55 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of substance use, addiction, mental illness, and suicidal ideation.
In spring, Hadley travels with Pauline and her sister Jinny on a château tour. The sisters fund the trip. Hadley recalls Ernest urging her to go so he could finish The Sun Also Rises for Maxwell Perkins. Ernest also discussed dedicating the book to their son, Bumby.
Pauline’s mood swings unsettle the trip. She snaps at Hadley, drinks heavily, and withdraws. In the Jardin de Villandry’s “Garden of Love,” she breaks down and runs off, confirming Hadley’s fears that something has changed.
The narrative switches to Ernest’s perspective. He remembers when his affair with Pauline began.
One night when Hadley is sick, Ernest walks Pauline home and kisses her. They meet again and go to her apartment, where their affair begins. Torn between Hadley and Pauline, he rationalizes the triangle by thinking of other writers with complicated marriages, like Ezra Pound and Ford Madox Ford.
Still in the Loire, Hadley watches Jinny comfort Pauline and realizes that Pauline loves Ernest. She asks Jinny, who confirms it. The three women return to Paris in silence.
At their apartment, Hadley confronts Ernest. He refuses to answer and storms out. Marie Cocotte, who is now helping with Bumby as well, finds Hadley crying. Ernest returns late and drunk. When Hadley tells him to go to Pauline, he says she has gone to Bologna. Hadley slaps him. He blames her for ruining their marriage by speaking of his affair. They agree he will still leave for Spain as planned.
By late May, Ernest is in Madrid. Hadley is too upset to perform and decides to cancel her concert. Kitty Cannell reveals that Ernest and Pauline’s affair is common gossip. Gerald and Sara Murphy invite Hadley and Bumby to their home, Villa America, in Cap d’Antibes. Bumby falls ill with whooping cough and must be quarantined. Scott and Zelda Fitzgerald loan them their villa for the quarantine.
Ernest arrives. The Murphys throw a party where a drunken Scott makes a scene. The next morning, Scott helps Ernest edit The Sun Also Rises, cutting the first 15 pages. Zelda confronts Ernest and dives recklessly from high rocks. Pauline arrives and joins Ernest’s new social circle.
The narrative switches to Ernest’s perspective. Through the summer, Ernest feels trapped by the affair. He contemplates dying by suicide and writes out methods in a notebook. He remembers lying wounded in Fossalta and considering ending the pain. He promises himself that if he cannot resolve the situation by Christmas, he will kill himself. He loves Hadley but also accepts Pauline’s talk of marriage. Unable to choose, he returns to his writing.
In early June, the trio moves into two hotel rooms in Juan-les-Pins. Ernest writes in a separate studio each morning. Hadley and Pauline bicycle and swim together. Hadley soon realizes Pauline disappears each afternoon to visit Ernest in his studio.
Pauline proposes they all move to her family’s town in Arkansas. When Hadley confronts Ernest, he confirms the plan. That night, Hadley pretends to sleep as Pauline gets into bed with them.
The next morning, they have breakfast together. Hadley goes for a long swim, imagining letting the sea take her before turning back. Later, Pauline leads her to a high rock and encourages her to dive. Pauline and Ernest both leap and then look up at Hadley.
Hadley refuses to jump. She walks back to the hotel alone. After Pauline leaves her room, Hadley tells Ernest he has destroyed what they had and suggests he take Pauline to that night’s party as his wife.
The group’s trip to Pamplona is miserable. Pauline returns to Paris early. Hadley and Ernest continue to San Sebastian and quarrel until they accept that the marriage has ended. Back at Villa America, they tell the Murphys and Don Stewart that they will separate. Gerald offers Ernest his Paris studio.
On the night train to Paris, they share brandy. The train goes by a farmhouse burning in the dark, and they watch it together. In Paris, Hadley is distraught. Ernest takes her to the studio and stays until she sleeps. She wakes alone, leaves a note, and finds a hotel for herself and Bumby, not wanting to go back to their apartment. She never does.
Don Stewart urges Hadley to fight for her marriage. Hadley proposes terms to Ernest: a 100-day separation from Pauline with no contact. If he still wants Pauline after that, she will grant a divorce. Ernest accepts, and Pauline leaves for America.
Ernest starts visiting Hadley and Bumby for dinner. Their old comfort returns, and he spends the night. In the morning, he upsets her by focusing on Pauline’s suffering under the agreement, revealing his divided loyalties.
The narrative switches to Ernest’s perspective. He thinks about the pressures that led to the rupture. He recalls Gerald Murphy’s advice that Hadley was too careful for his art. He also remembers Pauline insisting that he declare he loves her more than Hadley. He considers his own duplicity and views the loss of his manuscripts as the moment his trust was broken, a “flawed keystone” warping everything he built.
In autumn, Ernest brings Hadley a finished copy of The Sun Also Rises, dedicated to her and Bumby. Friends take sides, and Hadley feels cut off. She travels with Kitty Cannell to Chartres. In the cathedral, she thinks about her vows. After a week, she returns to her hotel.
She writes to Ernest to end the 100-day pact, releasing him to marry Pauline. In his reply, he thanks her and confirms that she will receive the novel’s royalties. She accepts the finality of their choice.
In spring 1927, Hadley and Bumby sail to the United States and rent a house in Carmel, California. A letter arrives with news that Ernest and Pauline have married in Paris. She takes Bumby and the letter to the beach.
She folds the letter into a paper boat. They wade into the surf and set it on the water, watching the waves carry it away until it vanishes.
