S. Paul, Claire Marrone, L. Ng, William E. Cain, Jeffrey Herlihy-Mera, Carlos A. Peón Casas, Gregory Stephens, John Beall, Kevin R. West, Sarah Anderson Wood, Milton A. Cohen, H. K. Justice, Katie Warczak, Kelli A. Larson
{"title":"Abbreviations for the Works of Ernest Hemingway","authors":"S. Paul, Claire Marrone, L. Ng, William E. Cain, Jeffrey Herlihy-Mera, Carlos A. Peón Casas, Gregory Stephens, John Beall, Kevin R. West, Sarah Anderson Wood, Milton A. Cohen, H. K. Justice, Katie Warczak, Kelli A. Larson","doi":"10.1353/hem.2022.0000","DOIUrl":null,"url":null,"abstract":"Abstract:In The Paris Wife (2012), a work of historical fiction, Paula McLain offers a response to Ernest Hemingway's memoir A Moveable Feast, published posthumously in 1964. McLain elaborates on the Paris years, focusing on Hemingway's first wife Hadley Richardson. I argue that McLain positions herself as an ideal reader of AMoveable Feast and invites her readers to engage in a similar process of discovery. Readers with a keen knowledge of Hemingway's memoir can grippingly see what McLain is writing against, complementing and creatively \"completing.\" Further, current debates on sexual politics allow readers to approach The Paris Wife from new perspectives.","PeriodicalId":22434,"journal":{"name":"The Hemingway Review","volume":"13 1","pages":"100 - 119 - 120 - 129 - 130 - 135 - 136 - 139 - 139 - 142 - 143 - 146 - 146 - 149 - 150 - 160 - 18 -"},"PeriodicalIF":0.0000,"publicationDate":"2022-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Hemingway Review","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/hem.2022.0000","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
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Abstract
Abstract:In The Paris Wife (2012), a work of historical fiction, Paula McLain offers a response to Ernest Hemingway's memoir A Moveable Feast, published posthumously in 1964. McLain elaborates on the Paris years, focusing on Hemingway's first wife Hadley Richardson. I argue that McLain positions herself as an ideal reader of AMoveable Feast and invites her readers to engage in a similar process of discovery. Readers with a keen knowledge of Hemingway's memoir can grippingly see what McLain is writing against, complementing and creatively "completing." Further, current debates on sexual politics allow readers to approach The Paris Wife from new perspectives.
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