The Sad Young Men 习题答案
The Sad Young Men 习题答案/answer
Ⅱ.
1.The younger generation of the 1920s were thought to be wild because 1hey visited speakeasies, denouced Puritan morality, etc. (See para. 1).
2. "Yes" and "no Yes" because the business of growing up is always accompanied by a Younger Generation Problem, "no" because all their actions can now be seen in perspective as being something considerably less sensational than the degeneration of jazz mad youth.
3. Yes. Youth was faced with the challenge of changing the standards of social behavior, of rejecting Victorian gentility. But in America the young people tried to escape their responsibilities and retreat behind and air of naughty alco-holic sophistication and a pose of Bohemian immorality.
4. The revolt was logical and inevitable because of the conditions in the age. First of all, the rebellion affected the entire Western world. Second, people in the United States realized their country was no longer isolated in either politics or tradition and that they could no longer take refuge in isolationism.
5. All the activities mentioned above were means to help the young people to escape their more serious responsibilities of changing society and most young people went in for these activities. It became a general pattern of behavior.
6. The war whipped up their energies but destroyed their naivette. It made them cynical. They could not fit themselves into postwar society so they rebelled and tried to overthrow completely the gentel standards of behavior.
7. Intellectuals and non-intellectuals began to imitate the pattern of life set by those living in Greenwich Village. These people lived a Bohemian and eccentric life. They defied the law and flouted all social conventions. They attacked the war, Babbittry, and "Puritanical" gentility.
8. These young intellectuals wanted America to become more sensitive to art and culture, less avid for material gain, and less susceptible to standardization.
9. They emigrated to Europe because there "they do things better" than in the United States where people only care for money and wealth. Only in Europe will they be able to find remedy for their sensitive minds.
10. They were called the "lost generation" by Gertrude Stein because they were troubled and worried and had emigrated to Europe. But they were never really lost for they finally returned to America and produced the liveliest, freshest, most stimulating works in America's literay experience.
Ⅲ.
1. The structural organization of this essay is clear and simple. The essay divides logically into paragraphs with particular functions: to introduce the subject (introduction) in paragraph 1, to support and develop the thesis (the body or the middle) in paragraphs 2 through 9, to bring the discussion to an end (conclusion)in paragraphs 10 and 11.
2. Horton and Edwards state their thesis in the last paragraph of the essay: "The
intellectuals of the Twenties, the "sad young men", as F. Scott Fitzgerald called them, cursed their luck but didn't die; escaped but voluntarily returned; flayed the Babbits but loved their country, and in so doing gave the nation the liveliest, freshest, most stimulating writing in its literary experience. "
3. They support their thesis by providing historical material concerning the revolt of the younger generation of the twenties in a series of paragraphs and paragraph units between the introduction and conclusion.
4. Yes. Each paragraph or paragaph unit develops a new but related aspect of the thought stated in the thesis. Frequently the first sentence of these middle paragraphs states clearly the main idea of the material that follows and indi- cates a new but related stage of the developing thought. For example : The rejection of Victorian gentility was, in any case, inevitable. (paragraph 3). The rebellion started with World War I . (paragraph 5) Greenwich Village set the pattern. (paragraph 7) Meanwhile the true intellectuals were far from flattered. (parageraph 9).
5. The two paragraphs form a single unit. The writers begin .with a clearly stated main idea -- Greenwich Village set the pattern and use paragraph 1 to explain Green- wich Village to the reader, following in paragraph2 with sup-porting material showing how the rest of the country imitated life in the "Village".
6.Student' s choice.
7.Student's choice.
Ⅳ.
1.At the very mention of this post-war period, middle-aged people begin to think about it longingly.
2.In any case, an American could not avoid casting aside its middle-class respectability and affected refinement.
3.The war only helped to speed up the breakdown of the Victorian social structure.
4.In America at least, the young people were strongly inclined to shirk their responsibilities. They pretended to be worldly-wise, drinking and behaving naughtily.
