Chicago, 1920: Hadley Richardson is a quiet twenty-eight-year-old who has all but given up on love and happiness--until she meets Ernest Hemingway and her life changes forever. Read more...
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Chicago, 1920: Hadley Richardson is a quiet twenty-eight-year-old who has all but given up on love and happiness--until she meets Ernest Hemingway and her life changes forever. Following a whirlwind courtship and wedding, the pair set sail for Paris, where they become the golden couple in a lively and volatile group--the fabled "Lost Generation"--that includes Gertrude Stein, Ezra Pound, and F. Scott and Zelda Fitzgerald.
Though deeply in love, the Hemingways are ill prepared for the hard-drinking and fast-living life of Jazz Age Paris, which hardly values traditional notions of family and monogamy. Surrounded by beautiful women and competing egos, Ernest struggles to find the voice that will earn him a place in history, pouring all the richness and intensity of his life with Hadley and their circle of friends into the novel that will become The Sun Also Rises. Hadley, meanwhile, strives to hold on to her sense of self as the demands of life with Ernest grow costly and her roles as wife, friend, and muse become more challenging. Despite their extraordinary bond, they eventually find themselves facing the ultimate crisis of their marriage--a deception that will lead to the unraveling of everything they've fought so hard for.
A heartbreaking portrayal of love and torn loyalty, The Paris Wife is all the more poignant because we know that, in the end, Hemingway wrote that he would rather have died than fallen in love with anyone but Hadley.
Publishers Weekly® Reviews
- Reviewed in: Publishers Weekly, page .
- Review Date: 2010-12-06
- Reviewer: Staff
McLain (A Ticket to Ride) offers a vivid addition to the complex-woman-behind-the-legendary-man genre, bringing Ernest Hemingway and his first wife, Hadley Richardson, to life. Meeting through mutual friends in Chicago, Hadley is intrigued by the brash "beautiful boy," and after a brief courtship and small wedding, Hadley and Ernest take off for Paris, "the place to be," according to Sherwood Anderson. McLain ably portrays the cultural icons of the 1920s—Gertrude Stein and Alice B. Toklas, Zelda and Scott Fitzgerald, and Ezra and Dorothy Pound—and the impact they have on the then unknown Hemingway, casting Hadley as a rock of Gibraltar for a troubled man whose brilliance and talent were charged and compromised by his astounding capacity for alcohol and women. Hadley, meanwhile, makes a convincing transformation from an overprotected child to a game and brave young woman who puts up with impoverished living conditions and shattering loneliness to prop up her husband's career. The historical figure cameos sometimes come across as gimmicky, but the heart of the story—Ernest and Hadley's relationship—gets an honest reckoning, most notably the waves of elation and despair that pull them apart. (Mar.)
Paris is not for lovers
Paula McLain’s fictionalized study of the starter marriage of Hadley Richardson and Ernest Hemingway, The Paris Wife, is a pleasure for anyone who wonders what it was like to be a broke, ambitious writer in Europe in the 1920s. Or, more specifically, a broke, ambitious writer’s wife.
Hadley meets Ernest at a friend’s house in Chicago. She’s in her late 20s, nearly a decade older than he is, and on the verge of permanent spinsterhood. He deflowers her, they marry and flee to Paris, where they can live cheaply and meet all manner of big shots, including Gertrude Stein and Ezra Pound. They have a baby, nicknamed Bumby. There’s some drinking, though Hadley doesn’t hit the sauce nearly as much as Ernest. In McLain’s hands, he’s nicer than one would think, and the word that comes to mind for Hadley is “earnest” as she struggles to make homes for them in dinky little rooms while Hem tries to make a living. In clear and unfussy prose, McLain makes the reader long for their Lost Generational squalor.
Indeed, McLain’s talent is such that the fact that few of the characters are likable doesn’t mar her story. Characters need only be interesting, and well-drawn creeps are the most interesting of them all. Exceptions to the overall badness are the Murphys, the rich, cosmopolitan and compassionate couple who adopt both the Hemingways and the F. Scott Fitzgeralds like some folks adopt ugly pound puppies, and of course Bumby, still a child when his parents’ marriage detonates. Even Hadley repels with her love of bullfighting—a woman who gets her kicks from watching an animal tortured to death is simply not someone one can like. When the appalling Pauline Pfeiffer, who will become Ernest’s second wife, crawls into bed with them one drowsy Mediterranean afternoon one doesn’t know whether to cheer or gag. Hadley, like so many of her revered matadors, ends up pretty badly gored, but survives, and lives well into her 80s.
Restrained, perceptive and a bit sad, The Paris Wife is a look at a time and a marriage that weren’t as glamorous and carefree as we’d like to believe.