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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“The most significant way in which Self’s book differs from its predecessor is in its very freedom and frankness. . . . There’s no denying Self’s novel’s cleverness, best displayed in its neatly postmodern ending Sophie Harrison, The New York Times Book Review
Dorian
By Will Self
Grove Press
978-0-8021-4047-0 • $12.00 • Paperback • Feb. 2004
Fiction
Set against the AIDS epidemic of the 1980s and ’90s, Will Self’s Dorian is a shameless reworking of our most significant myth of shamelessness. It is the summer of 1981 and Henry Wotton, uneasily gay, egregiously drug addicted, and queasily snobbish, is at the center of a Chelsea clique dedicated to timeless dissolution. His friend Baz Hallward, a sometime Warhol acolyte and video installation artist, has discovered a most remarkable young man, the very epitome of male beauty, Dorian Gray. Hallward’s installation, “Cathode Narcissus,” captures all of Dorian’s allure, but perhaps it’s captured another more integral part of him as well?

Certainly, after a night of debauchery that climaxes in a veritable conga line of buggery, Wotton and Hallward have been snared by a sinister retrovirus that becomes synonymous with the decade. After sixteen years of delirious drug taking and ruthless fornication, their playmates have succumbed to the disease de jour. But what of Wotton and Hallward? How have they fared as the stock market soared and their T-cell counts plummeted? And what of Dorian, a sultan of style in an era of mass superficiality? while all around him shrivel and die, how is it that he remains so unsullied—so vibrantly alive?

By one of our most wildly imaginative novelists—who has been praised by The New York Times Book Review as a “high powered satirical weapon”—Dorian brilliantly evokes the decade in which it was fine to stare into the abyss, so long as you were wearing two pairs of Ray-Bans.
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