5.The young people found greater pleasure in their drinking because Prohibition, by making drinking unlawful added a sense of adventure.
6.Our young men joined the armies of foreign countries to fight in the war.
7.The young people wanted to take part in the glorious ad-venture before the whole war ended.
8.These young people could no longer adapt themselves to lives in their home towns or their families.
9. The returning veteran also had to face Prohibition which the lawmakers hypocritically assumed would do good to the people. 10. (Under all this force and pressure) something in the youth of America, who were already very tense, had to break down.
11. It was only natural that hopeful young Writers whose minds and writings were filled with violent anger against war, Babbitry, and "Puritanical" gentility, should come in great numbers to live in Greenwich Village, the traditional artistic centre.
12. Each town was proud that it had a group of wild, reckless people, who lived
unconventional lives.
Ⅴ. See the translation of the text.
Ⅵ.
1. flapper: (Americanism) (in the 1920s) a young woman considered bold and unconventional in action and dress
2. provincial: narrow, limited like that of rural provinces
3. code: any set of principles or rules of conduct; a moral code
4. Prohibition: the forbidding by law of the manufacture, transportation, and sale of alcoholic liquors for beverage purposes~ specifically in the U. S., the period (1920-1933) of prohibition by Federal law
5. agent : an active force or substance producing an effect , e.g. , a chemical agent
6. orgy: any wild, riotous, licentious merrymaking; debauchery
7. Greenwich Village : section of New York City, on the lower west side of Manhattan: noted as a center for artists, writers, etc.
8. draft : the choosing or taking of an individual or individuals from a group for some special purpose, especially for compulsory military service
9. distinction: the quality that makes one seem superior or worthy of special recognition
10. action: military combat in general
11. whip up: rouse; excite
12. give: bend, sink, move, break down, yield, etc. from force or pressure
13．burden：repeated，central idea；theme
14．keep up with the Joneses：strive to get all the material things one?s neighbors or associates have
15．write off：drop from consideration
Ⅶ．
1．speakeasy：a place where alcoholic drinks are sold illegally，esp．such a place in the U．S．during Prohibition
2．sheik：a masterful man to Whom women are supposed to be irresistably attracted
3．drugstore cowboy：A western movie extra who loafs infront of drugstores between pictures
4．soap opera：a daytime radio or television serial drama of a highly melodramatic，sentimental nature．It has been so called since many original sponsors were soap companies．
5．Babbittry：(after George Babbit，title character of a satirical novel(1 922)by Sinclair I．ewis)a smugly conventional person interested chiefly in business and social success and indifferent to cultural values：Philistine
6．fast：(adjectl…ve)living in a reckless，wild，dissipated way
7．boobery：same as Babbittry，smug，self—satisfied，conformist in cultural matters
Ⅷ．
1.flourish意为向很理想的状况发展或正处于该状况，即发展的鼎盛时期。boom意为突然迅速地蓬勃发展。aggressive—ness在这里指大胆积极的开拓进取。aggression指无故地攻击别人或喜欢争吵。
2.obsolete指废旧的，不再时兴，不再使用的。obsolescent指向废旧转变的，过渡的。
3.warfare泛指打仗或武装冲突。war一方面使用范围较广，可指任何敌对的争斗，如the war against disease，另一方面可用于具体的、个别的作战，如he fought in this war(不能用warfare)。
4.preparedness指有所准备的状态，而preparations则指作准备的行动或过程。
5．r三cession和depression同为婉转语，指资本主义国家经常出现的经济危机。recession比depression委婉些，而depression又比crisis委婉些。
6．naive指真正的单纯或没有人为的痕迹，但有时又含有愚蠢、缺乏社会知识的意思。innocent指无罪，不会耍花样，或不做、不想不道德的事。
7．ignore意为故意视而不见，有时表现为拒不接受事实。disregard意为不注意或疏忽，常常是有意的。
8．migrate意为从一地区、一国家迁移到另一地区、另一国家。指人时，意为迁往外地定居，指动物时，意为出于气候原因和食物供给等进行季节性迁移。emigrate和immigrate仅用于人，emigrate具体指人离开一个国家到另一个国家定居。
Ⅸ．
1．We have become a world power so we can no longer in our action just follow the principles of right and wrong as accepted in out own country。nor can we remain isolated geographically protected by the Atlantic and Pacific oceans．In other words．t he United States can no longer pursue a policy of isolationism．
2．The war only helped to speed up the breakdown of the Victorian social structure．
3．The Great Economic Depression which started in the United States in 1 929 brought the young escapists back to their senses and stopped the wild，riotous lives they were living．
4．These young people could no longer adapt themselves to lives in their home towns or their families．
5．1t was only natural that hopeful young writers whose minds and writings were filled with violent anger against war．Babbittry．and “Puritanical” gentility，should come in great numbers to live in Greenwich Village，t he traditional artistic centre．6．Many other young people began to intensify and spread this revolt of the young by their own misdeeds—breaking the law and living unconventional lives. The young intellectuals living in Greenwich Village helped to keep the revolt alive and to spread it throughout the country.
