THE PUBLICATION OF U. S. A. NEARLY 60 YEARS AGO secured John Dos Passos’s place in American literary history. Thereafter his reputation gradually faded, and his rowdy, acrid masterpiece petrified into a “classic.” When he died in 1970, the obituaries dutifully mentioned his more than thirty books and harped on his political turnabout from radical leftist to right-wing conservative. One would hardly have gathered from these coroners’ reports and later summings-up that the dead writer had once dazzled his literary generation and left his mark on the work of the next—Norman Mailer’s The Naked and the Dead, for example, and E. L. Doctorow’s playful historical fictions—or that no other novelist of his times had so ingeniously evoked the scope and variety of the United States.