It’s even more clear in Nineteen Nineteen that Dos Passos is a sort of embryonic Pynchon. There are obvious similarities — working class ideology, the sex and the alcohol, the command of geography and history, of vocabulary and dialect, the internationalism — but also a more elusive similarity of tone. A sort of breeziness I want to call it. Events are constantly pushing forward and nothing can be lingered on for too long. Before you know what anything means the next things have overtaken them.
Interesting that Pynchon didn’t adopt any of DP’s experiments, the news reel or camera eye. Pynchon’s experiments are less stylistic, more imaginatively whimsical — his songs, Byron the Bulb, etc. — or structural.