7. These young brothers and sisters did not take part in the war, so they had no feeling of real disillusionment or loss. Nevertheless they began to imitate the manners of their elders and live the unconventional and nonconforming lives of those who
were rebelling against society.
8. America could see and hear nothing except the shining gleam and the ringing sound of the doller. /The American people are not moved or stirred by anything. They are only conscious of money and wealth.
Ⅹ.
informal formal informal formal a love affair amour rich affluent questions inquiries easily influenced susceptible throw headlong precipitate exile expatriation a public declaration manifesto a bitter criticism diatribe brawl fracas dwelling place residence dispel break up dissipate tear down demolish a big fire conflagration
Ⅺ.
1. irresistible 4. unsafe
2. immaterial 5. insecure
3. incomparable 6. illiterate 7. imprecise
12. unalterable 8. impure 13. illogical 9. imprudent 14. unpopular 10, unpleasant
15. insensitive 11. illegitimate 16. incomprehensible
Ⅻ.
Introductory paragraphs serve to gain reader interest and present background material or other kinds of explanatory information necessary for a better understanding of what will follow. Some introductory paragraphs include the thesis statement -- a single sentence expressing the central thought of the piece of writing. Others include along with the thesis statement, a clear indication of the direction of the writer's flow of thought.
In "The Sad Young Men" the function of the first paragraph is introductory. The thesis statement is placed in the last paragraph. Horton and Edwards begin by mentioning the interest in the Twenties by young people today. In addition, they discuss the questions that present-day students are asking their parents and teachers. Was there really a Younger Generation problem.9 Were young people really so wild? Their answers are yes and no.
ⅩⅢ.
The Younger Generation in China
In the last twenty years or so, China has undergone great changes thanks to the policy of opening up to the outside world. The younger generation is the Number One beneficiary. Strolling along the street, you may see young men ride by with small earphones and a pocket tape recorder. Most probably they are enjoying music. Attending a computer training course, you will' find so many counterparts there. Nowadays, the younger generation benefits a lot from sophisticated scientific and technological products.
ⅩⅣ. Omitted.
ⅩⅤ.
This is a piece of expository writing by two American writers explaining a certain period in American literary and social history. It focuses especially on the attitudes and revolt of the young people who returned from World War I , disappointed and disillussioned. In this revolt the young intellectuals, writers and artists, stood in the van and was the most vocal group. Many of these intellectuals lived abroad, especially in Paris, as expatriates, but most of them later re-turned to the United States voluntarily. These intellectuals were called "Sad Young Men", or "The Lost Generation", because they were critical and rebellious. However, they were never lost because they were also very creative and productive and as this essay says "gave the nation the liveliest, freshest, most stimulating writing in its literary experience".
