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Lost Generation

The Lost Generation is a term used to refer to the generation, actually a cohort, that came of age during World War I. The term was popularized by Ernest Hemingway, who used it as one of two contrasting epigraphs for his novel, The Sun Also Rises. In that volume Hemingway credits the phrase to Gertrude Stein, who was then his mentor and patron.

In A Moveable Feast, which was published after Hemingway and Stein were both dead and after a literary feud that lasted much of their life, Hemingway reveals that the phrase was actually originated by the garage owner who serviced Stein's car. When a young mechanic failed to repair the car in a way satisfactory to Stein, the garage owner shouted at the boy, "You are all a "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." This generation included distinguished artists such as F. Scott Fitzgerald, T. S. Eliot, John Dos Passos, Waldo Peirce, Alan Seeger, and Erich Maria Remarque.

In literature

The term originated with Gertrude Stein who, after being unimpressed by the skills of a young car mechanic, 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.

The 1926 publication of Ernest Hemingway's The Sun Also Rises popularized the term, as Hemingway used it as an epigraph. 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.

In his memoir A Moveable Feast, published after his death, he writes "I tried to balance Miss Stein's quotation from the garage owner with one from Ecclesiastes." A few lines later, recalling the risks and losses of the war, he adds:

"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?'"

The Sun Also Rises

The Sun Also Rises is a 1926 novel written by American author Ernest Hemingway about a group of American and British expatriates who travel from Paris to the Festival of San Fermín in Pamplona to watch the running of the bulls and the bullfights. An early and enduring modernist novel, it received mixed reviews upon publication.

Hemingway biographer Jeffrey Meyers writes that it is "recognized as Hemingway's greatest work", and Hemingway scholar Linda Wagner-Martin calls it his most important novel. The novel was published in the United States in October 1926 by the publishing house Scribner's. A year later, the London publishing house Jonathan Cape published the novel with the title of Fiesta. Since then it has been continuously in print.

Hemingway began writing the novel on his birthday (21 July) in 1925, finishing the draft manuscript barely two months later in September. After setting aside the manuscript for a short period, he worked on revisions during the winter of 1926. The basis for the novel was Hemingway's 1925 trip to Spain. The setting was unique and memorable, showing the seedy café life in Paris, and the excitement of the Pamplona festival, with a middle section devoted to descriptions of a fishing trip in the Pyrenees. Equally unique was Hemingway's spare writing style, combined with his restrained use of description to convey characterizations and action, which became known as the Iceberg Theory.

On the surface the novel is a love story between the protagonist Jake Barnes—a man whose war wound has made him impotent—and the promiscuous divorcée Lady Brett Ashley. Brett's affair with Robert Cohn causes Jake to be upset and break off his friendship with Cohn; her seduction of the 19-year-old matador Romero causes Jake to lose his good reputation among the Spaniards in Pamplona. The novel is a roman à clef; the characters are based on real people and the action is based on real events. In the novel, Hemingway presents his notion that the "Lost Generation", considered to have been decadent, dissolute and irretrievably damaged by World War I, was resilient and strong. Additionally, Hemingway investigates the themes of love, death, renewal in nature, and the nature of masculinity.

Background

In the 1920s Hemingway lived in Paris, was foreign correspondent for the Toronto Star, and traveled to places such as Smyrna to report about the Greco–Turkish War. He wanted to use his journalism experience to write fiction, believing that a story could be based on real events when a writer distilled his own experiences in such a way that, according to biographer Jeffrey Meyers, "what he made up was truer than what he remembered".

With his wife Hadley, Hemingway first visited the Festival of San Fermín in Pamplona, Spain in 1923, where he became fascinated by bullfighting. The Hemingways returned to Pamplona in 1924—enjoying the trip immensely—this time accompanied by Chink Dorman-Smith, John Dos Passos, and Donald Ogden Stewart and his wife. The couple returned a third time in June 1925; that year they brought with them a different group of American and British expatriates: Hemingway's Michigan boyhood friend Bill Smith, Stewart, Lady Duff Twysden (recently divorced), her lover Pat Guthrie, and Harold Loeb. In Pamplona the group quickly disintegrated. Hemingway, attracted to Lady Duff, was jealous of Loeb, who had recently been on a romantic getaway with her; by the end of the week the two men had a public fistfight. Against this background was the influence of the young matador from Ronda, Cayetano Ordóñez, whose brilliance in the bullring affected the spectators. Ordóñez honored Hemingway's wife Hadley by presenting her, from the bullring, with the ear of a bull he killed. Outside of Pamplona, the fishing trip to the Irati River (near Burguete in Navarre) was marred by polluted water.

Hemingway intended to write a non-fiction book about bullfighting but thought that the week's experiences had presented him with enough material for a novel. A few days after the fiesta ended, on his birthday (21 July), he began to write the draft of what would become The Sun Also Rises, finishing eight weeks later. By 17 August, with 14 chapters written and a working title of Fiesta chosen, Hemingway returned to Paris. He finished the draft on 21 September 1925, writing a foreword the following weekend and changing the title to The Lost Generation.

