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either physically or mentally wounded, and their faith in the moral guideposts that had earlier given them hope, were no longer valid...they were "Lost."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.

Questions To Think About

Do you consider your generation to be "lost" as this generation was?

If these authors were still around today do you think they would consider your generation to be "lost" just as Gertrude Stein considered them to be?

Can you relate to any of these authors? If so which ones and why?

T. S. Eliot


Thomas Stearns Eliot was born in Missouri on September 26, 1888. He lived in St. Louis during the first eighteen years of his life and attended Harvard University. In 1910, he left the United States for the Sorbonne, having earned both undergraduate and masters degrees and having contributed several poems to the Harvard Advocate.

After a year in Paris, he returned to Harvard to pursue a doctorate in philosophy, but returned to Europe and settled in England in 1914. The following year, he married Vivienne Haigh-Wood and began working in London, first as a teacher, and later for Lloyd's Bank.

It was in London that Eliot came under the influence of his contemporary Ezra Pound, who recognized his poetic genius at once, and assisted in the publication of his work in a number of magazines, most notably "The Love Song of J. Alfred Prufrock" in Poetry in 1915. His first book of poems, Prufrock and Other Observations, was published in 1917, and immediately established him as a leading poet of the avant-garde. With the publication of The Waste Land in 1922, now considered by many to be the single most influential poetic work of the twentieth century, Eliot's reputation began to grow to nearly mythic proportions; by 1930, and for the next thirty years, he was the most dominant figure in poetry and literary criticism in the English-speaking world.

As a poet, he transmuted his affinity for the English metaphysical poets of the 17th century (most notably John Donne) and the 19th century French symbolist poets (including Baudelaire and Laforgue) into radical innovations in poetic technique and subject matter. His poems in many respects articulated the disillusionment of a younger post-World-War-I generation with the values and conventions—both literary and social—of the Victorian era. As a critic also, he had an enormous impact on contemporary literary taste, propounding views that, after his conversion to orthodox Christianity in the late thirties, were increasingly based in social and religious conservatism. His major later poems include Ash Wednesday (1930) and Four Quartets (1943); his books of literary and social criticism include The Sacred Wood (1920), The Use of Poetry and the Use of Criticism (1933), After Strange Gods (1934), and Notes Towards the Definition of Culture (1940). Eliot was also an important playwright, whose verse dramas include Murder in the CathedralThe Family Reunion, and The Cocktail Party.

He became a British citizen in 1927; long associated with the publishing house of Faber & Faber, he published many younger poets, and eventually became director of the firm. After a notoriously unhappy first marriage, Eliot separated from his first wife in 1933, and was remarried, to Valerie Fletcher, in 1956. T. S. Eliot received the Nobel Prize for Literature in 1948, and died in London in 1965.

2 comments:

  1. You should cite your sources next time. http://www.poets.org/poetsorg/poet/t-s-eliot

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