A Moveable Feast - Ernest Hemingway

Summary

'A Moveable Feast' is a posthumously published memoir by Ernest Hemingway, recounting his early years as an expatriate writer in Paris during the 1920s. The book vividly portrays his struggles and triumphs as he strives to hone his craft while living on limited funds with his first wife, Hadley Richardson. It offers a deeply personal look into his friendships, encounters, and sometimes strained relationships with other notable figures of the "Lost Generation," including F. Scott Fitzgerald, Gertrude Stein, Ezra Pound, and Ford Madox Ford. Through a series of vignettes, Hemingway captures the atmosphere of Paris, the discipline required for writing, and the complexities of his personal life, culminating in a nostalgic reflection on a time that he later came to view as a lost paradise.

Book Sections

Section: A Good Café on the Place St-Michel

Hemingway introduces the reader to his routine of writing in various Parisian cafés, particularly one on the Place St-Michel. He describes the pleasure of writing when he feels clean and rested, often fueled by coffee and a café au lait. He talks about the discipline of stopping when he knows what will happen next, leaving some excitement for the next day's work. He observes people and the weather, using these observations to enrich his writing. He reflects on his poverty, which sometimes leads him to lie about having eaten, and the simple joy of a good meal.

Character	Characteristics	Motivations
Ernest Hemingway	Young, ambitious, disciplined writer; observant, often poor but committed to his craft; deeply sensitive to his surroundings and internal states.	To become a great writer; to capture truth and emotion in his prose; to survive and thrive in Paris despite financial hardship.
Hadley Richardson (Hemingway's first wife)	Supportive, loving, practical; enjoys simple pleasures; trusts and believes in Hemingway's talent.	To support her husband's artistic endeavors; to build a life together in Paris; to experience the world.

Section: Miss Stein Sits Down

Hemingway recounts his first visit to Gertrude Stein's apartment on Rue de Fleurus. He describes the impressive collection of modern art, including works by Picasso and Cézanne, that adorned her walls. Stein, a formidable literary figure, offers him advice on writing and life, and they develop a mentor-mentee relationship. She tells him that "Mascara is not a good thing," referring to women who are artificial. He also briefly mentions his interactions with Alice B. Toklas, Stein's partner. Hemingway portrays Stein as intelligent and perceptive but also capable of being critical and dogmatic.

Section: Ezra Pound and the Measuring of Time

Hemingway describes his friendship with the poet Ezra Pound, whom he views with immense respect for his generosity, dedication to other writers, and deep understanding of literature. He details Pound's patient efforts to help him, including editing his manuscripts and providing constructive criticism. Hemingway admires Pound's commitment to his friends and his willingness to sacrifice his own time to support other artists. He also notes Pound's eccentricities and his sometimes impractical idealism.

Section: Shakespeare and Company

This section focuses on Sylvia Beach and her legendary bookstore, Shakespeare and Company, a vital hub for expatriate writers in Paris. Hemingway describes it as a warm, inviting place where he could borrow books he couldn't afford to buy, use the library, and even occasionally shelter from the cold. He portrays Sylvia Beach as kind, generous, and dedicated to supporting writers, seeing her bookstore as a sanctuary and an essential resource for the literary community. He cherishes the time spent reading in the bookstore, broadening his literary education.

Section: A False Spring

Hemingway describes a period when he and Hadley lived in a small, cold apartment and their shared struggle with poverty. Despite the hardships, they found joy in simple things like walks through the city, watching horse races, and reading. He details how he would often starve himself to save money for food, sometimes feeling faint while walking. This section highlights their resilience and deep affection for each other, as well as the sacrifices they made for Hemingway's writing career.

Section: The End of an Avocation

Hemingway recounts his visits to the races at Enghien and describes his method for betting on horses, which he hoped would provide a source of income. He details the calculations and observations he made to place informed bets, highlighting his disciplined approach even to gambling. He recounts some wins but ultimately recognizes the unsustainability of it as a serious profession, realizing it would distract him from his true calling: writing.

Section: Hunger Was a Good Discipline

This section delves deeper into Hemingway's experience with poverty and hunger. He describes how the discipline of writing often led to hunger, which he paradoxically found to be a clarifying and motivating force. He would often walk through the Luxembourg Gardens, observing the children and their nurses, and then go to the Louvre to admire paintings, finding inspiration and sustenance for his soul even when his body was weak from lack of food. He reflects on how this period of hardship refined his artistic vision.

Section: Speaking of the Public Which Does Not Exist

Hemingway reflects on his conversations with Gertrude Stein about the nature of art and the audience. Stein critiques the idea of writing for a perceived public, emphasizing the importance of writing for oneself and for the truth of the work. Hemingway agrees, believing that a true artist must resist the temptation to cater to popular taste. He also recalls a humorous incident involving Stein's dog, Basket, and her sometimes theatrical displays of affection for the animal.

Section: A Matter of Price

Hemingway discusses the financial value placed on art and the often arbitrary nature of the art market. He recounts a visit to a gallery where he saw paintings he admired being sold for prices he considered either too high or surprisingly low, musing on the disconnect between artistic merit and commercial worth. This section touches on the financial struggles of artists and the difficulty of earning a living solely from their creative work.

