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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Skirt and the Fiddle By Tristan Egolf

Lord of the Barnyard By Tristan Egolf
“The voice is unforgettable, at times attaining the incantatory power of Whitman’s ‘barbaric yawp.’” —New Yorker
Kornwolf
A Novel
By Tristan Egolf
Black Cat
978-0-8021-7016-3 • $14.00 • Paperback • Jan. 2006
Fiction
The new novel from acclaimed young novelist Tristan Egolf, the author of Lord of the Barnyard, is the story    of a community in Pennsylvania terrorized by an Amish teenage werewolf—and a wildly imaginative tale that recalls young Kurt Vonnegut.

Tristan Egolf was one of our most talented young writers—a ferociously witty writer with an absolutely original imagination, whose novels Lord of the Barnyard and Skirt and the Fiddle were widely acclaimed. His new novel is a book about the return of an old curse—the Kornwolf, a ferocious werewolf whose nocturnal rampaging becomes increasingly impossible to ignore.

Kornwolf is a book about not being able to keep a good Amish werewolf down. It takes the reader for a good old-fashioned romp in the stubble—a journey through the slums and honky tundra of rural Pennsylvania farmland, where nothing quite passes for good or bad, sublime or dismal, discrete or brash: just “solid, implacable, unbroken gray.” And then the monotony breaks. Something—a freak of creation—is running amok in the fields. To solve the mystery, three generations of prodigal sons—a writer and hometown boy who swore he'd never come back to Penn’s Woods; a middle-aged former pugilist who runs a decrepit boxing gym; and a misfit, mute, beaten-down Amish boy about to become a man—are brought together by the light of a blue moon, in a town called Blue Ball. Kornwolf is a book about Rumspringa, fisticuffs, homecomings, alienation, and Amish whiskey ministers, as seen through the eyes of a young man who finds himself inexplicably waking up nude in the fields every morning.

A masterfully orchestrated, hilarious, and compelling take on the classic horror yarn on one level, Kornwolf layers in social satire of suburban sprawl, closed minds, and all manners and varieties of self-satisfaction—Amish, civilian, or. . . other—in the best tradition of Tom Robbins and George Saunders.

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