That Summer in Paris: Exile Educational Series Number One

That Summer in Paris: Exile Educational Series Number One

by Morley Callaghan


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Product Details

ISBN-13: 9781550966886
Publisher: Exile Editions
Publication date: 06/01/2007
Series: Exile Classics series
Pages: 232
Product dimensions: 6.00(w) x 9.00(h) x 0.58(d)

About the Author

Morley Callaghan is the author of It's Never Over, The New Yorker Stories, Strange Fugitive, Such Is My Beloved, and The Vow. He was nominated for the Nobel Prize in Literature and the Canadian Governor General's Award for Fiction. He died in 1990.

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From the Publisher

"If there is a better story writer in the world we don't know where he is."  —The New York Times

"His unobtrusive art is more subtle and his intelligence more mature than those of either [Hemingway or Fitzgerald]. Callaghan's book will surprise and shock the Hemingway fans."  —Edmund Wilson

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That Summer in Paris: Exile Educational Series Number One 3.3 out of 5 based on 0 ratings. 4 reviews.
kraaivrouw on LibraryThing 5 months ago
I re-read The Sun Also Rises prior to reading this and it probably did this book a disservice because The Sun Also Rises is just so wonderful and this book definitely suffered in comparison. The problem, ultimately, is that Hemingway writes like Hemingway and Callaghan writes like a journalist. There isn't anything wrong with journalism, but given the choice between the gorgeous writing in The Sun Also Rises and A Moveable Feast and the rather flat and dry writing in Callaghan's book, I'm going straight for the pretty stuff.
READnotowned on LibraryThing 5 months ago
Morley Callaghan comes off as a name dropping chauvinist, taking an immediate dislike to the women he meets in Paris that summer. Sylvia Beach offends the great Callaghan because she refuses to give out the personal information of her writer friends. Zelda Fitzgerald he sneers at because she mentions that she too is a good writer (and having read both authors I agree; finding Zelda's letters profound, her prose beautiful and coherent) and also he feels her ballet is competing with Scott. Pauline Hemingway isn't impressed with Morley or his wife (Loretto, who is the only woman in the book who is 'approved' though her only actions are sitting, smiling, and when she speaks-parroting Morley) so she is brushed off as cold. He mentions every trivial encounter he can with any of the 1920s Paris names. It's like a summer spent celebrity spotting and is written up as well as any fifth grader writing "What I did on my summer vacation..."
jwhenderson on LibraryThing 5 months ago
Morley Callaghan was only twenty-six years old when he spent the summer of 1929 in Paris with his wife. He had been encouraged by Ernest Hemingway when they were both journalists in Toronto and looked forward to seeing Hemingway again at his place in Paris. Along the way he stops in New York and meets Sinclair Lewis while establishing himself with the editor Maxwell Perkins at Scribner's who publishes his first book. But it is in Paris that he tries to make a home for that one summer. In addition to Hemingway there is Fitzgerald and McAlmon with whom he develops some rapport. He manages to meet with "Jimmy" Joyce and his wife in spite of the protectiveness of Sylvia Beach who is on a mission to guard the privacy of Joyce. This memoir is uneven but it is difficult to avoid some interest in the shenanigans of the trio of Scott, Ernest and Morley when the latter duo engage in boxing matches or when Morley and his wife encounter Scott and Zelda on the afternoon following a bender with them wasted in their apartment. Callaghan would go on to write unmemorable novels, but his summer in Paris reminds me that he was one a cluster of the twentieth century's greatest writers.
TimBazzett on LibraryThing 5 months ago
Morley Callaghan's excellent memoir of the expatriate scene on Paris's left bank in 1929, THAT SUMMER IN PARIS, was first published in 1963. Callaghan wrote the book because he found he was deeply affected by the tragic suicide of his one-time friend, Ernest Hemingway, and memories of Paris from that long-ago summer began to float to the surface of his mind until he decided to write of it. I 'discovered' Callaghan's memoir when I read of it in the recent scholarly and excellent book, STEIN AND HEMINGWAY, by Professor Lyle Larsen. THAT SUMMER IN PARIS was recently faithfully and stylishly reprinted by Exile Editions, which is the version I now own.Callaghan, who was apparently well-known in Canada (he died in 1990), was a new writer to me, but now I may have to seek out some of his other work. I enjoyed this book that much. His style of writing is deceptively simple and straightforward and he doesn't appear to take himself overly seriously. He tells his readers right up front that writing should be about the thing itself, and not hidden in metaphors or symbolism, or something to that effect. This approach is certainly followed in THAT SUMMER, which offers a clear-eyed and moving portrait of his separate friendships with Hemingway and Fitzgerald. "Separate" because Callaghan makes clear that there was something between the two men which precluded a real and close friendship, something Callaghan himself is unclear on. As a young aspiring writer with just one book to his credit, Callaghan makes no secret of his enormous admiration for both men, but as he gets to know both of them better, he comes to feel sorry for Fitzgerald, a tortured soul, alcoholic and saddled with a wife who is mentally ill. There are also vague intimations that Fitzgerald may have been a repressed homosexual, which may have been the 'something' between him and Hemingway which precluded any lasting or close friendship. Moreover early in the narrative Callaghan muses that he was "half convinced that writers couldn't go on being friends. Something would always happen that would make them shy away from each other."Perhaps there is indeed some jealousy or mean spiritedness in this difficulty between writers, as evidenced in an observation once by Oscar Wilde: "It isn't enough that I succeed. My friend has got to fail a little." (I feel compelled to confess that I got this Wilde quote from another writer acquaintance, Ward Just.) In any case, although Fitzgerald appeared to be hungry for Hemingway's friendship to an almost embarrasing extent, Ernest generally kept himself apart from Scott. As a practical and extremely perceptive young man, Callaghan recognized these difficulties between the two men, and yet managed to remain friends with both of them. With Hemingway he donned boxing gloves and became a regular sparring partner, a macho kind of friendship initiated by Hemingway. His friendship with Fitzgerald was more cerebral and literary in nature, and he also acted, if unwillingly, as a liaison between the two men. Callaghan was a man with strong opinions on writing and other writers and had no compunction about giving them. He admired Fitzgerald's work without reserve, but seemed to feel that Hemingway's A FAREWELL TO ARMS was his best work (an opinion I share), while he dismissed the fine Nick Adams takls as "his little Michigan stories" - an opinion I do not share. (But then I am from Michigan.) He is equally dismissive of the French writers of the time, Mallarme and Gide, for example. And of Henry James he writes -"That style of his in those later books! I began to hate it. Not layers of extra subtleness - just evasion from the task of knowing exactly what to say. Always the fancied fastidiousness of sensibility. Bright and sharp as he had been in the earlier books, the fact was that James had got vulgar - like a woman who was always calling attention to her fastidiousness."Of Gertrude Stein, Callaghan was equally scornful -"I no longer had any curiosity ab