The Paris Wife

As I will be visiting Paris for the first time this year, I’m getting more and more excited by reading stories set there.

I recently finished The Paris Wife by Paul McLain that fictionalizes the marriage of Ernest Hemingway to his first wife Hadley Richardson from 1921 to 1927. The story is told through Hadley’s voice.

There are always two sides to a story and after discovering Hemingway’s Paris memoir A Moveable Feast that also focuses on his years with Hadley, I was intrigued at what her version would say. Since she didn’t write her own memoir, we have to rely on McLain’s research.

She made the time period and the characters come alive for me. Hadley and Hemingway’s meeting and early dating in Chicago felt a little cliché, but the book really sang when they moved to Paris as newlyweds. In the prologue, the narrator writes:

This isn’t a detective story—not hardly. I don’t want to say, Keep watch for the girl who will come along and ruin everything, but she’s coming anyway, set on her course in a gorgeous chipmunk coat and fine shoes, her sleek brown hair bobbed so close to her well- made head she’ll seem like a pretty otter in my kitchen.

Of course, when someone says don’t keep watch that’s the very thing I do. Every time there was a new woman introduced into the story (and there are a lot of characters since Hadley and Ernest hung around other expat artists and their partners like the Fitzgeralds, Gertrude Stein, and Ezra Pound), I wondered if this would be the woman who destroyed their marriage.

I also kept watch for Hemingway. I noticed McLain treated him very carefully—too carefully. It seemed as if she wanted to acknowledge his cruelty towards Hadley while still making him likeable. There are hints of Hemingway’s bravado and aggression in living room boxing matches he has with friends and in his appetite for watching Spanish bull fights, but apart from one tumultuous quarrel, all his and Hadley’s marital tension is unsaid or so subtle it feels unrealistic. For a character known as a hothead, Hemingway speaks remarkably cool, reserved, and casual throughout the novel.

I felt for Hadley in the net she was caught in—trying to believe in marriage in an age and place where marriage was becoming less and less defined. Men tried keeping a wife and a mistress in the same house. Hemingway and Hadley tried this with their friend Pauline who ended up being the woman to keep watch for, and you can imagine this arrangement worked out swimmingly for everyone involved (high sarcasm there).

Not everyone believed in marriage then. To marry was to say you believed in the future and in the past, too—that history and tradition and hope could stay knit together to hold you up. But the war had come and stolen all the fine young men and our faith, too. There was only today to throw yourself into without thinking about tomorrow, let alone forever. To keep you from thinking, there was liquor, an ocean’s worth at least, all the usual vices and plenty of rope to hang yourself with. But some of us, a very few in the end, bet on marriage against the odds. And though I didn’t feel holy, exactly, I did feel that what we had was rare and true—and that we were safe in the marriage we had built and were building every day.

Was Hadley as naive as McLain makes her out to be? I don’t know. I think you can be hopeful without being naive, but it does take her an awfully long time to clue into her husband’s infidelity. She is a good and faithful wife, but as Aritha van Herk writes in her review in The Globe and Mail, there are some definite moments in the book where Hadley could have been more nuanced, like when she loses a suitcase carrying literally all of Hemingway’s work (it was stolen on a train). She is all tears and apologies, but doesn’t she ever have moments of selfishness? Hemingway certainly did.

In reading this fictionalized memoir in the 21st century, I found it hard to completely sympathize with Hadley because she is portrayed as perfectly content to make her life dreams her husband’s. Her biggest streak of independence is playing the piano and practicing for a concert that she never ends up doing because that’s when she finds out about the affair. Certainly not every woman in this time period sacrificed like Hadley—look at Zelda Fitzgerald. Not saying she’s a healthy example either but finding your identity in your husband’s doesn’t leave you with much when the marriage dissolves.

I’d recommend reading A Moveable Feast and then The Paris Wife to see how the two accounts compare since McLain heavily drew on Hemingway’s memoir to create her version of this famous and tragic marriage.

