THIS STORY HAS BEEN FORMATTED FOR EASY PRINTING

Hemingway's 'Feast' goes back into oven

An early typed draft of the foreword to Chapter 17 of “A Moveable Feast’’ with some changes by Hemingway. An early typed draft of the foreword to Chapter 17 of “A Moveable Feast’’ with some changes by Hemingway. (Scribner via New York Times)
By Motoko Rich
New York Times / June 28, 2009
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NEW YORK - Besides its tart portraits of F. Scott Fitzgerald and Gertrude Stein, Ernest Hemingway’s posthumously published memoir of his early days in Paris, “A Moveable Feast,’’ provides a heart-wrenching depiction of marital betrayal.

The final chapter, “There Is Never Any End to Paris,’’ is a wistful paean to Hadley Richardson, Hemingway’s first wife, whom the writer left for her best friend. The friend, Pauline Pfeiffer, the wealthy woman who became Hemingway’s second wife, is portrayed as something of a wily predator, and it is Hemingway’s “bad luck’’ that he falls for her.

It turns out that the story behind the editing of the book is nearly as juicy as the tales within it, and has become something of a multigenerational custody battle over how to cast the larger-than-life author’s stormy romantic history.

Mary Hemingway, the writer’s fourth and final wife, was the one who edited the first posthumous edition of “A Moveable Feast,’’ published by Scribner in 1964, cobbling it together from the unfinished manuscript he left behind. She created a final chapter that dealt with the dissolution of Hemingway’s first marriage and the beginning of his relationship with Pauline, building some of it from parts of the book he had indicated he did not want included.

Early next month, Scribner, now an imprint of Simon & Schuster, is publishing a new edition of the book, what it is calling “the restored edition,’’ and this time it is edited by Sean Hemingway, a grandson of Hemingway and Pauline. Among the changes he has made is removing part of that final chapter from the main body of the book and placing it in an appendix, adding back passages from Hemingway’s manuscript that Sean believes paint his grandmother in a more sympathetic light.

“I think this edition is right to set the record straight,’’ said Sean Hemingway, 42, who said Mary Hemingway cut out the author’s “remorse and some of the happiness he felt and his very conflicted views he had about the end of his marriage.’’

Scholars are clear that this new edition should not be regarded as definitive any more than the 1964 version. “This book can’t become a sacred text,’’ said Ann Douglas, a professor of literature at Columbia University, adding that “there can be no final text because there is not one.’’

Indeed, scholars and aficionados have long known that Hemingway did not consider his Paris memoir complete at the time of his suicide in 1961. He wrote a letter - though it was not sent until after his death - to his publisher, Charles Scribner, that “it is not to be published the way it is and it has no end.’’

But in an essay she wrote for The New York Times Book Review in May 1964, Mary said Hemingway “must have considered the book finished.’’ Along with Harry Brague, an editor at Scribner, she shaped the manuscript, changing the order of some chapters, and adding others that Hemingway had decided not to include.

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