Reviewed by: Hemingway’s Widow: The Life and Legacy of Mary Welsh Hemingway by Timothy Christian Hilary K. Justice Hemingway’s Widow: The Life and Legacy of Mary Welsh Hemingway. By Timothy Christian. Pegasus Books, 2022. 506 pp. Hardcover $35.00. As H.R. Stoneback announces in the introduction to Timothy Christian’s Hemingway’s Widow, this is the Mary Hemingway biography Hemingway studies has long needed. Prior to the publication of this volume, the only available full-length biographical was Mary’s autobiography in her own words, How It Was (1976), which requires a weather eye toward willful obfuscation and self-justification. Other biographical treatments of Mary, mostly in biographies of her husband, view her through the lens of the fourth Mrs. Hemingway, in which she first appears full-grown as a war correspondent in London. In Hemingway’s Widow, Christian brilliantly fills this long-empty gap, presenting readers with lucid prose; meticulous research; where warranted, cogent argument; where pertinent, engagement with recent scholarship; and over 50 pages of endnotes. One couldn’t wish for a better-researched, more readable book; Hemingway’s Widow sets a new gold-standard in our understanding of Mary Hemingway’s life and legacy. As important as what Christian’s work does is how it does it. Whatever questions individual readers may bring, Christian addresses the big question, “Why,” in all its major variants: why did she marry him, why did she stay with him, and why did she lie about his suicide? The answers he offers are nuanced, evidence-based, and historicized; they are compelling, yet Christian nearly always leaves ample room for discernment and one’s own judgment in the grey areas. Further, his research is so thorough, his sources so precisely attributed, and his style so clear that Hemingway’s Widow merits a high degree of trust as a scholarly resource, especially if one is unable to travel to relevant archives or to conduct interviews with those who still remember Mary and Ernest Hemingway. The Mary Hemingway who emerges in this work is much more complex than the version she allowed readers to glimpse in her autobiography. Christian provides much new detail, especially about her life before and after Ernest: the dynamics of her family of origin, her adult romantic, sexual, and professional lives (which occasionally overlapped), and her connections with Ernest’s other wives, particularly Hadley. Christian’s work restores her individuality and human dimension to what has been, up to now, a relatively flatter portrait. Mary’s ambition, professional success, and networking savvy all positioned her as an incisive and swift judge of character who had few illusions about Ernest even before their marriage. As their relationship progressed, she [End Page 113] consistently made tough, rational, sometimes inexplicable decisions. Refreshingly, when there is a gap in the documentary record, Christian refrains from imagining or explaining. However much readers might want to know exactly how Mary got from “Hemingway is not worth the trouble” to signing up for a lifetime of it, if Mary doesn’t explain, Christian does not venture. For all Christian’s restraint and insistence on firm grounding in primary documentary sources, Hemingway’s Widow nonetheless both reads and works like literature. Hemingway’s Widow presents Mary’s life in three phases: pre-Ernest, marriage, and widowhood. The pre- and post-marriage sections (14 chapters each) contain the freshest material. The story of the marriage (21 chapters) divides neatly into two sections, pivoting during the safari, just prior to their calamitous plane crashes. Christian’s Mary works on two levels: the shrewd and successful professional (Time magazine’s first female foreign correspondent [32]; her posting was to wartime London) and the private person who assesses her life on her 36th birthday in a mixture of gendered and professional terms: “no children, no fame, no money” (39). When Ernest proposes marriage, Mary thus faces a major dilemma. Although she sees his flaws clearly, becoming “Mrs. Ernest Hemingway” guarantees fame and money and at least the possibility of children. Against her better judgment, she eventually accepts his proposal and would spend the remainder of Ernest’s life making compromise after compromise to uphold the bargain she’s made...