The U.S.A. trilogy is a series of three novels by American writer John Dos Passos, comprising the novels The 42nd Parallel (1930), 1919 (1932) and The Big Money (1936). The books were first published together in a volume titled U.S.A. by Modern Library in 1937. The trilogy employs an experimental technique, incorporating four narrative modes: fictional narratives telling the life stories of twelve characters, collages of newspaper clippings and song lyrics labeled "Newsreel", individually labeled short biographies of public figures of the time such as Woodrow Wilson and Henry Ford and fragments of autobiographical stream of consciousness writing labeled "Camera Eye". The trilogy covers the historical development of American society during the first three decades of the 20th century. In 1998, the US publisher Modern Library ranked U.S.A. 23rd on its list of the 100 best English-language novels of the 20th century. Main characters Mac (Fainy McCreary) – A wandering printer, train-hopping newspaperman, and crusader for the working man Janey Williams – A young stenographer from Washington, D.C. (assistant to Moorehouse) Eleanor Stoddard – A cold, haughty young social climber J. Ward Moorehouse – A slick, influential public relations man Charley Anderson – A gullible, good-natured mechanic and flying ace Joe Williams – A rugged, slow-witted sailor, brother of Janey Williams Richard Ellsworth Savage – A Harvard graduate, employee of Moorehouse Daughter (Anne Elizabeth Trent) – A spirited Texas belle and volunteer nurse Eveline Hutchins – Artist and designer, Eleanor's long-time friend and rival Ben Compton – A law student and labor activist/revolutionary Mary French – Dedicated labor activist and journalist Margo Dowling – Attractive, cagey and adventurous, eventually a Hollywood actress Analysis Criticism In his contemporary commentary on The 42nd Parallel and 1919, Michael Gold noted their qualities as extensions of Dos Passos' techniques in his earlier novel Manhattan Transfer, and described these novels as "one of the first collective novels". Stanley Corkin has specifically expostulated The 42nd Parallel in the context of readings of Hegelian Marxism with respect to the particular historical time of the novel. Arnold Goldman has commented on the "progressive disenfranchisement" of Dos Passos from 20th century America in the trilogy. Justin Edwards has discussed the use of cinematic techniques in The Big Money. Donald Pizer has discoursed in detail on the passage 'only words against POWER SUPERPOWER' in The Big Money. Janet Galligani Casey has analysed Dos Passos' treatment and development of the growth