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A Moveable Feast

A Moveable Feast is a memoir by the American author Ernest Hemingway, recounting his experiences as a young expatriate writer in Paris during the 1920s.^[1] Published posthumously in 1964 by Charles Scribner's Sons, three years after Hemingway's death, the book consists of twenty vignettes rewritten from his personal notebooks dating from 1921 to 1926.^[2]^[1] The memoir vividly captures Hemingway's early married life with his first wife, Hadley Richardson, the birth of their son Jack, and his immersion in the vibrant expatriate community of post-World War I Paris.^[1] It features intimate portraits of key literary figures from the era, including Gertrude Stein, Ezra Pound, James Joyce, Ford Madox Ford, and F. Scott Fitzgerald, whose relationships with Hemingway influenced his development as a writer.^[1]^[2] Through these sketches, Hemingway evokes the bohemian atmosphere of the city, its cafés, and the sense of artistic renewal amid the disillusionment of the "Lost Generation."^[3]^[4] Originally edited by Hemingway's fourth wife, Mary Welsh Hemingway, the 1964 edition included an epilogue reflecting on his later regrets about leaving Paris and Hadley.^[5] A restored edition, published in 2009 and edited by his grandson Seán Hemingway, adheres more closely to the author's manuscripts released in 1979, restoring deleted sections, unfinished sketches, and appendices with previously omitted material.^[1]^[6] This version highlights Hemingway's intended structure and provides additional context from family recollections, such as forewords by his son Patrick Hemingway.^[1] Widely regarded as one of Hemingway's most enduring works, A Moveable Feast offers a nostalgic yet candid glimpse into the formative years that shaped his minimalist prose style and themes of exile and creativity.^[1] The title, derived from a quote in the book—"If you are lucky enough to have lived in Paris as a young man, then wherever you go for the rest of your life, it stays with you, for Paris is a moveable feast"—has become emblematic of the city's enduring allure for artists.^[7] Its publication revitalized interest in Hemingway's legacy, influencing subsequent memoirs and cultural depictions of 1920s Paris.^[8]

Background and Composition

Manuscript Discovery

In November 1956, while staying at the Ritz Hotel in Paris, Ernest Hemingway was approached by the hotel management, who informed him that two small steamer trunks stored in the basement since March 1928 were deteriorating and needed to be reclaimed. The trunks, covered in faded fabric and locked for nearly three decades, had been preserved by the hotel staff despite the challenges of the intervening years, including the German occupation during World War II. Upon their delivery to Hemingway's suite, the contents revealed a treasure trove of forgotten materials from his early expatriate life, including a dozen or more lined notebooks filled with pencil sketches, along with typed manuscripts, newspaper clippings, letters, and personal artifacts such as old clothing and books.^[9]^[10] The notebooks primarily documented Hemingway's experiences in 1920s Paris between 1921 and 1926, capturing vivid observations of daily routines, chance encounters with artists and writers, and the sensory details of the city's streets, cafés, and seasons. These sketches offered raw glimpses into his developing craft, including notes on writing habits, financial struggles, and interactions with figures like Gertrude Stein and F. Scott Fitzgerald. The hotel's role in safeguarding the trunks—initially stored as Hemingway departed for the United States—ensured the survival of these documents, which might otherwise have been lost to time or circumstance.^[9]^[11] Hemingway's reaction to the discovery was profoundly emotional, blending surprise, joy, and a renewed sense of purpose. As he examined the yellowed pages in his suite, he exclaimed to his wife Mary, "It's wonderful... It was just as hard for me to write then as it is now. Cheering," reflecting on the continuity of his artistic struggles. Upon returning to the United States in early 1957, he immersed himself in the materials, deciding to transform them into a memoir of his Paris apprenticeship, a project that would become A Moveable Feast. The contents were carefully transferred to new containers for safekeeping, preserving their integrity for future use.^[9]

