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Lot 78
HEMINGWAY, ERNEST, and MARY WELSH HEMINGWAY. Typed Letter Signed ("Mary") with a dictated Postscript Signed ("Papa"), holograph addition in Mary's hand and a few corrections in pencil, 3 pp, 4to, July 9, [1948], San Francisco de Paula, Cuba,
4 June 2014, 13:00 EDT
New YorkUS$4,000 - US$6,000
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HEMINGWAY, ERNEST, and MARY WELSH HEMINGWAY.
Typed Letter Signed ("Mary") with a dictated Postscript Signed ("Papa"), holograph addition in Mary's hand and a few corrections in pencil, 3 pp, 4to, July 9, [1948], San Francisco de Paula, Cuba, to Peter Viertel, on Finca Vigia stationery, mailing folds, fine.
"I THINK WE COULD DO A HELL OF A BOOK": HEMINGWAY TO PETER VIERTEL ON AN UNREALIZED COLLABORATION. The letter represents a tag-team effort by Mary and Ernest Hemingway to convince Viertel of the merits of collaborating on a book, and laying out the division of labor for the project. Hemingway had proposed the joint work – about the crew of a disabled German submarine who take over the lighthouse at Cayo Lobos, where they are discovered by the crew of the wartime Pilar – a few months earlier, but Viertel had declined (see Reynolds, Hemingway: The Final Years, p 172). Still, Hemingway persisted. In the first two pages of the present letter, Mary takes up the case, describing how the project might work: "I think you ought not to envisage it as a word by word, phrase by phrase job. What Papa knows and can write well is the sea part and the Pilar and attack part. You know about Krauts and their language and their attitudes and idioms, and what you will have to learn is the submarine stuff and what happens submerging, surfacing, fighting, etc., and how the command hierarchy works and what can go wrong etc." She goes on to detail how Viertel and his wife Jigee might live and write in Ketchum until the Hemingways can join them there after their tour of Italy (the details of which she explains at the opening of the letter).
In a nearly page-long, dictated post-script to the letter, Papa further presses the cause: I think we could do a hell of a book but think we would probably be going at it ass backwards for you not to research the sub end first and us make the trip to the island so we both know what we are writing about before we start. I really think this (collaboration ie. partnership. don't want to call you a collaborator. you've got your hair cut short enough already.) is a sound move and could put you into the big time ... I'm happy to be partners on this because there will be plenty of dough for everybody and it will be a good book with no whoring ... Just don't say nothing to nobody about it, really, not Irwin, nor Jesus, nor nobody. I would never have the time nor be able to allow the work to doing the Kraut end, so you know how important it is." He also notes that he already has "about 40,000 words done on the commander coming in from a trip and he and his people hitting this town before they would start on this trip," but adds "This I might use or might throw out ... The measure of a book is how good the stuff is that you can throw out." In spite of Hemingway's efforts, Viertel failed to be persuaded, and the project never came to fruition. However, Viertel would later write the screenplay adaptations of The Sun Also Rises (1957) and The Old Man and the Sea (1958).
"I THINK WE COULD DO A HELL OF A BOOK": HEMINGWAY TO PETER VIERTEL ON AN UNREALIZED COLLABORATION. The letter represents a tag-team effort by Mary and Ernest Hemingway to convince Viertel of the merits of collaborating on a book, and laying out the division of labor for the project. Hemingway had proposed the joint work – about the crew of a disabled German submarine who take over the lighthouse at Cayo Lobos, where they are discovered by the crew of the wartime Pilar – a few months earlier, but Viertel had declined (see Reynolds, Hemingway: The Final Years, p 172). Still, Hemingway persisted. In the first two pages of the present letter, Mary takes up the case, describing how the project might work: "I think you ought not to envisage it as a word by word, phrase by phrase job. What Papa knows and can write well is the sea part and the Pilar and attack part. You know about Krauts and their language and their attitudes and idioms, and what you will have to learn is the submarine stuff and what happens submerging, surfacing, fighting, etc., and how the command hierarchy works and what can go wrong etc." She goes on to detail how Viertel and his wife Jigee might live and write in Ketchum until the Hemingways can join them there after their tour of Italy (the details of which she explains at the opening of the letter).
In a nearly page-long, dictated post-script to the letter, Papa further presses the cause: I think we could do a hell of a book but think we would probably be going at it ass backwards for you not to research the sub end first and us make the trip to the island so we both know what we are writing about before we start. I really think this (collaboration ie. partnership. don't want to call you a collaborator. you've got your hair cut short enough already.) is a sound move and could put you into the big time ... I'm happy to be partners on this because there will be plenty of dough for everybody and it will be a good book with no whoring ... Just don't say nothing to nobody about it, really, not Irwin, nor Jesus, nor nobody. I would never have the time nor be able to allow the work to doing the Kraut end, so you know how important it is." He also notes that he already has "about 40,000 words done on the commander coming in from a trip and he and his people hitting this town before they would start on this trip," but adds "This I might use or might throw out ... The measure of a book is how good the stuff is that you can throw out." In spite of Hemingway's efforts, Viertel failed to be persuaded, and the project never came to fruition. However, Viertel would later write the screenplay adaptations of The Sun Also Rises (1957) and The Old Man and the Sea (1958).