55 pages 1-hour read

The Paris Wife

Fiction | Novel | Adult | Published in 2011

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Chapters 24-35Chapter Summaries & Analyses

Chapter 24 Summary

Hadley and Ernest return to Paris in April 1923. She regains her health and sews baby clothes while he rewrites his lost stories for the Little Review. Hadley reflects that, as she plans for the baby, she has a purpose of her own for the first time.


Ernest shares his new story drafts and his anxieties about fatherhood with Gertrude Stein. He plans a trip to Spain with friends Mike Strater and Bob McAlmon to study bullfighting. By the time they are ready to leave for Spain, the friends are barely speaking. The journey is tense, but Ernest returns to Paris elated and suggests they go to Toronto for the baby’s birth.


In July, they go to Pamplona for the Fiesta de San Fermin. They watch the running of the bulls from a balcony. Hadley walks with Ernest through the streets and remains calm during the bullfights. They discuss parenting and consider naming a son Nicanor.

Chapter 25 Summary

All summer, Ernest writes bullfighting sketches and corrects proofs for Three Stories and Ten Poems. In the fall, they move to Toronto, and Ernest learns he will report to a difficult editor, Harry Hindmarsh, at the Toronto Star. Hindmarsh sends him on out-of-town assignments despite Hadley’s pregnancy. A new friend, Helen Clark, helps Hadley find an apartment.


On October 9, Hadley goes into labor. After a hard night, she delivers a son. Ernest is away on assignment and misses the birth, arriving the next morning. They name the baby John Hadley Nicanor Hemingway.

Chapter 26 Summary

Because Ernest didn’t file his story before going to Hadley’s hospital bedside, Hindmarsh punishes him by transferring him to the weekly edition. Through the winter, the family struggles with money. Ernest feels stifled by miserable assignments. Copies of his book arrive but receive no reviews, and his mood darkens. He calls the move a mistake, and Hadley agrees they must return to Paris.


To fund the trip, Ernest files a final series for the paper and resigns. In January 1924, Hadley, Ernest, and their infant—now nicknamed Bumby—board a ship. As it pulls away, Hadley accepts their unconventional life.

Chapter 27 Summary

Back in Paris, they visit Gertrude Stein and then rent a larger apartment above a sawmill. Ernest writes in cafés each morning. Ezra Pound secures him an unpaid post at the Transatlantic Review under editor Ford Madox Ford. Hadley meets Ford and his partner, Stella Bowen, a painter. Hadley and Stella bond over motherhood.


At one of Ford’s teas, Hadley meets writer Harold Loeb and his girlfriend, Kitty Cannell. Later, Ernest criticizes Hadley for being easily influenced by Kitty, sparking a rare argument.

Chapter 28 Summary

Hadley continues seeing Kitty despite Ernest’s disapproval. She struggles with illness in the damp apartment, as does Bumby, and she dreams of having a piano, which she has played since childhood. Meanwhile, Ernest’s reputation grows. At a café, Hadley sees him with Lady Duff Twysden and becomes jealous. She also meets the writer Don Stewart, who becomes a friend. Kitty arrives distraught, confessing that Harold is leaving her.


Later, Ernest stays out with Duff and sends Hadley home alone. When he returns, he insists they take a long vacation to regain their footing, and she agrees.

Chapter 29 Summary

The family moves to Schruns, Austria, for the winter of 1924-25. They ski and spend quiet evenings, and Hadley becomes a confident skier, surprising herself by how much she loves the physical activity. Ernest struggles with his writing until he learns his parents returned his book, enclosing a letter calling it “profane,” and that Harold Loeb’s novel has been accepted by Boni and Liveright.


Ernest mails his own collection, In Our Time, to the same publisher. After a ski tour, they return to the hotel and find two telegrams confirming the acceptance of his manuscript. Hadley senses they will never again be this happy or unknown.

Chapter 30 Summary

In spring 1925, they return to Paris. Ernest anchors the Montparnasse café scene and spends more time with Duff Twysden. Hadley notices old alliances, including with Gertrude Stein, cooling. At a tea, Hadley meets two sisters, Pauline and Jinny Pfeiffer. Pauline befriends Hadley and encourages her music.