A few months later, in December 1925, the Hemingways left to spend the winter in Schruns, Austria, where Hemingway began revising the manuscript extensively. Pauline Pfeiffer joined them in January and against Hadley's advice urged him to sign a contract with Scribner's. He left Austria for a quick trip to New York to meet with the publishers, and on his return, during a stop in Paris, began an affair with Pauline, before returning to Schruns to finish the revisions in March. In June, he was in Pamplona with Hadley and Pauline. On their return to Paris, Hadley asked for a separation and left for the south of France. In August, alone in Paris, he completed the proofs, and dedicated the novel to his wife and son. After the publication of the book in October, Hadley asked for a divorce, and he gave her the royalties from The Sun Also Rises.

Plot summary

The protagonist of The Sun Also Rises is Jake Barnes, an expatriate American journalist living in Paris. Jake suffered a war wound that has caused him to be impotent; the nature of his injury is not explicitly described in the novel. He is in love with Lady Brett Ashley, a twice-divorced Englishwoman. Brett, with her bobbed hair, embodies the new sexual freedom of the 1920s, having had numerous love affairs. Book One is set in the Café society of Paris. In the opening scenes, Jake plays tennis with his college friend Robert Cohn, picks up a prostitute (Georgette), and runs into Brett and Count Mippipopolous in a nightclub. Brett and Jake leave together; in a taxi she tells him she loves him, but they know they have no chance at a lasting relationship.

In Book Two Jake is joined by Bill Gorton, recently arrived from New York, and Brett's fiancé Mike Campbell, who arrives from Scotland. Jake and Bill travel to Spain, where they meet Robert Cohn north of Pamplona for a fishing trip. Cohn, however, leaves for Pamplona to wait for Brett and Mike. Cohn had an affair with Brett a few weeks earlier and still feels possessive of her despite her engagement to Mike. Jake and Bill enjoy five days of tranquility, fishing the streams near Burguete, after which they rejoin the group in Pamplona, where they begin to drink heavily.

Cohn's presence is increasingly resented by the others, who taunt him with anti-semitic remarks. During the fiesta the characters drink, eat, watch the running of the bulls, attend bullfights, and bicker with each other. Jake introduces Brett to Romero at Montoya's hotel; she is smitten with the 19-year-old matador and seduces him. The jealous tension among the men builds; Jake, Campbell, Cohn, and Romero each love Brett. Cohn, who had been a champion boxer in college, has fistfights with Jake, Mike, and Romero, whom he injures. Despite the tension, Romero continues to perform brilliantly in the bullring.

Book Three shows the characters in the aftermath of the fiesta. Sober again, they leave Pamplona. Bill returns to Paris, Mike stays in Bayonne, and Jake goes to San Sebastián in northeastern Spain. As Jake is about to return to Paris, he receives a telegram from Brett asking for help; she had left with Romero for Madrid. He finds her in a cheap hotel, without money, and without Romero. She announces she has decided to go back to Mike. The novel ends with Jake and Brett in a taxi speaking of the things that might have been.

Paris and the Lost Generation

The first book of The Sun Also Rises is set in mid-1920s Paris. Americans were drawn to Paris in the Roaring Twenties by the favorable exchange rate, with as many as 200,000 English-speaking expatriates living there. The Paris Tribune reported in 1925 that Paris had an American Hospital, an American Library, and an American Chamber of Commerce. Many American writers were disenchanted with the US, where they found less artistic freedom than in Europe. Hemingway had more artistic freedom in Paris than in the US at a period when Ulysses, written by his friend James Joyce, was banned and burned in New York.

The themes of The Sun Also Rises appear in its two epigraphs. The first is an allusion to the "Lost Generation", a term coined by Gertrude Stein referring to the post-war generation; the other epigraph is a long quotation from Ecclesiastes: "What profit hath a man of all his labour which he taketh under the sun? One generation passeth away, and another generation cometh: but the earth abideth for ever. The sun also ariseth, and the sun goeth down, and hasteth to his place where he arose." Hemingway told his editor Max Perkins that the book was not so much about a generation being lost, but that "the earth abideth forever." He thought the characters in The Sun Also Rises may have been "battered" but were not lost.

Hemingway scholar Wagner-Martin writes that Hemingway wanted the book to be about morality, which he emphasized by changing the working title from Fiesta to The Sun Also Rises. The book can be read either as a novel about bored expatriates or as a morality tale about a protagonist who searches for integrity in an immoral world. Months before Hemingway left for Pamplona, the press was depicting the Parisian Latin Quarter, where he lived, as decadent and depraved. He began writing the story of a matador corrupted by the influence of the Latin Quarter crowd; he expanded it into a novel about Jake Barnes at risk of being corrupted by wealthy and inauthentic expatriates.

