Grove Press is a hardcover and paperback imprint of Grove Atlantic, Inc. Grove Press was founded on Grove Street in New York’s Greenwich Village in 1947. But its true beginning came in 1951 when twenty-eight-year-old Barney Rossett, Jr. bought the company and turned it into one of the most influential publishers of the 1950s, 60s, and 70s. From the outset, Rossett took chances: Grove published many of the Beats including William S. Burroughs, Jack Kerouac, and Allen Ginsberg. In addition, Grove Press became the preeminent publisher of twentieth-century drama in America, publishing the work of Samuel Beckett (Nobel Prize for Literature 1969), Bertold Brecht, Eugene Ionesco, David Mamet (Pulitzer Prize for Drama 1984), Harold Pinter (Nobel Prize for Literature 2005), Tom Stoppard, and many more. The press also introduced to American audiences the work of international authors such as Jorge Luis Borges, Mikhail Bulgakov, Marguerite Duras, Jean Genet, Pablo Neruda, Octavio Paz (Nobel Prize for Literature 1990), Kenzaburo Oe (Nobel Prize for Literature 1994), Elfriede Jelinek (Nobel Prize for Literature 2004), Alain Robbe-Grillet, and Juan Rulfo. In the late 1950s and early 1960s, Barney Rossett challenged the obscenity laws by publishing D. H. Lawrence’s Lady Chatterley’s Lover and then Henry Miller’s Tropic of Cancer. His landmark court victories changed the American cultural landscape. Grove Press went on to publish literary erotic classics like The Story of O and ground-breaking gay fiction like John Rechy’s City of Night, as well as the works of the Marquis de Sade. On the political front, Grove Press published classics that include Franz Fanon’s The Wretched of the Earth, The Autobiography of Malcolm X, and Che Guevara’s The Bolivian Diary, among many other titles. In 1986, Barney Rosset sold the company and the press became part of Grove Weidenfeld. In 1993 that company was merged with Atlantic Monthly Press to form Grove Atlantic, Inc.

Since 1993, Grove Press has been both a hardcover and paperback imprint of Grove Atlantic publishing fiction, drama, poetry, literature in translation, and general nonfiction. Authors and titles include Jon Lee Anderson’s Che Guevara: A Revolutionary Life, Robert Olen Butler’s A Good Scent from a Strange Mountain (Pulitzer Prize for Literature 1993), Kiran Desai’s Inheritance of Loss (Man Booker Prize 2006), Richard Flanagan’s Gould’s Book of Fish (Commonwealth Prize 2002), Ismail Kadare’s The Siege, Jerzy Kosinski’s Steps (National Book Award 1969), Jacqueline Susann’s Valley of the Dolls, Nick McDonell’s Twelve, Catherine Millet’s The Sexual Life of Catherine M., Pascal Mercier’s Night Train to Lisbon, Kay Ryan (Poet Laureate of the United States 2008/9) as well as Antonio Lobo Antunes, Will Self, Barry Hannah, Terry Southern, and many others.

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Barry Hannah Long, Last, Happy
Long, Last, Happy

“Barry Hannah is the best fiction writer to appear in the South since Flannery O’Connor.”
Larry Mcmurtry

“Barry Hannah is an original, and one of the most consistently exciting writers of the post-Faulkner generation.”
William Styron, Salon

Click here for more on Barry Hannah and Long, Last, Happy
Forty Thieves by Thomas Perry
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“Engaging throughout. . . . At once entertaining and disturbing.”—Andrew Weil, M.D., The Nation
Acid Dreams
The Complete Social History of LSD: The CIA, the Sixties, and Beyond
By Martin Lee
Grove Press
978-0-8021-3062-4 • $16.00 • Paperback • May 1992
Popular Culture
Few events have had a more profound impact on the social and cultural upheavals of the Sixties than the psychedelic revolution spawned by the spread of LSD. This book for the first time tells the full and astounding story—part of it hidden till now in secret Government files—of the role the mind-altering drug played in our recent turbulent history and the continuing influence it has on our time.

And what a story it is, beginning with LSD’s discovery in 1943 as the most potent drug known to science until it spilled into public view some twenty years later to set the stage for one of the great ideological wars of the decade. In the intervening years the CIA had launched a massive covert research program in the hope that LSD would serve as an espionage weapon, psychiatric pioneers came to believe that acid would shed light on the perplexing problems of mental illness, and a new generation of writers and artists had given birth to the LSD sub-culture.

Acid Dreams is a complete social history of the psychedelic counter-culture that burst into full view in the Sixties. With new information obtained through the Freedom of Information Act, the authors reveal how the CIA became obsessed with LSD during the Cold War, fearing the Soviets had designs on it as well. What follows is one of the more bizarre episodes in the covert history of U.S. intelligence as the search for a “truth drug” began to resemble a James Bond scenario in which agents spied on drug-addicted prostitutes through two-way mirrors and countless unwitting citizens received acid with sometimes tragic results.

The story took a new turn when Captain Al Hubbard, the first of a series of “Johnny Appleseeds” of acid, began to turn on thousands of scientists, businessmen, church figures, policemen, and others from different walks of life.

Timothy Leary, Ken Kesey and his band of Merry Pranksters, Allen Ginsberg and the Beat generation, the Diggers and the Age of Golden Anarchy in Haight-Ashbury, William Mellon Hitchcock, Abbie Hoffman and the Yippies, the Beatles—these are just some of a motley cast of characters who stride through the pages of this compelling chronicle. What impact did the widespread use of LSD have on the anti-war movement of the late Sixties? Acid Dreams traces the way the drug intensified each stage of counter-cultural transition to break the “mind-forged manacles” of a new generation in rebellion.

In Acid Dreams, Martin Lee and Bruce Shalin have written the history of a time still only dimly understood. The events they recount and the facts they uncover supply an important missing piece of the puzzle of a crucial decade in our recent past.

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