At a café, F. Scott Fitzgerald introduces himself and sends them a copy of The Great Gatsby. Although Ernest puts it unread onto a shelf, Hadley reads it and finds it compelling. She tells Ernest to read it, and after he is finished, he says it is a masterpiece. A chaotic dinner with Scott and Zelda Fitzgerald reveals their marital strain. Ernest considers borrowing money for their summer trip to Pamplona.

Chapter 31 Summary

The Hemingways arrive in Pamplona in July 1925 with Harold Loeb, Duff Twysden, Pat Guthrie (Duff’s fiancée), Don Stewart, and Bill Smith. A flashback to a recent, failed fishing trip foreshadows the tension. Harold and Duff are having an affair, which enrages Ernest and Pat.


At lunch, the rivalries escalate. Hadley leaves with Don, who walks her back to the hotel. He kisses her briefly, and she gently rebuffs him. Alone in her room, she feels isolated from the group’s conflicts.

Chapter 32 Summary

Bill tells Hadley about a near-fight between Ernest and Harold. Harold’s good performance in an amateur bullfight angers Ernest. At the next corrida, the matador Cayetano Ordóñez sees Hadley applauding in the crowd and sends her the bull’s ear as a tribute. Soon after, Duff and Harold disappear together. Hadley and Ernest leave for Madrid and then Valencia.


They continue going to bullfights, and the intensity of the trip sparks Ernest to begin a novel about Pamplona. Hadley reads his notebooks and recognizes Duff’s mannerisms in the heroine, realizing she has been written out of their story. She returns to Paris; he stays in Spain and writes furiously.

Chapter 33 Summary

While Ernest finishes the novel, Hadley keeps company with Kitty and Pauline. Ernest returns to Paris with a complete first draft. At a dinner, he tells Kitty she is not in the book. When Hadley reads the manuscript, she realizes that she isn’t in it, either, and feels the sting of being left out but praises the work.


Pauline visits often and forges a bond with Ernest. In Our Time appears to acclaim. Ernest then writes The Torrents of Spring, a satire of Sherwood Anderson’s Dark Laughter that ends his friendships with Anderson and Gertrude Stein. The Hemingways invite Pauline to visit them in Schruns. They also begin seeing a wealthy circle, including Gerald and Sara Murphy and Archibald and Ada MacLeish.

Chapter 34 Summary

Pauline arrives in Schruns and becomes Hadley’s constant companion. Ernest shows her The Torrents of Spring, and she praises it, unlike everyone else, who have all told him not to publish it. He sends the book to Boni and Liveright, who reject it, freeing him from his contract.


Pauline and Ernest grow closer. She backs his plan to leave his publisher and go to New York to meet with Scribner’s. Hadley argues against it, feeling her influence wane. When Ernest asks if she is on his side, she recommits to him.

Chapter 35 Summary

Ernest heads to New York. While he is gone, at Pauline’s urging, Hadley schedules a piano concert in Paris. Ernest writes that Maxwell Perkins at Scribner’s has taken his books with a large advance. He returns after five weeks.


Soon after, an avalanche kills nine skiers nearby. Their instructor recounts the disaster at the hotel. John Dos Passos and the Murphys visit, and Gerald Murphy starts calling Ernest “Papa.” Ernest vents to Hadley in private about their wealthy friends, sparking a brief argument.

Chapters 24-35 Analysis

These chapters chronicle the transformation of writing from a shared ambition into a divisive force that dismantles the Hemingway marriage. Initially, Ernest’s work is a source of mutual purpose; Hadley supports his intense efforts to rewrite the lost manuscripts, and his success is their joint victory. However, the 1925 Fiesta de San Fermin marks a crucial turning point. Here, Ernest’s creative process becomes extractive, consuming their shared experience and converting emotional chaos into literary material. Hadley’s realization that he is meticulously recording Duff Twysden’s mannerisms for his heroine while she herself has been erased from the narrative signals her displacement from their collaborative artistic life. This creative cannibalism culminates in The Sun Also Rises, a novel born from the very tensions that corrode their intimacy. The theme of The Competing Demands of Love and Artistic Ambition is thus dramatized as a battle for narrative control. Later, Pauline Pfeiffer’s emergence as Ernest’s intellectual confidante solidifies this shift. Her enthusiastic endorsement of the professionally reckless The Torrents of Spring positions Pauline as a collaborator in his ambition, not merely a supporter of his well-being, demonstrating that Ernest’s evolving artistic life now requires a different kind of partner.


