Rena Sanderson is Associate Professor Emerita of English at Boise State University. She served on the board of the Hemingway Society and Foundation and directed two Hemingway Conferences. Her works on Hemingway include Blowing the Bridge: Essays on Hemingway and For Whom the Bell Tolls (1992), Hemingway's Italy: New Perspectives (2006), and essays in The Cambridge Companion to Hemingway (1996) and in Hemingway and Women: Female Critics and the Female Voice (2002). Sandra Spanier, Professor of English at Pennsylvania State University, is General Editor of The Cambridge Edition of the Letters of Ernest Hemingway and is co-editor of its first two volumes. Some of her publications include Kay Boyle: A Twentieth-Century Life in Letters (2015) and Martha Gellhorn and Virginia Cowles' rediscovered play Love Goes to Press (1995; revised edition, 2010). Her most recent essay on Hemingway appeared in Ernest Hemingway in Context (2013), and she serves on the editorial board of The Hemingway Review. Robert W. Trogdon is Professor and Chair of the Department of English at Kent State University. He is co-editor for Volumes 1 and 2 of The Letters of Ernest Hemingway. He is author of The Lousy Racket: Hemingway, Scribners and the Business of Literature (2007) and editor of Ernest Hemingway: A Literary Reference (2002). He has served as a member of the board of the Ernest Hemingway Foundation and Society.
'Reading Hemingway's letters is to go back in time by stepping into the fascinating world of a revolutionary wordsmith; a voyage through decades to the very moments when literature was taking a sudden bend in the road; a shift that was being steered by the father of modern literature. Indeed, the value of these letters cannot be overstated.' Nick Mafi, Esquire 'Scholars will be deeply absorbed; general readers will find enjoyment and enlightenment.' Steve Paul, Booklist 'Away from the chisel work of his early fiction ... the letters show Hemingway at play in figurative language, humour, meandering sentences and desultory subjects.' Naomi Wood, Literary Review