除了福克纳,现代美国作家里头,没有谁像多斯·帕索斯那样痴迷于“全景”。从《曼哈顿中转站》的第一页起,他就不停地切换镜头,码头、垃圾站、火车厢、摩天大楼、酒吧、咖啡馆……最没创意的编导也知道怎么让男女主角在社交场所碰出火花,作家却让这些火花哔哔卟卟蹦个不停,以至于读者稍不留神就会失掉头绪:多斯·帕索斯不是欠缺创意,而是勇气过剩。 With the exception of Faulkner, no one in Modern American writers was obsessed with the “panorama” as Dos Passos did. From the first page of the “Manhattan Transit Station”, he constantly switching lenses, docks, refuse collection stations, train cars, skyscrapers, bars, cafes ... ... the most creative director also know how to make the hero and the hero in social The place touched the spark, but the writer kept the sparkplugs whining and poking around so much that the reader would lose some clue when they were a bit careless: Dos Passos was not lacking in creativity but courageous.