Stories By Hemingway And Fitzgerald Reflect Stein’s Determination

How do the stories by Hemingway and Fitzgerald reflect Stein’s determination that the two writers were part of the lost generation?
The plot of the story was quintessentially American – what could be more illustrative of the American dream, from all edges, than this story? It's tied in with profiting, pursuing things you figure you can't have, and after that understanding the drawback to doing as such. Those things are still obvious today, similarly as they were the point at which the cutting edge rendition of the American dream was waking shape around the time in which Fitzgerald outlines this story, or so doubtlessly. I extremely like how Fitzgerald figures out how to portray the characters as at last human, yet perceptibly ruined by their station throughout everyday life.
Hemingway's "The Snows of Kilimanjaro" was not exactly on a par with "Winter Dreams." I say this absolutely out of genuine belief, yet it truly seemed like Hemingway's story did not have the concision and profundity all the while display in "Winter Dreams." But on the other hand, it additionally appears like contrasting apples and oranges. The two stories are approximately related in that they concentrate on the person in a degenerate setting, either through the recollections of Harry or the communication of Dexter Green with Judy. I think one about the all the more fascinating differentiations in these stories is that in "The Snows of Kilimanjaro," the story is told as though Harry is as of now dead. In "Winter Dreams," the story is about a bit of Dexter kicking the bucket. I get it's a really decent case of the distinction in sentiment, and in the beneficial experience, of the two creators.
Identify one or more aspects of Modernist style in all three author’s works. Remember that style addresses how an author writes. Remember that style addresses how an author writes, not what s/he writes.
Style is a segment of making that is consistently commanded by theme and depiction, yet it is, by a wide edge, the most essential and inconspicuous strategy for making energetic substance. With the presence of WWI and the disappointment of various American skilled workers to Europe, there is a certain move in twentieth century forming, surrendering the verbose and sensible written work of the past, to rather get a handle on a solidified and unraveled sentence structure that fortifies the general power got from the plot.
In the composed work of F. Scott Fitzgerald and Ernest Hemingway there is the sentiment whittled down composition that both strengthens their themes and makes energetic setting for the reader. In a considerable measure of Fitzgerald's work there is a co...