The structural organization of this essay is clear and simple. The essay divides logically into paragraphs with particular functions: to introduce the subject (introduction) in paragraph 1, to support and develop the thesis (the body or the middle)in paragraphs 2 through 9, to bring the discussion to an end (conclusion) in paragraphs 10 and 11.
In "The Sad Young Men", Horton and Edwards state their thesis in the last paragraph of the essay: "The intellectuals of the Twenties, the 'sad young men', as F. Scott Fitzgeraid called them, cursed their luck but didn't die; escaped butvoluntarily returned; flayed the Babbits but loved their country, and in so doing gave the nation the liveliest, freishest, most stimulating writing in its literary experience.
悲哀的青年一代
二十年代社会生活的各个方面中，被人们评论得最多、渲染得最厉害的，莫过于青年一代的叛逆之行了。只要有只言片语提到那个时期，就会勾起中年人怀旧的回忆和青年人好奇的提问。中年人会回忆起第一次光顾非法酒店时的那种既高兴又不安的违法犯罪的刺激感，回忆起对清教徒式的道德规范的勇猛抨击，回忆起停在乡间小路上的小轿车里颠鸾倒凤的时髦爱情试验方式；青年人则会问起有关那时的一些纵情狂欢的爵士舞会，问起那成天背着酒葫芦、勾引得女人团团转的“美男子”，问起那些“时髦少女”和“闲荡牛仔”的奇装异服和古怪行为等等的情况。“那时的青年果真这样狂放不羁吗?”今天的青年学生们不禁好奇地向他们的师长问起这样的问题。“那时真的有过青年一代的问题吗?”对这类问题的回答必然只能是既“对”又“不对”——说“对，，是因为人的成长过程中一贯就存在着所谓青年一代的问题；说“不对”是因为在当时的社会看来似乎是那么狂野。那么不负责任，那么不讲道德的行为，若是用今天的正确眼光去看的话，却远远没有今天的一些迷恋爵士乐的狂荡青年的堕落行为那么耸人听闻。
实际上，青年一代的叛逆行为是当时的时代条件的必然结果。首先，值得记住的是，这种叛逆行为并不局限于美国，而是作为百年之中第一次惨烈的战争的后遗症影响到整个西方世界。其次，在美国，有一些人已经很不情愿地认识到——如果不是明明白白地认识到，至少是下意识地认识到——无论在政治方面还是在传统方面，我们的国家已不再是与世隔绝的了；我们所取得的国际地位使我们永远也不能再退缩到狭隘道德规范的人造围墙之后，或是躲在相邻的两大洋的地理保护之中了。
