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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October, Eight O'Clock By Norman Manea
“Out of twentieth-century Romania’s political nightmare come these five essays of sunlight and clarity. . . . A mosaic of the grime and farce of the dictator’s world transformed by Manea’s brilliant and insistent decency.” —Richard Stern
On Clowns
The Dictator and the Artist
By Norman Manea
Grove Press
978-0-8021-3375-5 • $12.00 • Paperback • Sep. 1993
Literature (Essays)
The overthrow of Nicolae Ceauşescu revealed to the world a regime whose grim despotism was so powerful and pervasive that it almost defies comprehension. For Norman Manea, who left Romania in 1986, the terror the regime imposed on its citizens was matched, on another level, by the irrevocable choices it forced upon its artists.

In On Clowns: The Dictator and the Artist, Manea explores the realm of pain, anger, and fear that confronts the creative mind in a tyranny. Patiently, carefully, and precisely, with a sense of humor and humanity made all the more powerful for the seething anger that lies just beneath, he catalogs the techniques with which a malevolent power binds the artist to itself: the subtle torture of censorship, the politics of substitution, the opiates of nationalism and ideology. With equal passion, Manea catalogs what the artist must rely on to survive under such circumstances: the masterful disguise of the buffoon, an aesthetic inseparable from ethics, a hatred of mediocrity, and, whenever the opportunity arises, a healthy raspberry to the dictator.

Like Kundera, Milosz, and Kiš, Manea is Central European not only because of where he was born but because of his spiritual outlook and his cultural horizons. In the formulation of Danilo Kiš that Manea cites, “Consciousness of belonging to Central Europe is itself in the end a kind of dissidence.” In On Clowns, as in his fiction, Manea shows how artistic creativity and intellectual freedom go far beyond dissidence: they are a morality, anathema to the “captive mind” of the Communist dictatorship, that enables artists to survive and resist oppression.

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