays, critics of Dos Passos agree that U.S.A. most fully achieves successful representations of the “the mind of a generation” (Dos Passos qtd. in Béja). Not only does U.S.A.’s documentary montage and reproduction of the vernacular succeed in offering v literary realism, but Dos Passos’ ability to recreate “the speech of the people” also provides him the opportunity to synthesize his perception of Americanness with political satire of American classical and domestic imperialism (Dos Passos The 42nd Parallel xiv). Depicting the events that occur in the decades surrounding Woodrow Wilson’s presidency, a period where “compliments [were] paid…for repudiating the ‘imperialism’” of the previous presidents, U.S.A. refutes the historical fallacy of America’s recovery from a brief imperialist “sickness” by exposing the modern application of imperialist techniques of the early twentieth century (Van Alystne 6). As Van Alystne describes and U.S.A. reflects, “In the United States, it is almost heresy to describe the nation as an empire” (6). Ian Tyrrell similarly notes, “The pre-historicist idea of the United States as a special case ‘outside’ the normal patterns and laws of history runs deep in American experience” (1031). America’s uniqueness as a political experiment in democracy frames the language of American exceptionalism, where, “In this liberal world view, the United States avoided the class conflicts, revolutionary upheaval, and authoritarian governments of ‘Europe’ and presented to the world an example of liberty for others to emulate” (Tyrrell 1031). Yet despite denials of American empire and insistence on exceptionalism, Dos Passos’ trilogy reproduces the speech of the people to accentuate the prevalence of classical and neoteric imperialism in America. In other words, as Rancière describes the trilogy, U.S.A. “welcome[s] into its pages the standardized messages of the world” in order to expose such denials of empire and decipher the messages implicit to the language of American discourse (27). The banal speech of the people ceases to be mundane as Dos Passos uses public discourse’s diction to counter the imperialistic governance occurring in America. In each novel of the U.S.A. trilogy, Dos Passos utilizes four distinct methods— documentary montage, biography, narrative, and autobiographical prose poetry—to represent the imperialist system that pervades American society in first three decades of the twentieth century. Though recent literary criticism of Dos Passos remains regrettably sparse, scholars have explored the complexities of each of these forms both as distinct literary components and in juxtaposition vi with surrounding stylistic forms. Through this discourse, critics establish Dos Passos as an author who participates in high modernist techniques of cinematic montage as well as more conventional forms of narrative. However, due to his modernist style, critics commonly discuss Dos Passos in the context of his “Lost Generation” contemporaries, including Ernest Hemingway, F. Scott Fitzgerald, and James Joyce, or in the context of other forms of art such as motion picture and visual art. While these works of criticism tend to be flattering towards Dos Passos’
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