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Cargando... That Summer In Paris: Memories of Tangled Friendships with Hemingway, Fitzgerald, and Some Others (1963)por Morley Callaghan
   Top Five Books of 2013 (932) Actualmente no hay Conversaciones sobre este libro.  dvoratreis | May 22, 2024 |    ) untraveller | Aug 13, 2018 | "The Quarter was like a small town. It had little points of protocol, little indignities not to be suffered." - That Summer in Paris, page 109 "Look at it in this way. Scott didn’t like McAlmon. McAlmon no longer liked Hemingway. Hemingway had turned against Scott. I had turned up my nose at Ford. Hemingway liked Joyce. Joyce liked McAlmon." - That Summer in Paris, pg. 169 The above quotes give a good idea of the gossipy tone of Morley Callaghan's memoir. Callaghan first met Ernest Hemingway in Toronto, Canada in 1923 where they were both working for the Toronto Star and Callaghan's early short-story writing was encouraged and promoted by Hemingway. Callaghan was a Scribners published author along with Hemingway and F. Scott Fitzgerald by the time he and his wife Loretto came to live in Paris for the summer of 1929. Hemingway's A Moveable Feast (published posthumously in 1964) centres on his 1921-1925 years in Paris and is a paean to the love of his first wife Hadley, but with a bitter tone towards many of his contemporaries. I get a sense that Callaghan's life-long love of Loretto (who is also the book's dedicatee) was what kept him balanced and made for the more good natured tone in his memoir which he wrote in response to Hemingway's death in 1961. Callaghan had a wish-list of writers he hoped to meet in Paris and manages eventually to meet them all: F. Scott Fitzgerald, James Joyce and Robert McAlmon among them, as well as a then unknown John Glassco (with the nickname of Buffy, under which he appears several times as a couple with his fellow Montrealer Graeme Taylor). The book builds to a climax and crisis where the friendly sparring partners Callaghan and Hemingway were famously mis-timed in a round by Fitzgerald that resulted in Callaghan knocking down the heavier and taller Hemingway. The easily slighted Hemingway is not quick to make friends again afterwards but all ends relatively well. This 2014 printing by Exile Editions has the bonus content of several reviews and articles by Callaghan about his contemporaries as well as an undated (1980's?) afterward which records a final return trip to Paris by the Callaghans. Highly recommended if you are intrigued by this locale and this period. A partial list of related 1920's Paris memoirs: Kiki's Memoirs (1929) by Kiki de Montparnasse The Autobiography of Alice B. Toklas (1933) by Gertrude Stein This Must be the Place (1934) by Jimmie (The Barman) Charters A Moveable Feast (1964) by Ernest Hemingway Being Geniuses Together, 1920 1930 (1970) by Robert McAlmon (1938 original) & Kay Boyle (1960’s additions) Memoirs of Montparnasse (1973) by John Glassco The Nightinghouls of Paris (2007) by Robert McAlmon and one photography book: Hemingway's Paris: A Writer's City in Words and Images (2015) by Robert Wheeler (  )3  alanteder | Feb 14, 2016 | stephencrowe | Nov 11, 2015 | mailerlibrary | Aug 13, 2013 |
 If one knows some of the people mentioned, or is obsessed with the period, then Morley Callaghan’s memoir will satisfy. But it is not a good book. It is in fact a modest bad dull book which contains a superb short story about Hemingway, Fitzgerald, and Callaghan. One can push so far as to say it is probably the most dramatic single story about Hemingway’s relation to Fitzgerald in the literature. If Callaghan had been ready to stop at this, he could have had a long short story or a short memoir which might have become a classic. Instead he attenuated his material over a run of 255 pages, and so reminds one of a remark Fitzgerald once made to Callaghan. Talking about The Great Gatsby, he said the book had done reasonably well but was hardly a best-seller. “It was too short a book,” Fitzgerald said. “Remember this, Morley. Never write a book under sixty thousand words.”... As the vignettes, the memoirs, and the biographies of Hemingway proliferate, Callaghan’s summer in Paris may take on an importance beyond its literary merit, for it offers a fine clue to the logic of Hemingway’s mind, and tempts one to make the prediction that there will be no definitive biography of Hemingway until the nature of his personal torture is better comprehended. It is possible Hemingway lived every day of his life in the style of the suicide. What a great dread is that. It is the dread which sits in the silences of his short declarative sentences. At any instant, by any failure in magic, by a mean defeat, or by a moment of cowardice, Hemingway could be thrust back again into the agonizing demands of his courage. For the life of his talent must have depended on living in a psychic terrain where one must either be brave beyond one’s limit, or sicken closer into a bad illness, or, indeed, by the ultimate logic of the suicide, must advance the hour in which one would make another reconnaissance into one’s death. Pertenece a las series editorialesLaurentian Library (40)
It was the fabulous summer of 1929 when the literary capital of North America moved to La Rive Gauche--the Left Bank of the Seine River--in Paris. Ernest Hemingway was reading proofs of "A Farewell to Arms," and a few blocks away F. Scott Fitzgerald was struggling with "Tender Is the Night." As his first published book rose to fame in New York, Morley Callaghan arrived in Paris to share the felicities of literary life, not just with his two friends, Hemingway and Fitzgerald, but also with fellow writers James Joyce, Ford Madox Ford, and Robert McAlmon. Amidst these tangled relations, some friendships flourished while others failed. This tragic and unforgettable story comes to vivid life in Callaghan's lucid, compassionate prose. No se han encontrado descripciones de biblioteca. |
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Except for Paul's book, which isn't really about the other writers or artists, this one seems to me to be the best -- well written, but mainly the least colored and most honest. I'm not familiar with Callaghan's other writing, so I can't judge him. But in this book he seems to give a fair, honest account with no ax to grind.
Callaghan has good and not so good things to say about his colleagues, mainly focusing on Hemingway and Fitzgerald. Now that I've read this account, I am going back to reread the others, starting with A Moveable Feast, and see how the different accounts of the same time and place and same cast of characters compares. Anyone interested in this period, I would advise you do the same. Because even though many of our best and most famous English-language writers were in the same place at the same time, they each seem to have a very different story to tell about it (as do their biographers). (