By Craig Monk
Individuals of the misplaced iteration, American writers and artists who lived in Paris in the course of the Nineteen Twenties, proceed to occupy a big position in our literary background. Rebelling opposed to elevated commercialism and the ebb of cosmopolitan society in early twentieth-century the USA, they rejected the tradition of what Ernest Hemingway known as a spot of “broad lawns and slender minds.” a lot of what we all know approximately those iconic literary figures comes from their very own released letters and essays, revealing how adroitly they constructed their very own reputations via controlling the reception in their paintings. unusually the literary international has paid much less awareness to their autobiographies. In Writing the misplaced iteration, Craig Monk unlocks a chain of ignored texts whereas reinvigorating our analyzing of extra usual ones. recognized autobiographies by means of Malcolm Cowley, Ernest Hemingway, and Gertrude Stein are joined right here via works from quite a few lesser-known—but nonetheless important—expatriate American writers, together with Sylvia seashore, Alfred Kreymborg, Samuel Putnam, and Harold Stearns. via bringing jointly the self-reflective works of the misplaced iteration and probing the methods the writers portrayed themselves, Monk offers a thrilling and finished evaluation of modernist expatriates from the U.S..
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Extra resources for Writing the Lost Generation: Expatriate Autobiography and American Modernism
Example text
In his hands, these fragments are brought back to life, but this understanding of life narrative is significantly different from our own, where selves are created, not recreated, in the discourse. 7 “As he tried to touch the past,” Kreymborg admits, “some of it responded and made what he was trying to do—he with his uncertain memory in the tumult of b eyond th e se rmon i c tradition ° 21 an ever-changing present—sharp enough for him to seize this or that particle in the round” (T414–15). In arranging these remnants, he slips—furtively at first—into the third person.
Hemingway’s autobiography is uncharitable to almost all those Americans with whom he spent time in Paris, as its author seeks to deny the influence of th e lo st g e ne rat i on and autobiog raphy ° 17 both mentors and friends. His desire to assert his superiority as an artist undermines even a loose sense of community among expatriate Americans. While other writers, like Matthew Josephson and Harold Loeb, brought forward their remembrances at this time, the most interesting view of life abroad is provided by Kay Boyle, who adds supplementary chapters to Robert McAlmon’s autobiography to create a revised Being Geniuses Together (1968).
In the meantime, the need to respond to the commercial culture that had come to define life in the United States was what for Kreymborg holds the greatest promise for the eventual drawing together of artists in a meaningful fashion. “Somewhere in the dark, in a hole, in solitude,” he imagines, “one had to plan the manufacture of new weapons for the overthrow of this new tyranny” (T151). But because “under the commercial régime, there was little or no outlet for a man who had many a reason to fear he was nothing but a valueless entity dabbling with solitaire” (T166), concerted group action became increasingly necessary.