在当时的美国，摒弃维多利亚式的温文尔雅无论如何都已经是无可避免的了。美国工业的飞速发展及其所带来的庞大的、机器轰鸣的工厂的出现，社会化大生产的非人格性，以及争强好胜意识的空前高涨，使得在较为平静而少竞争的年代里所形成的温文尔雅的礼貌行为和谦谦忍让的道德风范完全没有半点栖身之地。不论是否发生战争，随着时代的变化．要我们的年轻一代接受与他们必须在其中拼搏求胜的这个喧嚣的商业化社会格格不入的行为准则已经变得越来越难了。战争只不过起了一种催化剂的作用，加速了维多利亚式社会结构的崩溃。战争把年轻一代一下子推向一种大规模的屠杀战场，从而使他们体内潜藏的压抑已久的狂暴力量得以释放出来，待到战争一结束，这些被释放出来的狂暴力量便在欧洲和美国掉转矛头，去摧毁那日渐衰朽的十九世纪的社会了。
这样一来，在一个千变万化的世界中，青年一代便面临着使我们的道德习惯与时代合拍这一挑战。而与此同时，青年人。——至少美国的青年人——又表现出这样一种倾向：他们试图逃避自己的责任。沉溺于一种老于世故、以酒自娱的生活作风之中，装出一副波希米亚式的放荡不羁的样子。追求时尚，为了短暂的快乐和一时的新奇而大肆挥霍，纵情地狂欢，寻求各种各样的感官刺激——性行为，吸毒，酗酒以及各种各样的堕落行为——这些都是他们逃避责任的表现形式，是一种由社会的普遍繁荣及战后人们对于政治、经济限制和国际义务所产生的厌烦情绪所造成的逃避方式。禁酒法令使青年人有了更多的机会寻求违禁取乐的刺激。文人墨客纷纷涌人格林威治村，他们那些被大肆渲染的放纵行为和挑战性言论也为青年人的逃避主义提供了一种表现形式和一套哲学辩护辞。
这种逃避主义者的纵情狂欢，像大多数逃避主义者的纵情狂欢一样，一直要持续到狂欢者囊空如洗为止。到二十年代末世界经济结构总崩溃之时，这种狂欢宴会便告停歇，那些寻欢作乐者也只得从酣醉中清醒过来，去面对新时代的各种难题了。
青年人的叛逆行为是随着第一次世界大战而开始的。1915—1916年间那旷日持久的僵持局面。德国对美国所表现出的越来越傲慢无礼的态度，以及我国政府迟迟不愿宣布参战的作法，都使我们理想主义的公民觉得无法忍受。我们的青年，本身已怀着典型的美国式冒险精神，又多少受到西奥多·罗斯福的狂热沙文主义思想的怂恿，于是便开始在外国旗帜下入伍参战。用约翰·多斯·帕索斯的《美利坚合众国》中的人物乔·威廉斯的话说，他们“是想趁着战争还没结束就参加到这场游戏中去”。因为在1916—1917年间，入伍当兵还是一种富于浪漫色彩的职业。在1917年正处于上大学年龄的年轻人对于现代战争还一无所知。1861—1865年间的那场战争早已通俗地在电影和小说中成了一部散发出木兰花香的连续剧。而1898年同西班牙之间的百日战争在影剧故事中总是被描写成美军在马尼拉大获全胜或是冲上圣胡安山顶的电影镜头式场面。此外，更有许多演说家们在中学生集会上大肆渲染战场上的紧张生活在培养性格方面的力量，使得那些本来还算有头脑的年轻小伙子们都信以为真，以为到欧洲战场上去服役不仅是一件令人兴奋的理想化的美事，而且具有巨大的人生价值。因此，越来越多的年轻人便开始加入各兵种，“知识分子型的人”加入救护兵团．其余的人则分别加入步兵部队、商船队．或到其他任何有其用武之地的单位去服役。那些不愿到外国军队里去服役的人则慷慨陈辞，表示自己随时“待命出征”；间或也有考虑参加国民自卫队的，待到我国最终决定参战时．他们便踊跃地报名参军。各征兵站的报名者都是人如潮涌，弄得主管征兵事务的军曹们焦头烂额，实在无法应付，以至
于恳求志愿报名者“且先归家，静待征召”．然而，有自尊心的人谁也不愿蒙受“被征召入伍”的耻辱，因此，青年人的参军热潮持久不衰。