Writing and Editing Process

Hemingway began composing A Moveable Feast in the autumn of 1957 while residing at his finca in San Francisco de Paula, Cuba, before continuing the work during the winter of 1958–1959 at his home in Ketchum, Idaho. He further developed the manuscript in Spain during the spring of 1959, making additions and subtractions, and in Paris during the spring of 1960, resuming revisions in Ketchum over the winter of 1959–1960 and again in the fall of 1960. This period of composition occurred amid Hemingway's deteriorating physical and mental health, marked by severe depression, paranoia, and the lingering effects of multiple accidents, including plane crashes in 1954 that exacerbated his chronic pain and alcoholism following his Nobel Prize win that same year.^[12]^[8] The memoir's structure consists of interconnected vignettes recounting episodes from Hemingway's Paris years between 1921 and 1926, eschewing a strictly linear chronology in favor of evocative, episodic sketches that capture the essence of his formative experiences as a writer. This approach aligns with his longstanding "iceberg theory" of composition, articulated in works like Death in the Afternoon (1932) and reflected in A Moveable Feast, where surface-level details imply deeper emotional and thematic undercurrents, omitting explicit exposition to engage the reader's inference. Hemingway intended the book as a nostalgic reflection on his early career, evoking the vibrancy of his apprentice days amid the city's artistic milieu, while using the vignettes to meditate on the craft of writing and personal growth.^[13]^[14]^[15] Following Hemingway's suicide in July 1961, his widow Mary Welsh Hemingway, serving as literary executor, collaborated with Scribner's editor Harry Brague to prepare the manuscript for publication in 1963–1964. Their editorial process involved reorganizing chapters for better flow, composing an introductory note from Mary's perspective to contextualize the work's origins, and appending additional materials such as canceled chapters and fragments to provide insight into Hemingway's compositional choices. Hemingway himself had made targeted revisions during the late 1950s and 1960, softening portrayals and altering details to safeguard the reputations of still-living contemporaries, ensuring the memoir balanced candid recollection with discretion.^[16]^[6]

Title and Content

Origin of the Title

The title A Moveable Feast derives from an epigraph that Hemingway included in the memoir, stating: "If you are lucky enough to have lived in Paris as a young man, then wherever you go for the rest of your life, it stays with you, for Paris is a moveable feast." This phrase was drawn from a conversation Hemingway had in 1950 with his friend and biographer A. E. Hotchner at the Ritz Bar in Paris, where Hemingway described his enduring attachment to the city in those terms; Hotchner later suggested the wording as the book's title to Mary Hemingway after Ernest's death in 1961, as it did not appear anywhere in the original manuscript.^[10] The expression "moveable feast" alludes to a concept in Christian liturgy, referring to religious observances whose dates vary from year to year, most notably Easter, which is calculated based on the lunar calendar and the spring equinox.^[17] Hemingway, who converted to Catholicism in 1927, employed this terminology to evoke the fluid, recurring nature of his Parisian experiences, transforming the ecclesiastical idea into a metaphor for a source of nourishment and renewal that shifts yet persists.^[18] In this context, the title encapsulates the memoir's central theme of portable memories from Hemingway's expatriate years in 1920s Paris, portraying the city not as a fixed location but as an internalized, movable wellspring of inspiration that accompanied him throughout his life.^[10]

Chapters and Key Figures

A Moveable Feast is structured as a series of episodic, non-chronological vignettes that capture Ernest Hemingway's experiences in Paris from 1921 to 1926. The 1964 edition consists of 20 such vignettes, along with a preface by Hemingway and an introduction by Mary Hemingway. The 2009 restored edition follows Hemingway's intended order for the main chapters (approximately 20 vignettes), supplemented by a foreword by Patrick Hemingway, an introduction by Seán Hemingway, and additional sections including previously omitted sketches and fragments. These sketches blend memoir and reflection, drawing on Hemingway's notebooks to evoke the daily rhythms of expatriate life without adhering to a linear timeline.^[19]^[6] The book features vivid portraits of key literary and personal figures from the Lost Generation, portraying them through intimate anecdotes that highlight their influences on Hemingway's early career. Gertrude Stein appears as a mentor in the vignette "Miss Stein Instructs," where she offers guidance on writing and coins the phrase "lost generation" to describe the postwar youth. F. Scott Fitzgerald is depicted as a talented but flawed friend in chapters like "Scott Fitzgerald" and "Hawks Do Not Share," illustrating their complex camaraderie amid Fitzgerald's personal struggles.^[6] Hadley Richardson, Hemingway's first wife, embodies an ideal of uncomplicated love and support, particularly in "A False Spring," which reflects on their early marriage and shared hardships.^[20] Ezra Pound emerges as a generous poet and advocate in "Ezra Pound and His Bel Esprit," aiding aspiring writers through informal networks.^[19] Other notable figures include James Joyce, glimpsed in "Shakespeare and Company" as an enigmatic genius at Sylvia Beach's bookstore, and Ford Madox Ford, satirized in "Ford Madox Ford and the Devil's Disciple" for his pretentiousness amid the café scene.^[1] Central themes revolve around the challenges and rewards of expatriate life, including the grinding poverty that tested Hemingway's resilience, as in "Hunger Was Good Discipline," where he describes scavenging for food while honing his craft. Literary ambition permeates the narrative, emphasizing disciplined routines and the pursuit of authentic prose amid the bohemian energy of 1920s Paris.^[21] The vibrancy of Paris cafés serves as a recurring backdrop, symbolizing intellectual exchange and fleeting joys, while reflections on lost innocence underscore the end of Hemingway's first marriage and the illusions of youth.^[22] Specific vignettes illustrate these elements, such as "A Good Café on the Place St.-Michel," which details Hemingway's writing habits in affordable, unpretentious spots that fostered focus away from distractions.^[23] In "Miss Stein Instructs," Stein's salon becomes a site of artistic instruction, where she critiques Hemingway's work and shares insights on rhythm and simplicity in narrative.^[24]

