In Chicago in 1920, Hadley Richardson is a quiet twenty-eight-year-old who has all but given up on love and happiness—until she meets Ernest Hemingway and finds herself captivated by his good looks, intensity, and passionate desire to write. Following a whirlwind courtship and wedding, the pair set sail for Paris, where they become the golden couple in a lively and volatile group of expatriates that includes Gertrude Stein, Ezra Pound, and F. Scott and Zelda Fitzgerald.
But the hard-drinking and fast-living café life does not celebrate traditional notions of family and monogamy. As Hadley struggles with jealousy and self-doubt and Ernest wrestles with his burgeoning writing career, they must confront a deception that could prove the undoing of one of the great romances in literary history.
Read an excerpt!
The very first thing he does is fix me with those wonderfully brown eyes and say, "It's possible I'm too drunk to judge, but you might have something there."
It's October 1920 and jazz is everywhere. I don't know any jazz, so I'm playing Rachmaninoff. I can feel a flush beginning in my cheeks from the hard cider my dear pal Kate Smith has stuffed down me so I'll relax. I'm getting there, second by second. It starts in my fingers, warm and loose, and moves along my nerves, rounding through me. I haven't been drunk in over a year--not since my mother fell seriously ill--and I've missed the way it comes with its own perfect glove of fog, settling snugly and beautifully over my brain. I don't want to think and I don't want to feel, either, unless it's as simple as this beautiful boy's knee inches from mine.
The knee is nearly enough on its own, but there's a whole package of a man attached, tall and lean, with a lot of very dark hair and a dimple in his left cheek you could fall into. His friends call him Hemingstein, Oinbones, Bird, Nesto, Wemedge, anything they can dream up on the spot. He calls Kate Stut or Butstein (not very flattering!), and another fellow Little Fever, and yet another Horney or the Great Horned Article. He seems to know everyone, and everyone seems to know the same jokes and stories. They telegraph punch lines back and forth in code, lightning fast and wisecracking. I can't keep up, but I don't mind really. Being near these happy strangers is like a powerful transfusion of good cheer.
When Kate wanders over from the vicinity of the kitchen, he points his perfect chin at me and says, "What should we name our new friend?"
"Hash," Kate says.
"Hashedad's better," he says. "Hasovitch."
"And you're Bird?" I ask.
"Wem," Kate says.
"I'm the fellow who thinks someone should be dancing." He smiles with everything he's got, and in very short order, Kate's brother Kenley has kicked the living room carpet to one side and is manning the Victrola. We throw ourselves into it, dancing our way through a stack of records. He's not a natural, but his arms and legs are free in their joints, and I can tell that he likes being in his body. He's not the least shy about moving in on me either. In no time at all our hands are damp and clenched, our cheeks close enough that I can feel the very real heat of him. And that's when he finally tells me his name is Ernest.
"I'm thinking of giving it away, though. Ernest is so dull, and Hemingway? Who wants a Hemingway?"
Probably every girl between here and Michigan Avenue, I think, looking at my feet to keep from blushing. When I look up again, he has his brown eyes locked on me.
"Well? What do you think? Should I toss it out?"
"Maybe not just yet.”
A slow number starts, and without asking, he reaches for my waist and scoops me toward his body, which is even better up close. His chest is solid and so are his arms. I rest my hands on them lightly as he backs me around the room, past Kenley cranking the Victrola with glee, past Kate giving us a long, curious look. I close my eyes and lean into Ernest, smelling bourbon and soap, tobacco and damp cotton--and everything about this moment is so sharp and lovely, I do something completely out of character and just let myself have it.
It's October 1920 and jazz is everywhere. I don't know any jazz, so I'm playing Rachmaninoff. I can feel a flush beginning in my cheeks from the hard cider my dear pal Kate Smith has stuffed down me so I'll relax. I'm getting there, second by second. It starts in my fingers, warm and loose, and moves along my nerves, rounding through me. I haven't been drunk in over a year--not since my mother fell seriously ill--and I've missed the way it comes with its own perfect glove of fog, settling snugly and beautifully over my brain. I don't want to think and I don't want to feel, either, unless it's as simple as this beautiful boy's knee inches from mine.
The knee is nearly enough on its own, but there's a whole package of a man attached, tall and lean, with a lot of very dark hair and a dimple in his left cheek you could fall into. His friends call him Hemingstein, Oinbones, Bird, Nesto, Wemedge, anything they can dream up on the spot. He calls Kate Stut or Butstein (not very flattering!), and another fellow Little Fever, and yet another Horney or the Great Horned Article. He seems to know everyone, and everyone seems to know the same jokes and stories. They telegraph punch lines back and forth in code, lightning fast and wisecracking. I can't keep up, but I don't mind really. Being near these happy strangers is like a powerful transfusion of good cheer.
When Kate wanders over from the vicinity of the kitchen, he points his perfect chin at me and says, "What should we name our new friend?"
"Hash," Kate says.
"Hashedad's better," he says. "Hasovitch."
"And you're Bird?" I ask.
"Wem," Kate says.
"I'm the fellow who thinks someone should be dancing." He smiles with everything he's got, and in very short order, Kate's brother Kenley has kicked the living room carpet to one side and is manning the Victrola. We throw ourselves into it, dancing our way through a stack of records. He's not a natural, but his arms and legs are free in their joints, and I can tell that he likes being in his body. He's not the least shy about moving in on me either. In no time at all our hands are damp and clenched, our cheeks close enough that I can feel the very real heat of him. And that's when he finally tells me his name is Ernest.
"I'm thinking of giving it away, though. Ernest is so dull, and Hemingway? Who wants a Hemingway?"
Probably every girl between here and Michigan Avenue, I think, looking at my feet to keep from blushing. When I look up again, he has his brown eyes locked on me.
"Well? What do you think? Should I toss it out?"
"Maybe not just yet.”
A slow number starts, and without asking, he reaches for my waist and scoops me toward his body, which is even better up close. His chest is solid and so are his arms. I rest my hands on them lightly as he backs me around the room, past Kenley cranking the Victrola with glee, past Kate giving us a long, curious look. I close my eyes and lean into Ernest, smelling bourbon and soap, tobacco and damp cotton--and everything about this moment is so sharp and lovely, I do something completely out of character and just let myself have it.
Read the reviews!
“This remarkable novel about Ernest Hemingway’s first marriage is mesmerizing. Hadley’s voice, lean and lyrical, kept me in my seat, unable to take my eyes and ears away from these young lovers.”
—Nancy Horan, author of Loving Frank
"McLain's vivid account of the couple's love affair and expat adventures will leave you feeling sad yet dazzled."
—Parade
"One of the most important books of this year. McLain is a novelist to watch."
—Naples Daily News
"After nearly a century, there is a reason that the Lost Generation and Paris in the 1920's still fascinate. It was a unique intersection of time and place, people and inspiration, romance and intrigue, betrayal and tragedy. The Paris Wife brings that era to life through the eyes of Hadley Richardson Hemingway, who steps out of the shadows as the first wife of Ernest, and into the reader's mind, as beautiful and as luminous as those extraordinary days in Paris after the Great War."
—Mary Chapin Carpenter, singer and songwriter
ALSO AVAILABLE IN A KINDLE EDITION!
Paula McLain received an MFA in poetry from the University of Michigan and has been a resident of Yaddo and the MacDowell Colony. She is the author of two collections of poetry, as well as a memoir, Like Family, and a first novel, A Ticket to Ride. She lives in Cleveland with her family. You can visit Paula McLain’s website to learn more about The Paris Wife at http://www.pariswife.com/.
AND IN A 
EDITION! 