A Moveable Feast

On my road trip to Vancouver Island this summer, I picked up Ernest Hemingway’s A Moveable Feast in a used bookstore. I finally read it the other week. Although I am not a huge fan of Hemingway’s writing (based on the one book I’ve read, For Whom the Bell Tolls), I thoroughly enjoyed the sketches of his Parisian life.

This memoir was published posthumously in 1964 and describes his time in Paris from 1921-1926 when he was pursuing a career as a novelist in his early 20s, in love with the city and in love with his wife, Hadley Richardson.

He would later go on to have three more wives, but as his last words of the book say:

But this is how Paris was in the early days when we were very poor and very happy.

From this, you can tell his memories slide between bitter and sweet.

But Paris was a very old city and we were young and nothing was simple there, not even poverty, nor sudden money, nor the moonlight, nor right and wrong nor the breathing of someone who lay beside you in the moonlight.

Hadley and Ernest with their son Bumby in 1926, months before they separated

Near the end, he recounts how “new people [read: rich people] came deep into our lives and nothing was every the same again” and he links these new people with his descent into marital infidelity.

 When you have two people who love each other, are happy and gay and really good work is being done by one or both of them, people are drawn to them as surely as migrating birds are drawn at night to a powerful beacon. If the two people were as solidly constructed as the beacon there would be little damage except to the birds.

 It’s incredibly moving because he’s writing these vignettes as an older man looking back on a younger man with the unfortunate privilege of hindsight. His melancholic sentences seep like wounds.

We both touched wood on the café table and the waiter came to see what it was we wanted. But what we wanted not he, nor anyone else, nor knocking on wood or on marble, as this café table-top was, could ever bring us. But we did not know it that night and we were very happy.

And at the end:

When I saw my wife again standing by the tracks as the train came in by the piled logs at the station, I wished I had died before I ever loved anyone but her.

Hemingway also provides vivid portraits of other American literary expatriates living in Paris during this time: Gertrude Stein, T.S. Eliot, Ezra Pound, and Scott and Zelda Fitzgerald whose physical descriptions were dead on with how they look in Woody Allen’s 2011 film Midnight in Paris. Actually, the book felt like the literary equivalent of the film since I had just watched it before reading the book, but since the book came first, I suppose it should be the other way around.

Fitzgerald took Hemingway under his wing as the more experienced writer and the two became good friends, but Hemingway always felt Fitzgerald’s genius had been cut short because of his erratic and unpredictable wife, Zelda, whom Hemingway didn’t like from the beginning.

If he could write a book as fine as The Great Gatsby, I was sure that he could write an even better one. I did not know Zelda yet, and so I did not know the terrible odds that were against him.

Alison Pill and Tom Hiddleston as Zelda and Scott Fitzgerald in Midnight in Paris

Hemingway says Zelda was jealous of Scott’s work and was out to destroy him from the beginning, constantly dragging him to parties and getting him drunk because she was bored. She ended up suffering several mental breakdowns and spent the last part of her life checking in and out of hospitals.

There’s an epigraph to the section on Scott that, in my opinion, shows Hemingway’s greatness with language (perhaps more than his novels do):

His talent was as natural as the pattern that was made by the dust on a butterfly’s wings. At one time he understood it no more than the butterfly did and he did not know when it was brushed or marred. Later he became conscious of his damaged wings and of their construction and he learned to think and could not fly any more because the love of flight was gone and he could only remember when it had been effortless.

The lines remind me of a painting by Sucontha Wongsalee, which in turn, was inspired by Coldplay’s song, Paradise. So much art inspired by butterflies, a hinge creature between flight and frailty, beauty and brokenness, strength and subtlety.

Paradise-Coldplay by Sucontha Wongsalee

The picture is telling a story about a butterfly with the broken wing trying to get back to where it flew from. It’s trying so hard but still….just like when we were young, we expected life in a different way right?
Then, we got a broken heart when life disappointed us and we try to move on but we’re stuck somehow…

Hemingway has a line in the book, “Everybody has something wrong with them.”

In The Moveable Feast, he shows exactly this. Sketches of people with damaged wings, trying to recall the love of flight.