Publication History

1964 Edition

A Moveable Feast was published posthumously on May 10, 1964, by Charles Scribner's Sons in the United States and by Jonathan Cape in the United Kingdom, less than three years after Ernest Hemingway's suicide on July 2, 1961.^[2]^[25] The book, a memoir of Hemingway's early years in 1920s Paris, drew from notebooks and sketches he began compiling in the late 1950s after recovering his stored papers from the Ritz Hotel in 1956.^[9] Mary Hemingway, the author's widow and fourth wife, provided a preface detailing the assembly of the volume from her husband's unfinished manuscripts and typescripts, which she discovered in a blue presentation box after his death.^[9] Critic Malcolm Cowley urged her to publish the book, and she collaborated with Scribner's editor Harry Brague to refine the work, involving minor excisions for clarity and reordering of chapters to enhance narrative continuity while adhering closely to Ernest's original phrasing and intent.^[9] Mary justified the inclusion of sensitive personal details—particularly those concerning Hemingway's first marriage to Hadley Richardson and his subsequent relationships—by emphasizing that the book represented his deliberate reflections on youth and betrayal, conceived as a "biography by remate" (a term for writing through hindsight), and that he had explicitly marked the manuscript as ready for publication.^[9] The initial print run of 10,500 copies sold out rapidly, propelling the book to bestseller status within weeks of its release.^[26] To provide additional context and closure, Mary Hemingway wrote a preface, and the book includes an epilogue titled "There is Never Any End to Paris," in which Hemingway reflects on his later visit to Paris and expresses regrets over the end of his marriage to Hadley Richardson.^[2]

2009 Restored Edition

The 2009 restored edition of A Moveable Feast was published in July by Scribner, a division of Simon & Schuster, and edited by Seán Hemingway, the author's grandson. This version draws directly from the original manuscript that Ernest Hemingway had prepared for publication, aiming to present the text as close as possible to his intentions before his death in 1961. Unlike the 1964 edition, which had been shaped by posthumous editing, the restored edition addresses perceived editorial flaws in the earlier version by reinstating material omitted during that process.^[5]^[1] Key restorations include the addition of previously omitted chapters such as "January," which candidly addresses Hemingway's infidelity during his first marriage, and "Birth of a New School," along with other sections that had been excluded. The edition also removes Mary Hemingway's preface and the appendices that appeared in the 1964 version, allowing the narrative to flow more closely to Hemingway's unaltered structure. Seán Hemingway's introduction provides detailed textual comparisons between the manuscripts and explains the editorial choices, emphasizing the goal of capturing the author's authentic voice without later interventions.^[5]^[27] The restored edition incorporates added photographs of Hemingway and his contemporaries, as well as scholarly notes to contextualize the content, enhancing its appeal for both general readers and academics. It achieved commercial success, reaching the New York Times bestseller list and reintroducing the memoir to a new generation of readers.^[1]^[28]

