In this collection, Dos Passos mixes poetry and prose, intermingling eating and drinking with laughter and conversation. He was in many ways the voice of a generation, depicting the troubles, tragedies, and joys of existence in the early 20th century.
Dos Passos sees many of the countries of the world, but he also writes about the writers. Besides discussions of politics and revolutions, Dos Passos hears how people from around the world view America and its writers. One man says of American writing: "It is nothing... I have read Upton Sinclair. It has no soul. The soul of America is in the industrial technique."
Journeys in Spain with Rosinante
The tale of Don Quixote and his stead Rosinante is ever in the background of Rosinante to the Road Again (1922), a collection of essays on Spanish life, literature, and art. The vignettes detail the quest of two travelers as they set out from Madrid to Toledo in post-World War I Spain.
The land takes on an almost magical quality as he makes his way along the road. "The moon has begun to lose foothold," Dos Passos writes. "We are hurtling along the road at the top of a cliff; below the sea full of unexpected glitters, lace-edged, swishing like the silk dress of a dancer." Hear the music; smell the "rich wet fields," jasmine, heliotrope, and dry thyme; and see the unbelievable, in the "scattered pictures of Spain."
Dos Passos writes, "the memory came to me of the knight of the sorrowful countenance, Don Quixote, blundering trying to remould the world, pitifully sure of the power of his own ideal." Perhaps all an individual can hope for in life is to blunder along some road, alone, with a lance and helmet in an attempt to right wrongs or at least philosophize about it all.
Orient Express is a collection of Dos Passos essays about his travels to Constantinople, to Batum, and then through Georgia, Armenia, and Azerbaijan. He found himself on a train, destroyer, steamer, and beyond. At one railway station, he wrote in his journal, corpses were stacked like cordwood behind the store.
Dos Passos sees the children as "tiny wide-eyed skeletons with hideous swollen bellies," as they await the season of their deaths. Even amidst the horror of starvation and death, Dos Passos discovers a freedom in having "no watch and no money," feeling "no responsibility for events."





