In our time

A sympathethic reimagining of the life of Hadley Richardson, Ernest Hemingway’s first wife and, perhaps, his greatest love

February 27, 2011|Roberta Silman, Globe Correspondent

One of our saddest American literary tales is the life of Ernest Hemingway, which begins with enormous promise and ends in depression, megalomania, and suicide at the age of 61. And although Hemingway sometimes behaved as though writing was a tennis match, down deep he knew that it was the search for truth and, at his best, worked very hard to achieve it, becoming the most famous and surely the most imitated American writer of the 20th century.

Instead of going to college he joined the Red Cross as an ambulance driver during World War I, was wounded, and came home a “hero.’’ Shortly thereafter he met and fell in love with Hadley Richardson, who had attended Bryn Mawr for a year but was summoned home to care for her ailing mother. By the time they met she had lost both her parents, had a small trust fund, and dreamed of becoming a classical pianist. In the biographies — and Hemingway has been singularly lucky in his biographers — Hadley comes through as pleasant and very much in love with Ernest, but shadowy. In photographs she is very pretty, round-faced, and cheerful, and in “A Moveable Feast,’’ which Hemingway was revising when he died, he says, “I wish I had died before I ever loved anyone but her.’’

There are so many questions about her. As an homage to Hadley, however, we now have Paula McLain’s novel “The Paris Wife.’’ The idea of regarding the great man through the sensibility of his wife or lover is certainly not new. Biographers like Brenda Maddox with “Nora,’’ about James Joyce’s wife, or Stacy Schiff with “Vera,’’ about Vladimir Nabokov’s, have done it; so did Nancy Horan in her novel “Loving Frank [Lloyd Wright].’’ But Nora and Vera and Mamah Cheney were all independent, interesting women, and Hadley had been portrayed in many memoirs and biographies of that time as less so.

So I approached this novel with a certain wariness.

But I am happy to report that McLain has brought Hadley to life in a novel that begins in a rush of early love and becomes stronger until its heartbreaking end. Paris, where the Hemingways lived for about five years starting in 1921, is wonderfully vivid, as are the sections about the bullfights in Spain and skiing in Austria. We get a real sense of their daily life: her valiant struggle to play the piano when she could, Ernest’s determination to become the greatest writer of his generation, his need to educate himself from Sylvia Beach’s lending library at her bookstore, Shakespeare & Co., his charisma and genius, yet also his stinginess and cruelty that could erupt with no warning. And although Hadley was eight years older (she was 30 and he 22 when they married), she is naive and out of her depth in the sexual morass of Paris in the ’20s. As she says:

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