Parallel to the corrosion of their artistic partnership is the destabilization of Hadley’s identity. Her initial contentment with impending motherhood is profound; she feels she has “finally discovered [her] purpose” (151), a traditional fulfillment that grounds her. Yet, this domestic role becomes increasingly isolated within their bohemian milieu. Her friendships with women like Kitty Cannell and Pauline Pfeiffer highlight this tension, forcing a confrontation with the limitations of her identity as solely a supportive wife and mother and pushing her toward reclaiming a part of herself that predates Ernest. Her decision to schedule a piano concert, made while Ernest is away, is a significant act of self-assertion. It represents an attempt to cultivate an identity independent of her husband’s burgeoning fame, a direct engagement with the theme of Defining the Self in a Man’s World. This act, however tentative, marks her recognition that her selfhood cannot be entirely subsumed by his without being completely erased.


The novel’s use of geography provides a symbolic map of the couple’s emotional trajectory, with each setting, in turn, degrading their bond. For Ernest, Toronto is a sterile environment of creative suffocation. Pamplona, once the site of their shared adventure, devolves into a public theater for jealousy, rivalry, and betrayal during the 1925 fiesta. This stark contrast between the two visits vividly illustrates the decay of their union. Most poignantly, the mountain village of Schruns in Austria is established as an idyllic sanctuary, the zenith of their shared happiness. Yet, upon their second visit, this pristine landscape becomes the very place where Ernest’s affair with Pauline takes root, irrevocably tainting their refuge. The narrative’s focus on travel underscores that their problems are internal and portable; no location can provide a lasting escape. Instead, each new environment serves to amplify the fissures in their relationship, proving that The Gradual Erosion of Trust and Intimacy is a process that poisons even their most sacred spaces.


This section is structured with deliberate narrative signposts and symbolic foreshadowing, casting the marriage’s dissolution with an air of tragic inevitability. The conclusion of the first Schruns trip is marked by Hadley’s stark premonition after Ernest secures his book deal: “He would never again be unknown. We would never again be this happy” (195). This statement functions as a structural pivot, signaling the end of their private idyll and his relative artistic anonymity. The arrival of Pauline, described in her “coat made of hundreds of chipmunk skins sewn painfully together” (198), directly fulfills the novel’s opening flash-forward, confirming her identity as the catalyst for the story’s central tragedy. Furthermore, the lethal avalanche in Schruns serves as a powerful objective correlative for their impending marital disaster. The avalanche, a catastrophic event born of unstable underlying conditions, mirrors the way the introduction of Pauline into their already strained relationship precipitates a complete collapse of trust. These craft choices elevate the narrative beyond a simple recounting of events, framing the personal story within larger tragic patterns.


Underpinning Ernest’s artistic and marital conflicts is a pervasive sense of competitive masculinity, which finds its ultimate symbol in the bullfights. His relationships with other men are defined by rivalry; he chafes under the financial power of friends, resents the authority of his editor, and seethes with professional jealousy over Harold Loeb’s literary success and affair with Duff Twysden. This constant jockeying for dominance fuels both his personal antagonisms and his creative drive. The fiesta in Pamplona becomes the primary arena for these contests, where masculine worth is measured through drinking, romantic conquest, and courage. Ernest’s admiration for the matador Cayetano Ordóñez stems from the boy’s elegant mastery over life and death, an ideal of artistic and masculine control he strives to emulate. His brutal literary satire of his mentor Sherwood Anderson in The Torrents of Spring is the culmination of this impulse, an attempt to metaphorically “kill” his artistic father to assert his own singular dominance. This recurring pattern of rivalry reveals that his ambition is inextricably linked to a need to vanquish his peers, a drive that proves destructive to his personal relationships.

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