The characters form a group, sharing similar norms, and each greatly affected by the war. Hemingway captures the angst of the age and transcends Brett and Jake's love story, although they are representative of the period: Brett is starved for reassurance and love and Jake is sexually maimed. His wound symbolizes the disability of the age, the disillusion, and the frustrations felt by an entire generation.

Hemingway thought he lost touch with American values while living in Paris, but his biographer Michael Reynolds claims the opposite, seeing evidence of the author's midwestern American values in the novel. Hemingway admired hard work. He portrayed the matadors and the prostitutes, who work for a living, in a positive manner, but Brett, who prostitutes herself, is emblematic of "the rotten crowd" living on inherited money. It is Jake, the working journalist, who pays the bills again and again when those who can pay do not. Hemingway shows, through Jake's actions, his disapproval of the people who did not pay up. Reynolds says that Hemingway shows the tragedy, not so much of the decadence of the Montparnasse crowd, but of the decline in American values of the period. As such the author created an American hero who is impotent and powerless. Jake becomes the moral center of the story. He never considers himself part of the expatriate crowd because he is a working man; to Jake a working man is genuine and authentic, and those who do not work for a living spend their lives posing.

The corrida, the fiesta, and nature

In The Sun Also Rises, Hemingway contrasts Paris with Spain, and the frenzy of the fiesta with the tranquillity of the Spanish countryside. Spain was Hemingway's favorite European country; he considered it a healthy place, and the only country "that hasn't been shot to pieces". He was profoundly affected by the spectacle of bullfighting, writing,

It isn't just brutal like they always told us. It's a great tragedy—and the most beautiful thing I've ever seen and takes more guts and skill and guts again than anything possibly could. It's just like having a ringside seat at the war with nothing going to happen to you.

He demonstrated what he considered the purity in the culture of bullfighting—called afición—and presented it as an authentic way of life, contrasted against the inauthenticity of the Parisian bohemians. To be accepted as an aficionado was rare for a non-Spaniard; Jake goes through a difficult process to gain acceptance by the "fellowship of afición".

The Hemingway scholar Allen Josephs thinks the novel is centered on the corrida (the bullfighting), and how each character reacts to it. Brett seduces the young matador; Cohn fails to understand and expects to be bored; Jake understands fully because only he moves between the world of the inauthentic expatriates and the authentic Spaniards; the hotel-keeper Montoya is the keeper of the faith; and Romero is the artist in the ring—he is both innocent and perfect, and the one who bravely faces death. The corrida is presented as an idealized drama in which the matador faces death, creating a moment of existentialism or nada (nothingness), broken when he vanquishes death by killing the bull.

Hemingway presents matadors as heroic characters dancing in a bullring. He considered the bullring as war with precise rules, in contrast to the messiness of the real war that he, and by extension Jake, experienced. Critic Keneth Kinnamon notes that young Romero is the novel's only honorable character. Hemingway named Romero after Pedro Romero, an 18th-century bullfighter who killed thousands of bulls in the most difficult manner: having the bull impale itself on his sword as he stood perfectly still. Reynolds says Romero, who symbolizes the classically pure matador, is the "one idealized figure in the novel". Josephs says that when Hemingway changed Romero's name from Guerrita and imbued him with the characteristics of the historical Romero, he also changed the scene in which Romero kills a bull to one of recibiendo (receiving the bull) in homage to the historical namesake.

Before the group arrives in Pamplona, Jake, Bill and Robert take a fishing trip to the Irati River. As Harold Bloom points out, the scene serves as an interlude between the Paris and Pamplona sections, "an oasis that exists outside linear time." More importantly, on another level it reflects "the mainstream of American fiction beginning with the Pilgrims seeking refuge from English oppression"—the prominent theme in American literature of escaping into the wilderness, as seen in Cooper, Hawthorne, Melville, Twain, and Thoreau. Fiedler calls the theme "The Sacred Land"; he thinks the American West is evoked in The Sun Also Rises by the Pyrenees and given a symbolic nod with the name of the "Hotel Montana". In Hemingway's writing, nature is a place of refuge and rebirth, according to Stoltzfus, where the hunter or fisherman gains a moment of transcendence at the moment the prey is killed. Nature is the place where men act without women: men fish, men hunt, men find redemption. In nature Jake and Bill do not need to discuss the war because their war experience, paradoxically, is ever-present. The nature scenes serve as counterpoint to the fiesta scenes.

All of the characters drink heavily during the fiesta and generally throughout the novel. In his essay "Alcoholism in Hemingway's The Sun Also Rises", Matts Djos says the main characters exhibit alcoholic tendencies such as depression, anxiety and sexual inadequacy. He writes that Jake's self-pity is symptomatic of an alcoholic, as is Brett's out-of-control behavior.