- Pip-Pip to Hemingway in Something from Marge by Georgianna Main
Georgianna Main’s book about her mother Marge Bump makes an important contribution to our understanding of Hemingway’s early life and writing. Pip-Pip to Hemingway in Something from Marge offers local history of the Horton Bay area, correspondence between Marge Bump and Hemingway as well as from Hemingway to others, a great collection of photographs, and conversations between Marge and her daughter Georgianna Main. A foreword by H. R. Stoneback reminds readers of the serious implications of what Hemingway called “that Marge business,” while Main’s record provides a rare glimpse into Marge’s reaction to Hemingway’s use of her persona in his work. More importantly, both Main and Stoneback fill in biographical gaps and correct the many misconceptions about the real Marge Bump pervading Hemingway biographies.
The saga of “that Marge Business” began with Hemingway’s use of Marge’s name in “The End of Something” and “The Three-Day Blow” in In Our Time (1925). Perhaps basing their opinions on Bill’s immature and selfish opinion of Marge in “The Three-Day Blow”—it was Bill who told Nick that he was “wise” to “bust off that Marge business” (CSS 90)—Hemingway’s biographers have painted a variety of curious and sometimes offensive pictures of the real Marge Bump: Kenneth Lynn in Hemingway described her as Hemingway’s “redheaded flame from Petoskey” (254); Peter Griffin in Along with Youth saw her as a “well-built red-headed waitress” (122); in Hemingway: A Biography, Jeffrey Meyers identified her as the “suggestively named Marjorie Bump... a freckled, pudgy, cute, smiling girl who looked young and vulnerable” (48–49); and Michael Reynolds described her in The Young Hemingway as the “cute summer waitress” that Ernest “could have... if he wanted” (88–89).
The above biographical remarks about Marge have already been addressed through the efforts of Stoneback in “‘Nothing Was Ever Lost’: Another Look at ‘That Marge Business’” (in Hemingway: Up in Michigan Perspectives, ed. Frederic [End Page 161] J. Svoboda and Joseph Waldmeir, Michigan State UP 1995) and Bill Ohle in How it Was in Horton Bay (Boyne City, MI, self-published 1989). Marge in the stories (and in her real life story) was nothing like the above descriptions. In “The End of Something,” Marge acts with precision and grace as Nick rejects her. Still, biographers and critics take Bill’s word on Marge, failing to see, as Stoneback reminds us, “that one central concern of the stories is the very insidiousness of Bill’s patronizing attitudes” (78).
Now, Main in Pip-Pip to Hemingway completes the picture. The most striking image recurring throughout Ohle’s book, Stoneback’s essay, and Main’s book is the character of Marge herself—a woman who acted with “dignity, discipline, poise, serenity, and her own kind of courage under the stress of rejection” (Main 38).
Though Main’s book is certainly valuable as another corrective, there are other indispensable portions of Pip-Pip to Hemingway. Main’s account of her mother’s words and feelings about Hemingway’s portrayal of Marge in “The End of Something” and “The Three-Day Blow” is illuminating. Before she passed away, Marge told her daughter that Hemingway’s publishing her real name in the stories:
remained a deep hurt for all my long life because Ernest painted a false picture of me under my real name… It made me so upset that I was never at all comfortable about going back to Petoskey, Michigan.… I felt humiliated to be the object of their pity when they read about me as a young lady to whom Nick [as Ernest] had spoken these words about our relationship.(14)
Marge also revealed why Ernest disliked her mother. Years after the publication of the stories, Marge’s mother told her that “Ernest had spoken to her privately about possible marriage” to Marge. Marge’s mother told him that her daughter was too young to marry, that she needed to attend college first, and...