In 2009 a new edition, titled the "Restored Edition", was published by Seán Hemingway, assistant curator at the Metropolitan Museum of Art and grandson of Hemingway and Pauline Pfeiffer. He made numerous changes:
- The previous introductory letter by Hemingway, pieced together from various fragments by Mary Hemingway, was removed.
- The chapter called "Birth of a New School" and large sections of "Ezra Pound and the Measuring Worm", "There is Never Any End to Paris", and "Winter in Schruns" have all been re-added. The unpublished "The Pilot Fish and the Rich" has been added.
- Chapter 7 ("Shakespeare and Company") has been moved to be chapter 3, and chapter 16 ("Nada y Pues Nada") has been moved to the end of the book.
- Hemingway's use of the second person has been restored in many places, a change which Seán asserts "brings the reader into the story".
From the new foreword by Patrick Hemingway:
[H]ere is the last bit of professional writing by my father, the true foreword to A Moveable Feast: "This book contains material from the remises of my memory and of my heart. Even if the one has been tampered with and the other does not exist."
A.E. Hotchner, a friend and biographer of Hemingway, alleged that Seán Hemingway had edited the new edition, in part, to exclude references to his grandmother, Hemingway's second wife Pauline Pfeiffer, which he had found less than flattering. Other critics also have found fault with some of the editorial changes. Irene Gammel writes about the new edition: "Ethically and pragmatically, restoring an author's original intent is a slippery slope when the published text has stood the test of time and when edits have been approved by authors or their legal representatives." Pointing to the complexity of authorship, she concludes: “Mary's version should be considered the definitive one, while the 'restored' version provides access to important unpublished contextual sources that illuminate the evolution of the 1964 edition.”