Reception

Initial Reviews

Upon its 1964 publication, A Moveable Feast garnered significant praise for its nostalgic evocation of 1920s Paris and the expatriate literary scene of the Lost Generation. In The New York Times, Charles Poore hailed it as Hemingway "at his best," commending the vivid scenes of the city and the "Goyesque portraits in full color" of figures like Ezra Pound, Gertrude Stein, and F. Scott Fitzgerald. He emphasized how no one had captured Paris in the twenties as effectively, with details like living above a sawmill at 113 Rue Notre Dame des Champs bringing the era to life.^[29] Time magazine similarly celebrated the memoir's "tragic grace" and nostalgic charm, portraying it as "an invitation to laugh with him amid the scenes of his youth, where he was happier than he would ever be again." The review described the 20 sketches as "well-tooled tales" of Hemingway's impoverished yet joyful early days, polished by a lifetime of craft and evoking the exuberance of his formative years.^[30] Alfred Kazin, writing in The Atlantic, praised the book's lyrical depiction of Paris as "the best place in the world to live and work," capturing the Lost Generation's restless creativity through Hemingway's fond recollections of his twenties. He noted the memoir's suave nostalgia, with the older Hemingway drawing a "strong, modest, loving" self-portrait at age 22 amid the city's streets and cafés.^[31] Critics also highlighted elements of bitterness, particularly in Hemingway's portrayals of contemporaries. Brooks Atkinson, in another New York Times review, appreciated the "controlled lyricism" in passages about Paris and Hemingway's first wife, Hadley, but faulted the underlying "loathing and bitterness" toward the rich and individuals like Fitzgerald, whose sketches seemed savagely motivated by personal grudge rather than literary purpose. Kazin echoed this, decrying the "mean-spirited" exploitation of weaknesses in Stein, Fitzgerald, and Ford Madox Ford.^[2]^[31] Questions arose about the authenticity of the posthumously edited text, with Atkinson wondering why certain "thin and stupid" anecdotes—such as those involving Ford Madox Ford—were included, suggesting they served as veiled "messages" for insiders rather than contributing to the narrative. Time noted Hemingway's own preface urging readers to treat it as fiction, casting doubt on the veracity of some episodes.^[2]^[30] Despite these reservations, the book achieved broad acclaim and commercial success as a bestseller, reinforcing Hemingway's enduring legacy in the wake of his 1961 suicide by immortalizing the Lost Generation's bohemian ethos in Paris.^[32]^[31]

Responses to the Restored Edition

The publication of the 2009 restored edition of A Moveable Feast ignited significant controversy, particularly from A. E. Hotchner, Hemingway's longtime friend and biographer, who accused editor Seán Hemingway of making unauthorized alterations to the text. In a New York Times op-ed, Hotchner argued that the changes, including the removal of certain sections and addition of others, were motivated by Seán's desire to portray his grandmother Pauline Pfeiffer more favorably, thereby undermining the integrity of the original manuscript. He staunchly defended the 1964 edition as the version Hemingway had meticulously prepared and intended for publication, emphasizing that posthumous revisions violated authorial intent and that Scribner bore responsibility for allowing such edits.^[33] In contrast, several scholars welcomed the restored edition for its closer fidelity to Hemingway's original manuscript, viewing it as a valuable corrective to Mary Hemingway's earlier editorial interventions. Literary critic Jacqueline Tavernier-Courbin, for instance, praised the reorganization of chapters and reinstatement of omitted material, arguing that it provided a truer representation of Hemingway's evolving reflections on his Paris years. Similarly, in The Hemingway Review, textual scholar R. W. Trogdon commended Seán Hemingway's work as the best-handled among Scribner's posthumous Hemingway publications, noting its accessibility for general readers while offering scholars sufficient manuscript details for independent analysis. These responses highlighted the edition's alignment with the author's typed drafts, restoring elements like proper chapter sequencing that had been altered in 1964.^[34]^[35] Central to the debates was the restored edition's inclusion of more candid passages, particularly in the new section "Fragments from a Book in Progress," where Hemingway openly addressed his personal failings, regrets over his divorces, and tormented later years—content Mary Hemingway had excised to present a more polished narrative. Critics like those in the Los Angeles Times appreciated these additions for revealing a less controlled, more vulnerable Hemingway, aligning with his raw stylistic authenticity and offering deeper insights into his relationships, such as with F. Scott Fitzgerald. However, detractors like Hotchner contended that such inclusions distorted Hemingway's final vision, sparking broader discussions on editorial ethics and the balance between authenticity and sensitivity in posthumous works. The restored edition differs from the 1964 version primarily through its adherence to the original manuscript's structure, adding approximately 50 pages of previously unpublished vignettes.^[34] The controversy surrounding the edition not only fueled academic interest but also contributed to a commercial resurgence, with the book achieving bestseller status upon release and prompting renewed scholarly scrutiny. Publications like The Hemingway Review featured comparative analyses of the two versions, examining textual variants and their implications for interpreting Hemingway's memoiristic style, thereby elevating the work's status in literary studies.^[35]

