"Surely his most interesting, plausibly his most memorable, and . . . arguably his best book" —The New York Times Book Review For John Steinbeck, who hated the telephone, letter-writing was a preparation for work and a natural way for him to communicate his thoughts on people he liked and hated; on marriage, women, and children; on the condition of the world; and on his progress in learning his craft. Opening with letters written during Steinbeck's early years in California, and closing with a 1968 note written in Sag Herbor, New York, Steinbeck: A Life in Letters reveals the inner thoughts and rough character of this American author as nothing else has and as nothing else ever will. "The reader will discover as much about the making of a writer and the creative process, as he will about Steinbeck. And that's a lot." —Los Angeles Herald-Examiner "A rewarding book of enduring interest, this becomes a major part of the Steinbeck canon." —The Wall Street Journal

Many books have been written regarding Ronald Reagan, but this collection of his letters must certainly be among the most varied and revealing aspect of the man. Organized by themes such as "Old Friends", "Running for Office ", "Core Beliefs" the book contains over 1,000 letters stretching from 1922 to 1994 . Whether discussing economic policy with a political for, dispensing marital advice, or sharing a joke with a pen pal.

A vibrant self-portrait of an artist whose work was his life. In this new collection of F. Scott Fitzgerald's letters, edited by leading Fitzgerald scholar and biographer Matthew J. Bruccoli, we see through his own words the artistic and emotional maturation of one of America's most enduring and elegant authors. A Life in Letters is the most comprehensive volume of Fitzgerald's letters -- many of them appearing in print for the first time. The fullness of the selection and the chronological arrangement make this collection the closest thing to an autobiography that Fitzgerald ever wrote. While many readers are familiar with Fitzgerald's legendary "jazz age" social life and his friendships with Ernest Hemingway, Gertrude Stein, Edmund Wilson, and other famous authors, few are aware of his writings about his life and his views on writing. Letters to his editor Maxwell Perkins illustrate the development of Fitzgerald's literary sensibility; those to his friend and competitor Ernest Hemingway reveal their difficult relationship. The most poignant letters here were written to his wife, Zelda, from the time of their courtship in Montgomery, Alabama, during World War I to her extended convalescence in a sanatorium near Asheville, North Carolina. Fitzgerald is by turns affectionate and proud in his letters to his daughter, Scottie, at college in the East while he was struggling in Hollywood. For readers who think primarily of Fitzgerald as a hard-drinking playboy for whom writing was effortless, these letters show his serious, painstaking concerns with creating realistic, durable art.

“ I mean to live and die by my own mind,” Zora Neale Hurston told the writer Countee Cullen. Arriving in Harlem in 1925 with little more than a dollar to her name, Hurston rose to become one of the central figures of the Harlem Renaissance, only to die in obscurity. Not until the 1970s was she rediscovered by Alice Walker and other admirers. Although Hurston has entered the pantheon as one of the most influential American writers of the 20th century, the true nature of her personality has proven elusive. Now, a brilliant, complicated and utterly arresting woman emerges from this landmark book. Carla Kaplan, a noted Hurston scholar, has found hundreds of revealing, previously unpublished letters for this definitive collection; she also provides extensive and illuminating commentary on Hurston’s life and work, as well as an annotated glossary of the organizations and personalities that were important to it. From her enrollment at Baltimore’s Morgan Academy in 1917, to correspondence with Marjorie Kinnan Rawlings, Langston Hughes, Dorothy West and Alain Locke, to a final query letter to her publishers in 1959, Hurston’s spirited correspondence offers an invaluable portrait of a remarkable, irrepressible talent.

William Sharp (1855-1905) conducted one of the most audacious literary deceptions of his or any time. Sharp was a Scottish poet, novelist, biographer and editor who in 1893 began to write critically and commercially successful books under the name Fiona Macleod. This was far more than just a pseudonym: he corresponded as Macleod, enlisting his sister to provide the handwriting and address, and for more than a decade "Fiona Macleod" duped not only the general public but such literary luminaries as William Butler Yeats and, in America, E. C. Stedman. Sharp wrote "I feel another self within me now more than ever; it is as if I were possessed by a spirit who must speak out". This three-volume collection brings together Sharp’s own correspondence – a fascinating trove in its own right, by a Victorian man of letters who was on intimate terms with writers including Dante Gabriel Rossetti, Walter Pater, and George Meredith – and the Fiona Macleod letters, which bring to life Sharp’s intriguing "second self". With an introduction and detailed notes by William F. Halloran, this richly rewarding collection offers a wonderful insight into the literary landscape of the time, while also investigating a strange and underappreciated phenomenon of late-nineteenth-century English literature. It is essential for scholars of the period, and it is an illuminating read for anyone interested in authorship and identity.

The letters of one of the world’s greatest composers Wolfgang Amadeus Mozart—seen variously as a child prodigy, musical genius, tragic Romantic artist, and cultural icon—is among the most written-about of all composers. This fascinating set of his letters offers a new understanding of his life story—his marriage, compositions, performances, occasional money worries, opinions of fellow musicians, and complex relationship with his father—and a revealing portrait of both the man and the musician.

Queen Elizabeth I (1533-1603) ruled England for 45 turbulent years, and her reign has come to be seen as a golden age. She exercised supreme authority in a man's world, while remaining intensely feminine. She was Gloriana, the Virgin Queen, but is also held up as a role model for company executives in the twenty-first century. She is a near-legendary figure from a remote past who remains fascinatingly modern. This handsome volume has been published to commemorate the 400th anniversary of Elizabeth I's death in 1603. It illustrates in color and, where possible, in actual size, sixty manuscripts--either by Elizabeth or to her. Each one is accompanied by a running commentary, explaining the document and placing it in its historical context, and selected transcriptions or, where necessary, translations from the originals. Elizabeth was a girl of extraordinary precocity and a brilliant linguist. Her early letters, written in a beautiful italic, are to her forbidding father, Henry VIII, and to her brother and sister, Edward VI and "Bloody" Mary. The very first letter dates from when she was a child of eleven. The last, written nearly 60 years later, is a barely-legible scrawl addressed to her successor, the future James I. The letters from her in-tray are no less extraordinary. Tsar Ivan the Terrible rounds on her in a blind fury after she refuses to marry him. The Earl of Essex, young enough to be her son, pours out declarations of love: a few pages further on is to be found her signed warrant for his execution. There are letters from ministers and galley slaves, spies and traitors, coded letters, warrants for torture, speeches to parliament, and the original--only recently identified--of the most famous of all her utterances: "I know I have the body but of a weak and feeble woman, but I have the heart and stomach of a king."