James M. Cain and the songwriter Al Dubin were drafted into the army and served on the Western Front during World War I. Both men would go on to play major roles in the making of American popular culture during the interwar period: Cain writing the noir bestsellers The Postman Always Rings Twice and Double Indemnity, Dubin providing the lyrics for several hit musicals, including 42nd Street. For both artists, the impact of the war was more complicated than the themes of disillusionment and a collective loss of innocence more famously offered by writers like Hemingway and Dos Passos. This article argues that Cain's and Dubin's pop successes in fact reflected the attitudes of millions of other veterans, who rejected the Progressive Era's moralism and asserted a new, determined, cynical, and irreverent sensibility in American life. Cain and Dubin were not alone, but part of a larger generation of Great War veteran artists who are rarely regarded as such, Frank Capra, Preston Sturges, Jack Benny, Thomas Hart Benton, and Norman Rockwell among them. Working in the most accessible forms of art and entertainment, their contributions, no less than the Lost Generation's, should also be identified as an important legacy of World War I.

中文翻译：

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不是迷失的一代：詹姆斯·M·凯恩、阿尔·杜宾和面团男孩在两次大战之间的流行文化中的声音

詹姆斯·M·凯恩和词曲作者阿尔·杜宾在第一次世界大战期间被征召入伍并在西线服役。两人都将在两次世界大战期间继续在美国流行文化的形成中发挥重要作用：该隐写了黑色最畅销邮递员总是按两下和双重赔偿, Dubin 为多部热门音乐剧提供歌词，包括第 42 街. 对于这两位艺术家来说，战争的影响比幻灭和集体丧失纯真的主题更为复杂，这些主题由海明威和多斯帕索斯等作家提供。本文认为，该隐和杜宾在流行音乐上的成功实际上反映了数百万其他退伍军人的态度，他们拒绝进步时代的道德主义，并在美国生活中主张一种新的、坚定的、愤世嫉俗的和不敬的情感。Cain 和 Dubin 并不孤单，他们是很少被视为这样的一战老兵艺术家中的一员，其中包括 Frank Capra、Preston Sturges、Jack Benny、Thomas Hart Benton 和 Norman Rockwell。以最容易获得的艺术和娱乐形式工作，他们的贡献不亚于迷失的一代，