I’ve asked Martin L. Peterson, a member of the board of the Hemingway Society and a scholar of all things Hemingway, to guest post today regarding the controversial new edition of A Moveable Feast – The Restored Edition.
The original Feast was published 1964 after Hemingway’s death. Here’s Marty’s very interesting take:
It is the kind of thing that most authors can only dream about. A new edition of one of your earlier books comes out. Christopher Hitchens writes an extensive review in The Atlantic. Other publications, such as the Kansas City Star, do the same. In an op-ed piece in the New York Times, a friend blasts the new edition, stating that the original edition is much preferable. And the son of your publisher writes a letter-to-the-editor of the Times also supporting the original edition. But even these negative pieces help publicize that the new edition has been published.
Few authors have such experiences. And even fewer have them nearly 50 years after they die. But that is much the way with the posthumous life of Ernest Hemingway. Even though he won both the Pulitzer and Nobel Prizes and was a bestselling author in his lifetime, he has sold more books since his death in 1961 than in life. In fact, the new edition of his memoir A Moveable Feast lists him as the author of 26 books, with 12 of them published posthumously.
A Moveable Feast was first published in 1964. It was subjected to considerable editing by Harry Brague of Scribners and Hemingway’s fourth wife, Mary. Among other things, Mary cobbled together a preface from various manuscript fragments and signed Ernest’s name to it.
But, even with the edits, the book has always regarded as being Hemingway’s work, just as A Moveable Feast: The Restored Edition, must also be recognized as Hemingway’s work. The new edition was edited by Hemingway’s grandson, Sean. Sean’s uncle, Patrick, provided an enthusiastic foreword to the work.
The Hemingway archives at the John F. Kennedy Library are probably the most extensive archives of any prominent author. If it was on paper, Hemingway filed it away. He wrote before the days of word processing, so his notes, drafts with deletes and edits, and correspondence are generally available to anyone with an interest in Hemingway.
Because of the existence of all of this material, there have been arguments among scholars since the initial publication of A Moveable Feast as to what Hemingway did or did not intend to have included in the book. About the only thing they fully agree on is that the title for the book was never one of the titles that Hemingway considered. It came from a conversation that A.E. Hotchner said he had with Hemingway in Paris in the 1950s.
Hotchner, a friend of Hemingway’s during his later years, wrote a scathing op-ed piece in the New York Times concerning the new edition of the book. He states, among other things, that he had delivered the original manuscript of Scribners in 1960 in exactly the format that Hemingway wanted it published. An interesting claim when you consider that Hemingway was still making changes to the manuscript as late as April 1961 and had only come up with titles for three of the book’s original twenty chapters at the time of his death.
Hotchner also states that he thinks that much of the driving force behind this new edition is to make Pauline Hemingway, Ernest’s second wife, appear in a better light than in the original edition. Pauline was Patrick’s mother and Sean’s grandmother. She may appear in a slightly better light due to the addition of some materials left out of the original addition. But the classic line about his love for his first wife, Hadley, remains – “I wished I had died before I ever loved anyone but her.”
It should come as no surprise that the publication of this new edition would be anything less than controversial. But, unlike the edition that Mary Hemingway edited, Sean Hemingway makes considerable effort to explain the justifications behind his editing decisions. He has reordered some pieces into a more chronological fashion than in the original edition. He has also relegated some chapters to a section in the rear of the book titled “Additional Paris Sketches.” And there are also several new pieces that apparently Hemingway had kept from the original edition in hopes of eventually publishing a second volume of memoirs.
Regardless of the content, I would have bought this new edition just for the cover. The original edition’s cover with a painting of Pont Neuf in Paris has been replaced by a classic Hemingway photo. There are an estimated 10,000 photographs of Hemingway at the Kennedy Library. My favorite of the lot is his 1923 passport photo, taken prior to his move to Paris. It disproves the old adage that there is no such thing as a good passport photo. In my mind, it is the best photo ever taken of him and having it on the cover of the new edition makes it worth the price of purchase.
The end result is yet another great Hemingway book. Scholars, friends and family members may squabble over the differences between the two editions, but The Restored Edition is 100% Hemingway at his best and a treat to read.
(Martin L. Peterson is Special Assistant to the President of the University of Idaho.)