一旦这些满腔热血的年轻人饱尝了二十世纪战争的滋味以后，那种纵情狂欢的兴致和要从事轰轰烈烈的军事冒险的热情自然很快就烟消云散了。他们可以永远感到光荣，因为他们在战场上表现得很出色，但是1919年从战场上回来的却是一批已经发生了很大变化的士兵。大学兵团的士兵们更是如此。他们在理想主义的感召下很早就到军中服役，可渭是屡经沙场。对他们来说，回到几乎没有受到战争的任何影响的故乡是一件痛苦的事，因为在那里，人们仍在像庆祝独立日时那样天真地大唱爱国的高调，而这是他们自己两三年前也曾犯过的错误。更令他们痛苦的是，他们发现自己原来的工作已被留在家里的人夺占了。而当时又正值经济萧条时期，新的工作无法找到，现有的工作机会本就为数不多，而且人们又宁愿聘用非退伍军人，而把退伍军人看作难对付的孩子，不愿聘用。就连他们自己的家对他们来说也常常是不舒服的；他们再也不能适应家乡和家庭了，并且萌生出一种突如其来的、迷惘的厌世之感。这种感觉不论是他们自己还是他们的亲友都不能理解。战争激起了他们的劲头，打掉了他们的天真幼稚。而现在，在遍布全国的沉睡的、落后的地方，到处都要求他们抑制他们的劲头，并恢复那种自欺欺人的、维多利亚式的天真无邪的态度。但是他们现在觉得这种态度同那种说什么他们的战斗已“使民主在这个世界有了保障”的论调一样，都是陈旧过时的。再者，似乎家乡的情况还不够受的，退伍军人还得面对凡尔赛和约那种愚蠢的、拿破仑式的犬儒主义、禁酒法令那种虚伪的行善主义，以及那些发了战争财的人们的洋洋自得的爱国主义。那些气鼓鼓的美国青年的不满迟早要爆发出来。在经过一段短暂的强烈的怨忿之后，它终于以一种彻底推翻温文尔雅的行为规范的形式而爆发出来了。
格林威治村为他们树立了榜样。自七十年代因其生活消费低廉而成为艺术家和作家聚居地以来，格林威治村在很长时间里一直享有波希米亚式生活和怪僻行为的说不清是好还是坏的名声。过去，尤其是在第一次世界大战之前的十年中，这地方还曾栖居过许多大作家，因而使它成了名副其实的全美国文人雅士中心。战后，那些脑子里和笔杆子里都充满着对战争、市侩气和“清教徒式的”道德修养的仇恨的怒火的年轻有为的作家们便自然而然地云集到这个传统的艺术中心(那儿的生活消费在1919年仍很低廉)，去倾泻他们那新近获得的创造力，去摧毁旧世界，嘲弄前辈们所信守的道德规范，把自己的一切献给艺术、爱情和感官享受。
很快，知识分子阶层以外的人便也开始仿效他们了。在全国各地，青年人蔑视法律和一切传统习惯，为“燃烧着的青年”的大火添柴加油越来越成为时髦之举，而煽起这场大火的正是格林威治村。“波希米亚”生活方式已成为人们追求的时尚，每个城镇都有一群“生活放荡者”，他们为自己的反传统行为感到自豪。可实际上，这种有意识的反传统行为正迅速在全国范围内成为乡村俱乐部的富人们以及一些不那么富有的效仿者所共有的一个基本特征。没过多久，这场运动便得到了教会、电影杂志以及广告商们的正式承认：教会方面是通过谴责的方式对它予以承认；电影杂志则是一方面假意对它进行谴责，一方面又将它描写得放荡胡闹而又引人人胜；广告商们更是间接地对这场运动起了推波助澜的作用，因为他们不论是推销香烟还是推销汽车一类的商品时都在暗示说，这种商品将使买主具有不可抗拒的性感。在贝洛森林战役和蒂耶里堡战役正在进行之时，参战青年的小弟弟小妹妹们还在家里玩着弹子游戏和洋娃娃，他们并没有体验到真正的幻
想破灭或失落感，可现在竞也学起兄长们的样子，玩起群众性的反传统游戏来了。他们的父母先是大吃一惊，继而便发现自己以及自己的朋友们也都正在接受这种时兴的快乐的生活方式了。及至二十年代中期，这种“放荡的狂欢会”便像摩登少女、T型汽车或弗拉洛花园的荷兰式房屋一样，成为美国生活中司空见惯的事物了。
