PATRICK DEER <email@example.com> is the author of Culture in Camouflage: War, Empire and Modern British Literature (Oxford UP, 2009; paperback, 2016) and the editor of a special issue of Social Text on The Ends of War (2007). His current book projects are Surge and Silence: Understanding America's Cultures of War and Deep England: Forging National Identity After Empire. He teaches at New York University.
AARON DEROSA <firstname.lastname@example.org> is an assistant professor of 20th- and 21st-century American literature. His work on post-1945 literature has appeared in Arizona Quarterly, Studies in the Novel, LIT: Literature, Interpretation, Theory, MFS Modern Fiction Studies, and the edited volumes American Writing After 9/11 (Bloomsbury, 2015), Narrating 9/11: Fantasies of State, Security, and Terrorism (Johns Hopkins, 2015), and Portraying 9/11 (McFarland, 2011). His current manuscript project is titled Advertising and American Fiction since 1945.
JENNIFER HAYTOCK <email@example.com> teaches American literature at the College at Brockport, SUNY. She is the author of At Home, At War: Domesticity and World War I in American Literature (2003), Edith Wharton and the Conversations of Literary Modernism (2008), and The Middle Class in the Great Depression: Popular Women's Novels of the 1930s (2013). Her essays have appeared in the Hemingway Review, Legacy, and Mosaic.
ALLA IVANCHIKOVA <firstname.lastname@example.org> is an assistant professor of English at Hobart and William Smith Colleges in Geneva, NY. Her research focuses on the post-9/11 novel, new media theory, and Anthropocene fictions. Her recent articles include "Machinic Intimacies and Mechanical Brides: Technology between Surrogacy and Prosthesis in Ben Ristow's Surrogates and Spike Jonze's Her" (Camera Obscura, 2016) and "Imagining Afghanistan: Conflicting Chronographies of One Invasion" (Textual Practice, 2016).
ROGER LUCKHURST <email@example.com> is the author of several books, including The Trauma Question (2008). He is Professor of Modern Literature at Birkbeck College, University of London.
STACEY PEEBLES <firstname.lastname@example.org> is the author of Welcome to the Suck: Narrating the American Soldier's Experience in Iraq (2011) and Cormac McCarthy and Performance: Page, Stage, Screen (2017). She is the editor of the collection Violence in Literature [End Page 397] (2014) and The Cormac McCarthy Journal. She is NEH Associate Professor of English and Director of Film Studies at Centre College in Danville, Kentucky.
BELINDA LINN RINCÓN <email@example.com> is an assistant professor of Latin American and Latina/o Studies and English at John Jay College of Criminal Justice. She specializes in Latina/o literary studies and is the author of Bodies at War: Genealogies of Militarism in Chicana Literature and Culture (U of Arizona P, forthcoming 2017). Her articles appear in Women's Studies Quarterly and Latino Studies. She is the cofounder of the Biennial U.S. Latina/o Literary Theory and Criticism Conference.
BRENDA SANFILIPPO <firstname.lastname@example.org> teaches in the Writing Program and Literature Department at the University of California Santa Cruz, where she received her PhD in Literature. This piece is drawn from her in-progress book manuscript, "Blood Wings: G.I. Janes, Army Wives, and Gold Star Moms in Narratives of the War on Terror," which examines representations of women in contemporary American war fiction and film.
J. D. SCHNEPF <email@example.com> teaches in the History & Literature Concentration at Harvard University. She holds a PhD in English from Brown University.
ALEX VERNON <firstname.lastname@example.org> has written two military memoirs, The Eyes of Orion and most succinctly bred, and two war literature studies, Soldiers Once and Still and Hemingway's Second War. He has edited four volumes on the subject. Recent related essays include "Field Notes on The Things They Carried" and "Plying the Darkness," an essay-review of Brian Turner's memoir My Life as a Foreign Country. He is also the author of the cultural study On Tarzan. He teaches at Hendrix College. [End Page 398]