Legacy

Adaptations

A Moveable Feast has inspired several direct adaptations across audio, stage, and screen formats, though many remain unproduced or limited in scope. Audiobooks of the memoir have been widely available since the 1990s, with notable recordings including the 2006 edition narrated by actor James Naughton, capturing the introspective tone of Hemingway's reflections on 1920s Paris. The 2009 restored edition audiobook, narrated by John Bedford Lloyd, features a personal foreword by Patrick Hemingway, Ernest's son and sole surviving child, which emphasizes the familial and emotional connections to the original manuscript.^[36]^[37] In 2014, screenwriter Michael Hirst—known for Elizabeth—and Ernest Hemingway's granddaughter Mariel Hemingway announced an unproduced film adaptation centered on the author's early marriage to Hadley Richardson and their expatriate life in Paris. The project, which aimed to dramatize key vignettes from the book, has not advanced to production.^[38] A television series adaptation was announced in 2019 by Village Roadshow Entertainment Group, with producers including Mariel Hemingway, John Goldstone, and Marc Rosen. The series was planned to adapt select chapters exploring Hemingway's relationships with figures like F. Scott Fitzgerald and Gertrude Stein, but as of 2025, it remains in development without a writer, director, or release date attached.^[39]^[40] On stage, Book-It Repertory Theatre in Seattle presented a 2017 adaptation directed by Jane K. Brown, which integrated live dinner scenes to evoke the memoir's culinary and social vignettes, performed as part of the company's literary adaptation series.^[41]

Cultural References and Revivals

A Moveable Feast has permeated popular culture through subtle allusions in film, often invoking the nostalgic allure of 1920s Paris described in Hemingway's memoir. In Woody Allen's Midnight in Paris (2011), the protagonist time-travels to the city's expatriate scene, where direct quotes from the book, such as references to Paris as "a moveable feast," underscore themes of artistic inspiration and lost golden ages.^[42] Similarly, in Captain America: The Winter Soldier (2014), Steve Rogers is depicted reading the book during a jogging scene, symbolizing his longing for a simpler, pre-war era amid modern turmoil.^[43] The memoir's portrayal of Hemingway's early marriage and literary circle has influenced contemporary fiction and travel writing. Paula McLain's The Paris Wife (2011) draws heavily from A Moveable Feast to fictionalize the perspective of Hemingway's first wife, Hadley Richardson, exploring the emotional undercurrents of their Parisian life.^[44] In modern travelogues, the book serves as a touchstone for evoking the city's bohemian past, with authors citing its vivid depictions of cafés and streets to guide readers through contemporary Paris.^[45]^[46] Following the November 2015 terrorist attacks in Paris, A Moveable Feast—known in French as Paris est une fête—experienced a remarkable revival, topping bestseller lists as a symbol of cultural resilience and the city's enduring spirit.^[7] Public readings and tributes, including at iconic sites like Shakespeare and Company bookstore, highlighted the memoir's themes of joy amid hardship, with copies left at attack sites like the Bataclan as acts of defiance.^[47] This surge in popularity, driven by social media recommendations and media coverage, reaffirmed the book's role in celebrating Paris's literary heritage during times of crisis.^[48] The Chiswick Book Festival in September 2020 hosted a wine and literature event centered on A Moveable Feast, where presenter Victoria Daskal explored Hemingway's references to wine, blending discussion with tastings to honor the book's sensory depictions of Paris.^[49] Reflections on the memoir's enduring appeal marked 2023, with articles revisiting its insights into youth, writing, and expatriate life in Paris, coinciding with broader centennial considerations of Hemingway's early career milestones. These discussions emphasized how the book's nostalgic lens continues to resonate, offering timeless commentary on creativity and transience.

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Ernest Hemingway's 'A Moveable Feast' Hits French Bestseller List ...
Ernest Hemingway's A Moveable Feast has hit the French bestseller list a half century after its publication, all because of a French granny.
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'A Moveable Feast:' Sales surge for Hemingway's Paris memoir | CNN
Nov 22, 2015 · Ernest Hemingway might have been surprised to learn that his novel, “A Moveable Feast,” quickly became a source of comfort for many Parisians.
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Every author, streaming now: Festival catch-up
... A Moveable Feast – Winetasting. Fiction – Rosamund Lupton (Three Hours) and Diane Chandler (Only Human): Too Close to Home? – YouTube – Jeremy Vine: The ...