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
Matterhorn by Karl Marlantes
 
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Dancing at the Edge of the World . . . is Ursula Le Guin at her best: insightful, funny, sharp, occasionally tendentious and nearly always provocative. . . . This is an important collection of eloquent, elegant pieces by one of our most acclaimed contemporary writers.” —Elizabeth Hand, Washington Post Book World
Dancing at the Edge of the World
Thoughts on Words, Women, Places
By Ursula Le Guin
Grove Press
978-0-8021-3529-2 • $17.00 • Paperback • Oct. 1997
Literature (Essays)
“I have decided that the trouble with print is, it never changes its mind,” writes Ursula Le Guin in her introduction to Dancing at the Edge of the World. But she has, and here is the record of that change in the decade since the publication of her last nonfiction collection, The Language of the Night. And what a mind—strong, supple, disciplined, playful, ranging over the whole field of its concerns, from modern literature to menopause, from utopian thought to rodeos, with an eloquence, wit, and precision that makes for exhilarating reading.

Le Guin is a self-declared “aging, angry woman laying mightily about me with my handbag, fighting hoodlums off”—the hoodlums including, among others, opponents of abortion rights, destroyers of the environment, macho writers, and an administration that wants to kill Amtrak funding (“Roll on, Coast Starlight! Take us to those far places your lonesome whistle tells about, and bring us on back home!”). She’s angry about the whole range of inequalities that women still face, angry about the destruction of Native American peoples and cultures, “the world Coyote made,” angry about the arms race and world hunger (“No house worth living in has for its cornerstone the hunger of those who built it”). She is a poet who decries the parochialism of modern poetry, which often seems “like a big fish tank, and its inhabitants come rushing out of their nests of weed like sticklebacks in mating season, shouting, Out! Out! Go write novels.” She is a novelist who rejects the traditional Aristotelian view that “the proper shape of the narrative is that of the arrow or spear, starting here and going straight there and THOK! hitting its mark (which drops dead).” And she is a science-fiction writer who eschews laser beams, little green men, and the “Life Goes On, even though two-headed and glowing faintly in the dark” school of futuristic fantasy, preferring to look ahead “at what is, in fact, in front of me: the earth; my fellow beings on it; and the stars.

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