Hadley and Bumby later return to Paris, where she marries American journalist Paul Mowrer. In 1928, Ernest and Pauline leave Paris for the United States. Hadley keeps track of Ernest’s public triumphs and private turmoil through his subsequent marriages.
In May 1961, Ernest telephones Hadley while working on his Paris memoir, A Moveable Feast, and expresses deep regret. In July, his fourth wife, Mary, announces his death by suicide. Supported by Paul, Hadley grieves, looking back on her youth, holding both love and loss without bitterness.
The narrative structure in the final chapters continues to employ intermittent chapters from Ernest’s perspective to complicate Hadley’s viewpoint and explore the psychology of his betrayal. These chapters function as internal monologues that reveal a consciousness attempting to reconcile guilt with an insatiable need for new artistic material and validation. In these sections, Ernest rationalizes his affair by situating himself within a lineage of literary modernists like Ezra Pound and Ford Madox Ford, men who maintained complex domestic arrangements. This intellectual reframing is a crucial element of the theme of The Competing Demands of Love and Artistic Ambition, as it demonstrates how Ernest processes personal transgressions through a professional lens, viewing moral compromise as a prerequisite for genius. The act of writing itself becomes a mechanism for both self-justification and self-destruction; he contemplates methods of dying by suicide in a notebook, merging his lingering war trauma with his present romantic conflict. This structural choice prevents him from becoming a one-dimensional antagonist and instead presents a nuanced portrait of an artist for whom life, love, and literature are inextricably linked.
Throughout these chapters, setting continues to play an important role, with physical locations functioning symbolically to mirror the internal deterioration of the marriage. The idyllic settings of the Loire Valley and the French Riviera provide an ironic counterpoint to the characters’ escalating emotional turmoil. The trip to the Jardin de Villandry’s “Garden of Love” culminates not in romance but in Pauline’s emotional collapse, transforming a symbol of cultivated beauty into a site of ruinous passion. Similarly, the sun-drenched, hyper-civilized world of Gerald and Sara Murphy’s Villa America, with its meticulously orchestrated rituals, serves as a pristine stage for the messy collapse of the Hemingways’ relationship. This contrast between external order and internal chaos underscores the performative nature of their social lives. The symbolism becomes more acute in the final stages of the separation. The sight of a “farmhouse on fire in a dry field” on the train to Paris after they’ve decided to separate acts as a symbol of the utter destruction of their domestic world (293). These settings are active participants in the narrative, reflecting and amplifying the psychological states of the characters and The Gradual Erosion of Trust and Intimacy.
These closing chapters crystallize the theme of Defining the Self in a Man’s World by tracing Hadley’s painful but necessary journey toward independent identity and self-reliance. Initially, she is a passive observer of her own life’s destruction, forced into a degrading routine and made to feel obsolete. Her paralysis is most powerfully rendered in the scene where Pauline enters the marital bed and Hadley feigns sleep, a moment marking the complete violation of their marriage’s intimate space. However, this passivity gives way to a quiet reclamation of self. Her refusal to jump from the diving rock is a pivotal act of dissent, a symbolic refusal to join Ernest and Pauline in their new configuration. This resolve culminates in two decisive actions: proposing the hundred-day separation pact and, more significantly, choosing to end it herself. Her final letter to Ernest, releasing him from their agreement, is not an act of surrender but one of profound strength. She reclaims control by making a choice rooted in a clear-eyed assessment of reality, demonstrating her capacity to absorb immense pain and still act with dignity.
The motif of alcohol and the social performances it fuels are central to the novel’s depiction of the Jazz Age expatriate community and the disintegration of the Hemingways’ marriage. In the sophisticated milieu of the Murphys and Fitzgeralds, drinking is a choreographed ritual that enables both camaraderie and cruelty. It papers over the tensions simmering beneath the surface, allowing the characters to maintain a façade of glamorous nonchalance even as their lives unravel. For Ernest, drinking becomes a tool to numb his guilt, while for F. Scott Fitzgerald, it leads to public displays of insecurity. The characters’ shared existence becomes a constant performance, where politeness is a contract to avoid naming the truth. This performance reaches its apex in Juan-les-Pins, where Hadley, Ernest, and Pauline enact a grotesque parody of domestic harmony while Hadley silently endures their afternoon trysts. The constant, often excessive, consumption of alcohol sustains this charade, eroding genuine communication and enabling the slow death of intimacy.
The act of writing emerges in this section as a complex force, capable of both destruction and redemption. Ernest’s singular focus on completing The Sun Also Rises provides the initial justification for his emotional distance from Hadley. The work becomes an all-consuming entity that demands new experiences and intellectual partnership, which he finds with Pauline. His ruthless dedication is highlighted in the scene where he and Scott Fitzgerald surgically edit the manuscript, a moment of pure artistic collaboration that exists entirely separate from the emotional wreckage surrounding them. However, writing also becomes a means of atonement. By dedicating the novel to Hadley and Bumby and signing over its royalties, Ernest offers a financial and symbolic acknowledgment of her foundational role. Decades later, the act of writing his memoir prompts his final phone call to Hadley, a conversation suffused with regret. This suggests that only through the literary excavation of their shared past could he fully comprehend his loss. His final letter to her after she agrees to the divorce concludes with the sentiment that “[n]o one you love is ever truly lost” (307), a line that encapsulates the novel’s ultimate argument: While love can be destroyed, the imprint it leaves on identity and art is indelible.



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