Section: The Hawks Do Not Share

This chapter describes Hemingway's experience of training as a boxer and his encounters with other expatriates in Paris. He reflects on the competitive nature of life and art, using the metaphor of hawks not sharing their prey. He emphasizes the solitary struggle of the artist and the need for fierce independence. This section also introduces his observations on various individuals, some of whom he considers less genuine or more parasitic than others.

Section: A Strange Enough Ending

Hemingway details the unraveling of his friendship with Gertrude Stein and Alice B. Toklas. He overhears an argument between them where Stein criticizes Alice for various reasons, revealing a less admirable side of Stein's character. This incident fundamentally alters Hemingway's perception of Stein, leading to a cooling of their relationship and eventually a permanent break. He realizes that his mentor was not as infallible as he once believed.

Section: The Man Who Was Marked

This section introduces Ford Madox Ford, an English novelist and editor whom Hemingway worked for briefly. Hemingway portrays Ford as a pompous, often boring, and somewhat ridiculous figure, but also acknowledges his significant contributions to literature. He describes Ford's peculiar habits, his tendency to embellish stories, and his often-unpleasant personal hygiene. Hemingway's observations are critical but also tinged with a degree of amusement.

Section: Scott Fitzgerald

Hemingway describes his complex relationship with F. Scott Fitzgerald. He initially admires Fitzgerald's talent but quickly becomes aware of his profound insecurities, alcoholism, and the corrosive influence of his wife, Zelda. Hemingway recounts their travels together, particularly a memorable trip to Lyon, where Fitzgerald became increasingly unwell and difficult. He portrays Fitzgerald as a brilliant but fragile individual, tormented by his own weaknesses and the pressures of fame.

Character	Characteristics	Motivations
Gertrude Stein	Influential American writer and art collector; mentor figure to Hemingway; opinionated, dogmatic, intellectually formidable.	To exert intellectual and artistic influence; to foster modern art and literature; to live an unconventional life in Paris; to maintain her position as a central figure in the expatriate artistic community.
Ezra Pound	American expatriate poet and critic; generous, dedicated, eccentric; supportive of other artists.	To advance modern poetry and art; to support fellow writers; to cultivate a community of artists; to live by his strong literary and philosophical convictions.
Sylvia Beach	American owner of the Shakespeare and Company bookstore; kind, generous, supportive of writers.	To provide a haven and resource for expatriate writers; to promote literature and intellectual exchange; to support the arts in Paris.
Ford Madox Ford	English novelist and editor; pompous, somewhat eccentric, but historically significant literary figure.	To maintain his status as a literary figure; to express his opinions; to live a bohemian life; to publish literary journals and discover new talent (though Hemingway sees him as somewhat opportunistic).
F. Scott Fitzgerald	Brilliant but insecure American novelist; prone to alcoholism and anxiety; influenced by his wife, Zelda.	To achieve literary greatness and critical acclaim; to maintain a lavish lifestyle (often beyond his means); to find validation and admiration; to escape personal demons through alcohol, though it ultimately hinders him.
Zelda Fitzgerald	F. Scott Fitzgerald's wife; charismatic but unstable; seen by Hemingway as a negative and destructive influence on Scott.	To seek attention and admiration; to compete with Scott; to escape her own anxieties and mental health struggles; to live a life of glamour and excitement, often at Scott's expense.

Section: Hawks Do Not Share (Revisited with Scott)

Hemingway continues his observations on Scott Fitzgerald, particularly focusing on Zelda's impact on his writing and mental state. He describes how Zelda's presence often brought out the worst in Scott, leading to arguments and a decline in his health and productivity. Hemingway sees Zelda as a primary cause of Scott's self-destruction, believing she deliberately undermined his work and confidence. He feels a deep sadness for Scott's wasted potential.

Section: A Matter of Measurements

This humorous section details Hemingway's anxieties about Scott Fitzgerald's perception of his physical stature, particularly the myth that Hemingway was unusually large. He recounts an absurd trip where Scott insisted they measure the dimensions of a cathedral to prove a point about relative size, highlighting Scott's deep-seated insecurities and sometimes irrational behavior.

Section: An Agent of Evil

Hemingway further expands on his critical view of Zelda Fitzgerald, referring to her as an "agent of evil" due to her perceived destructive influence on Scott. He describes specific instances where Zelda's actions and words seemed designed to sabotage Scott's work or mental well-being. He portrays her as manipulative and emotionally unstable, ultimately responsible for many of Scott's problems.

Section: The Pilot Fish and the Rich

This section touches on the theme of wealth and its corrupting influence, particularly through the metaphor of "pilot fish" – hangers-on who live off the rich without producing anything themselves. Hemingway observes how many wealthy expatriates in Paris led superficial lives, contrasting them with the disciplined struggle of true artists. He describes his disdain for this parasitic class and how they can detract from the genuine artistic environment of the city.

