The Lost Generation: John Dos Passos

What Was The Lost Generation?

The "Lost Generation" defines a sense of moral loss or aimlessness apparent in literary figures during the 1920s. The phrase signifies a disillusioned postwar generation characterized by lost values, lost belief in the idea of human progress, and a mood of futility and despair leading to hedonism. World War I seemed to have destroyed the idea that if you acted virtuously, good things would happen. Many good, young men went to war and died, or returned home either physically or mentally wounded, and their faith in the moral guideposts that had earlier given them hope, were no longer valid...they were "Lost."

Although the description -- in its original sense -- only applied to survivors of the war who had been unable or unwilling to settle back into the routines of peacetime life, other writers eagerly adopted the catch phrase, using it more and more loosely until “The Lost Generation” came to signify the whole anonymous horde of young Americans abroad, particularly those with literary or artistic inclinations.

In A Moveable Feast by Ernest Hemingway, published in 1964 after both Hemingway and Stein were dead, Hemingway reveals that the phrase was actually originated by the garage owner who serviced Stein's car. She was unimpressed by the skills of a young car mechanic and asked the garage owner where the young man had been trained. The garage owner told her that while young men were easy to train, it was those in their mid-twenties to thirties, the men who had been through World War I, whom he considered a "lost generation" — une génération perdue. Stein, in telling Hemingway the story, added, "That is what you are. That's what you all are ... all of you young people who served in the war. You are a lost generation.”

When Hemingway heard the story at the rue de Fleurus, he decided to use the sentence "You are all a lost generation" (attributing it to Gertrude Stein) as an epigraph for his first novel, The Sun Also Rises, a story about the 'uncivilized', aimless lives of the very people M. Pernollet had in mind. Due to the book's tremendous success, the phrase was guaranteed enduring fame.

The novel serves to epitomize the post-war expatriate generation. However, Hemingway himself later wrote to his editor Max Perkins that the "point of the book" was not so much about a generation being lost, but that "the earth abideth forever"; he believed the characters in The Sun Also Rises may have been "battered" but were not lost.

John Dos Passos, (born Jan. 14, 1896, Chicago, Ill., U.S.—died Sept. 28, 1970, Baltimore, Md.), American writer, one of the major novelists of the post-World War I “lost generation,” whose reputation as a social historian and as a radical critic of the quality of American life rests primarily on his trilogy U.S.A.

The son of a wealthy lawyer of Portuguese descent, Dos Passos graduated from Harvard University (1916) and volunteered as an ambulance driver in World War I. His early works were basically portraits of the artist recoiling from the shock of his encounter with a brutal world. Among these was the bitter antiwar novel Three Soldiers (1921).

Extensive travel in Spain and other countries while working as a newspaper correspondent in the postwar years enlarged his sense of history, sharpened his social perception, and confirmed his radical sympathies. Gradually, his early subjectivism was subordinated to a larger and tougher objective realism. His novel Manhattan Transfer (1925) is a rapid-transit rider’s view of the metropolis. The narrative shuttles back and forth between the lives of more than a dozen characters in nervous, jerky, impressionistic flashes.

The execution of the Anarchists Nicola Sacco and Bartolomeo Vanzetti in 1927 profoundly affected Dos Passos, who had participated in the losing battle to win their pardon. The crisis crystallized his image of the United States as “two nations”—one of the rich and privileged and one of the poor and powerless. U.S.A. is the portrait of these two nations. It consists of The 42nd Parallel (1930), covering the period from 1900 up to the war; 1919 (1932), dealing with the war and the critical year of the Treaty of Versailles; and The Big Money (1936), which races headlong through the boom of the ’20s to the bust of the ’30s. Dos Passos reinforces the histories of his fictional characters with a sense of real history conveyed by the interpolated devices of “newsreels,” artfully selected montages of actual newspaper headlines and popular songs of the day. He also interpolates biographies of such representative members of the establishment as the automobile maker Henry Ford, the inventor Thomas Edison, President Woodrow Wilson, and the financier J.P. Morgan. He further presents members of that “other nation” such as the Socialist Eugene V. Debs, the economist Thorstein Veblen, the labour organizer Joe Hill, and the Unknown Soldier of World War I. Yet another dimension is provided by his “camera-eye” technique: brief, poetic, personal reminiscences.

U.S.A. was followed by a less ambitious trilogy, District of Columbia (Adventures of a Young Man,1939; Number One, 1943; The Grand Design, 1949), which chronicles Dos Passos’ further disillusion with the labour movement, radical politics, and New Deal liberalism. The decline of his creative energy and the increasing political conservatism evident in these works became even more pronounced in subsequent works. At his death at 74, his books scarcely received critical attention.

The Lost Generation

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What Was The Lost Generation?

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John Dos Passos

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