"The only way to find out anything about what kinds of lives people led in any given period is to tunnel into their records and to let them speak for themselves"
About this Quote
Dos Passos is basically warning you off the museum-diorama version of history: the tidy, narrated past where everyone seems to behave as if they knew what century they were in. The verb choice does the heavy lifting. You do not "consult" records; you "tunnel" into them. That word is physical, grubby, obsessive. It implies labor, secrecy, even trespass. Understanding ordinary life is not granted by official summaries or prestige interpretations; it has to be excavated from the sediment of receipts, letters, court filings, diaries, marginalia - the stuff that looks small until you realize it’s where power leaves fingerprints.
The second clause is a manifesto for ventriloquism done ethically: "let them speak for themselves". Dos Passos isn’t naive about objectivity; he’s staking a claim about method. If you want the texture of a period - what people feared, bought, believed, lied about - you need unfiltered language, the unheroic cadence of the everyday. It’s also a rebuke to historians (and novelists) who smooth out contradiction in order to produce a coherent story. Coherence is often the first lie.
Context matters: Dos Passos came out of modernism and flirted hard with radical politics before curdling into disillusionment. His U.S.A. trilogy splices headlines, biographies, and stream-of-consciousness into a documentary collage. The quote reads like the aesthetic argument behind that technique: art and history meet in the archive, not to sanctify the past, but to restore its noise.
The second clause is a manifesto for ventriloquism done ethically: "let them speak for themselves". Dos Passos isn’t naive about objectivity; he’s staking a claim about method. If you want the texture of a period - what people feared, bought, believed, lied about - you need unfiltered language, the unheroic cadence of the everyday. It’s also a rebuke to historians (and novelists) who smooth out contradiction in order to produce a coherent story. Coherence is often the first lie.
Context matters: Dos Passos came out of modernism and flirted hard with radical politics before curdling into disillusionment. His U.S.A. trilogy splices headlines, biographies, and stream-of-consciousness into a documentary collage. The quote reads like the aesthetic argument behind that technique: art and history meet in the archive, not to sanctify the past, but to restore its noise.
Quote Details
| Topic | Knowledge |
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