FIVE HEMINGWAY

The Lost Generation 

What the Lost Generation, those typically born between 1883 to 1900, has is an allure that still haunts us today. To thoroughly understand its origins, charm and impact, I will review the meaning of “lost generation”, investigate its appeal to the audience of its time and subsequent periods. Finally, how this label of writers has influenced themselves as well as later literature. 

In Une Génération Perdue, Hemingway seems to suggest that the term “Lost Generation” was coined by a garage keeper in a casual, conversation or colloquial manner. On the other hand, Dolan explains that the term was “first employed by the German Expressionist Franz Pfemfert in Die Aktion in 1912 and was used extensively in Britain and France in the first years after the war to describe the literal age cohort that had been severely reduced by the fighting of 1914-18.” Admittedly, I prefer the former because it evokes less of the gruesome death toll of the first World War. Furthermore, the notion of having a “lost” generation, a generation who was in search of their identity seems far more romantic and relevant to contemporary times. In fact, the search of the self is a timeless endeavor.

It is also the former meaning that provokes a sense of repulsion from Hemingway. From his reaction to Stein’s accusation, we can infer that he did not want to be categorized as ‘lost’. It had a negative connotation which suggested that such a generation did not contribute to society in any way (except maybe for the alcohol industry). He associated the notion of “lost” to “egotism and mental laziness”. Understandably, as a creative, Hemingway felt offended to be perceived as purposeless, insecure and even useless.

Furthermore, his internal dialogue shows his resentment to this classification. “I thought of Miss Stein and Sherwood Anderson and egotism and mental laziness versus discipline and I thought who is calling who a lost generation?” Aside from the fact that Anderson and Hemingway were friends in America (apparently, it was Anderson whom encouraged Hemingway to go to Paris), it is interesting that Hemingway chose Anderson to represent his generation positively since he criticized Anderson not long before when he described Stein in a rather negative manner. Hemingway insinuated biases on Stein’s part by narrating her reluctance to discuss the professional aspect of her literary allies, perhaps to imply her uncertainty of their literary capabilities, and generous “praise” after their “[crack] up as a writer.” It is as if Hemingway is cunningly overturning Stein’s credibility (which did not matter since their friendship dissolved) and her name calling his generation ‘lost’.

However, he did seem to come to terms or acknowledge the label of “lost” in a way, as he reasoned that “all generations were lost by something and had always been and always would be”. Thus, to Hemingway, it was unfair to apply this label specifically to those of his era while excluding all other generations who were equally guilty of  being “lost”. 

Indeed, by observing the present generation, or generations such as Gen X, Gen Y, Millenials, Gen Z etc., we can find the accusations of ‘lost’ in the evaluations of these contemporary people. Gen X are accused of skepticism and pragmatism; Gen Y or Millennials are typically described as pampered having enjoyed the dual-income family structure; Gen Z, still in the midst of growing, are observed and predicted to have a hero-complex, an optimistic need to leave an impact and change the world, with recognition of course, since many youths have demonstrated to be capable of doing so, such as Malala Yousafzai, Mark Zuckerberg. The common criticism is the self-centered nature of these generations, as if humans can ever be not focus on the self. While Gen Z is not purposeless, it is a generation that does not believe in conformity and values breakthrough. Similarly, Gen X and Gen Y show traits of purposelessness through their alleged self-serving attributes. In this sense, Hemingway was right by arguing that all generations are ‘lost’ in their respective, but fundamentally same, ways. Perhaps so, it is why in quite a humorous way, Hemingway tells us he “stopped at the Lilas to keep the statue company and drank a cold beer before going home to the flat over the sawmill.”, committing one of the crimes accused of his generation which garnered the title ‘lost’ — a habit of drinking — as a sign of his identification of the term. 

However, in spite of Hemingway’s initial personal dismay for the the term ‘Lost Generation’, we need to question — is ‘lost’ necessarily a bad thing? To be frank, the use of the adjective ‘lost’ ti describe a generation has a mysterious allure even used out of the 1920s context. It suggests a desire to be found, a process of growth and maturation, a story of a journey filled with spontaneity and surprise findings. With such an attractive and curious name, it is not wonder that the 1920s American writers captured the hearts of those out of the circle. 

The public perception of the Lost Generation as celebrities was founded on the public image the crowd chose to depict. As illustrated in the video, The Lost Generation Biography with Harry Smith, American writers had no private lives. Their private businesses were discussed in public as they gathered in Parisian cafés. It was almost as if they inspired paparazzi journalism by exposing their private lives. This refreshing amalgamation of professional achievement and private affairs was made available to the public, sparking an interest in the group as a new breed of intellectuals whom the mass could relate to either in terms of the arts or trivial gossip.

Meanwhile, it was evident, and most certainly natural, that the accused members of the Lost Generation matured over the course of their lives. In A Moveable Feast, Hemingway documents his personal growth. His metamorphosis from a humble, young writer finding his place in the arts community to a renowned, acclaimed literary icon is only the professional side of his story. Hemingway develops his character by reexamining his choices in his lifestyle and relationships. 

From a macroscopic perspective, how did the name ‘Lost Generation’ impact the literary sphere? Dolan “theorized that what myth of the Lost Generation most clearly stood for was a sharply demarcated narrative transit of mood: from joy to dissipation; from “generation” to “lost”. Since the name was attached to the generation in 1918, we can investigate how the term came to influence the writers and their work. The theme of disillusionment of youths is embraced by Hemingway  in The Sun Also Rises, his confrontation with the concept of the Lost Generation. Although perhaps in an effort to prove the name-callers wrong, the writers sought out their identity intentionally and broke social conformity as a consequence. Or they persisted in their search of purpose in life, which has been a timeless, unanswerable quest. As such, they became a self-fulfilling prophecy — “from “generation” to “lost.””