Section: The Model's Wife

Hemingway recounts an encounter with a struggling artist and his wife, who works as a model. He observes their poverty and the simple dignity with which they live. He feels a connection to their struggle, recognizing aspects of his own early years. This section is a quiet reflection on the lives of ordinary people in Paris and the quiet determination required to pursue art despite financial hardship.

Section: A Non-Existent Man

This chapter is a thinly veiled portrait of the writer Wyndham Lewis, whom Hemingway depicts as a malevolent and unpleasant character. He describes Lewis as having a "dead brain" and being filled with "bile," portraying him as someone who actively sought to undermine and criticize others. Hemingway's strong dislike for Lewis is evident, painting him as a truly unlikeable figure in the Parisian literary scene.

Section: Nada y Pues Nada

Hemingway reflects on the concept of nothingness, or nada, a recurring theme in his work. He connects it to the transient nature of life, the inevitability of loss, and the emptiness that can accompany certain experiences. This section is a more philosophical musing, bringing a melancholic tone to the end of his reflections on Paris. He expresses a deep sense of loss for the happiness and innocence of those early years.

Section: A False Paradise

This final section brings the memoir to a poignant close. Hemingway reflects on the end of his marriage to Hadley and the subsequent shift in his life and circumstances. He attributes the loss of their shared happiness to the introduction of wealth and corrupting influences, particularly the appearance of a wealthy woman who eventually became his second wife (Pauline Pfeiffer, though not explicitly named). He concludes with a nostalgic lament for the "moveable feast" that was Paris in his youth – a time of pure joy, hard work, and enduring love, which, once lost, can never be fully recovered. He views this period as a true paradise that was ultimately ruined by external pressures and personal choices.

Literary Genre

Memoir, Autobiographical Fiction

Author Facts

• Born: July 21, 1899, in Oak Park, Illinois, USA.
• Died: July 2, 1961, in Ketchum, Idaho, USA (by suicide).
• Nobel Prize: Awarded the Nobel Prize in Literature in 1954 for his mastery of the art of narration, most recently demonstrated in 'The Old Man and the Sea,' and for the influence that he has exerted on contemporary style.
• Distinctive Style: Known for his spare, concise, and understated prose, often referred to as the "iceberg theory," where much of the story's meaning is left unstated below the surface.
• War Correspondent: Served as an ambulance driver in World War I and as a war correspondent during the Spanish Civil War and World War II, experiences that profoundly influenced his writing.
• Adventurous Life: Led an adventurous life that included big-game hunting in Africa, deep-sea fishing in the Florida Keys and Cuba, and bullfighting in Spain, all of which found their way into his fiction.
• Marriages: Was married four times (Hadley Richardson, Pauline Pfeiffer, Martha Gellhorn, Mary Welsh).

Morale and Curiosities

Morale/Lesson:
The primary morale of 'A Moveable Feast' is a bittersweet reflection on the preciousness and ephemerality of youth, love, and artistic purity. It underscores the idea that true happiness and creative fulfillment are often found in simplicity and hardship, and that these can be corrupted by external factors like wealth, ambition, and the wrong company. It also highlights the discipline and sacrifice required to pursue an artistic calling, and the profound sense of loss when a golden period of one's life comes to an end. Hemingway suggests that some "feasts" (experiences, relationships, places) are indeed "moveable" – they leave an indelible mark and shape who you become, but they can also be irrevocably lost.

Curiosities:

• Posthumous Publication: The book was published posthumously in 1964, three years after Hemingway's death. He had been working on the manuscript intermittently for years, but it was not fully completed and edited by him before his suicide.
• Controversial Editing: The first edition was edited by his fourth wife, Mary Welsh Hemingway. In 2009, a "Restored Edition" was published by his grandson, Seán Hemingway, claiming to revert to the original manuscripts and include previously omitted passages. This edition sparked debate among scholars about which version truly represents Hemingway's final intentions.
• The "Lost Generation": The book provides a quintessential insider's look at the "Lost Generation" of American expatriates in Paris during the 1920s, a term popularized by Gertrude Stein and embraced by Hemingway.
• Personal Vengeance: Many critics and biographers view 'A Moveable Feast' as partly an act of settling scores. Hemingway's unflattering portraits of figures like Ford Madox Ford, Gertrude Stein, and particularly F. Scott and Zelda Fitzgerald, suggest that he used the memoir to air grievances and offer his definitive (and often harsh) assessment of their characters and contributions.
• Nostalgia and Idealization: While presented as a memoir, the book is infused with a strong sense of nostalgia and is seen by some as an idealized, almost mythologized, account of his youth. Hemingway himself wrote it in the late 1950s, looking back at a time nearly 30 years prior, suggesting that memory and personal sentiment played a significant role in shaping the narrative.
• The "Third Person": Although a first-person memoir, Hemingway often refers to himself as "Hemingway" or "the young writer," creating a slight distance that is characteristic of his novelistic style and perhaps a way to mythologize his younger self.
• The Catalyst for Loss: The book heavily implies that the entry of a wealthy woman (understood to be Pauline Pfeiffer, who later became his second wife) into his and Hadley's lives was the catalyst for the dissolution of his first marriage and the end of his "paradise" in Paris, adding a layer of personal tragedy and self-reproach to the narrative.