其时，真正的知识分子对此现象远远谈不上满意。他们原本所希望的是使美国成为一个对艺术和文化更为敏感，对物质利益不那么贪求，对标准化观念不那么轻易接受的国家。然而，他们的这种思想完全没有受到人们注意，而他们的行为却由于提供了一种已变得如同“扶轮国际午餐会”一样常规化的“波希米亚式”的生活模式，反倒助长了这种标准化观念。结果，他们从战场上归来时本已十分强烈地对自己国家不满的情绪，现在就变得更加忍无可忍了。于是，他们的笔尖下便喷射出愤怒的火花，猛烈抨击着美国社会中的唯物质主义以及他们所称的文化市侩习气。由“三十位知识分子”合撰、哈罗德·斯特恩斯编辑出版的一部颇为庄重地题名为《美国的文明》的重要著作，汇集的便是一些憎恶美国的敏感人士的抨击性言论。这部著作的中心主题是：在美国，杰出人才得不到重视，艺术事业无人理解，大企业腐蚀败坏了整个社会。新闻事业沦为发财赚钱的工具，政治腐败，官场上充斥着庸才和骗子，而美国人的家庭生活也由于人们一心想着挣钱和与邻里斗富而变得索然无味，刻板单调，充满虚情假意。夫妻生活也缺乏鱼水之乐。本来只需让创造性艺术来指明通向美好生活的道路·以上这些缺憾就会自动消失的。可是，美国举国上下除了亮晶晶响当当的美金之外，对其他的一切都视而不见．充耳不闻。因此，对那些敏感的才俊之士来说，唯一的出路便只有移居欧洲，“那儿的情形要好一些”。《美国的文明》正式出版(1921)之时该书的撰稿人大多数已经接受自己的忠告寄居在国外了，还有许多别的艺术家和预备艺术家也纷纷步其后尘。
正是在他们那抗争性的，而总的说来又是短暂的侨居欧洲期间，二十年代我国的那些主要作家开始认识到自己一一用格特鲁德．斯坦的话说一一就是所谓“迷惘的一代”。“迷惘的一代”本身虽不是一场什么文学运动，但那些“迷惘的一代”的作家的态度却是那个时代文学作品的共同特征。战争以及凡尔赛和约所表现出的犬儒主义的强权政治使这些青年男女们确信·精神世界已经不复存在了。他们就像多斯·帕索斯的《三个士兵》中的那个受挫的唯美主义者约翰·安德鲁斯一样感到茫然不知所措，又像海明威《太阳照样升起》中的流浪醉汉一样感到漂泊无依。除斯坦、多斯．帕索斯和海明威外，还有刘易斯·芒福德、埃兹拉·庞德、舍伍德．安德森、马修·约瑟夫森、J哈罗德斯特恩斯、TS…艾略特、E．E．卡明斯、马尔科姆考利，以及其他许多小说家、戏剧家、诗人和评论家，都曾在法国的昂蒂布和塞纳河左岸地区探索过自己的灵魂，都怀着满腔孤愤对自己的祖国进行过猛烈辛辣的抨击·而目．在几年之后，纯粹出于思乡情切，几乎无一例外地又都漂洋过海，回到祖国，定居于沿海小岛上和新英格兰地区的农庄上，来创作他们由于在一个更古老、更复杂的社会里经受磨炼而变得成熟了的作品。
实际上，所谓“迷惘的一代”根本不曾迷惘过。在一段时间里，他们曾有过惊愕、孤独无依的感觉，因而变得痛苦、尖刻，以致于反社会、反权威、好标新立异，其行为往往有些荒唐，更常常近于胡闹——但却从来“迷恫过”除上述那些作家外二十年代还产生出了诸如尤金·奥尼尔、埃德娜·St．文森特。米莱、F．司各特．菲沃杰拉德、威廉福克纳、辛苑莱刘易斯、斯蒂分?文森特·贝尼特、哈特·克莱恩、托马斯·沃尔夫等以及一大批其他人才。因此，即便这十年
充满怨艾自怜之声，也绝不能将其看作是荒芜的年代而一笔抹煞。二十年代的知识分子，也就是F司各特菲茨杰拉德所称的“悲哀的青年一代”，诅咒过自己的命运，但并没有消亡；他们曾试图逃避现实，但又自动回到现实中来；他们痛责美国社会的市侩，但对自己的祖国却又充满热爱。正是在这样的过程中，他们创作出了美国文学史上最富有生气、最令人耳目一新、最激动人心的文学作品。