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
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“A gold mine for Beckett fans who wish to dig for anecdotes, incidents, allusions, and analogies that appear throughout almost everything he wrote . . . Grove is to be commended for the care lavished on the design of these volumes, for they are physically as handsome as their content is comprehensive.”—Deirdre Blair, Newsday
Shorter Plays Theatrical Notebooks
Play; Come and Go; Eh Joe; Footfalls; That Time; What Where; Not I
By Samuel Beckett
Grove Press
978-0-8021-1654-3 • $125.00 • Cloth Limited Edition • Dec. 1999
Drama
From the mid-1960s, Samuel Beckett himself directed all his major plays in Berlin, Paris, and London. For most of these productions he meticulously prepared notebooks for his personal use.

The theatrical notebooks of Beckett that are reproduced in facsimile here offer a remarkable record of his own involvement with the staging of his texts. They present his solutions to practical problems of staging but also provide a unique insight into how he envisaged his own plays. With additional information taken from Beckett’s own annotated and corrected copies of the plays, the editors of the Theatrical Notebooks have been able to constitute a revised text for each of the plays. These new texts incorporate the playwright’s many changes, corrections, additions and cuts.

This volume completes the publication of this series of Beckett’s Theatrical Notebooks. The other volumes in this series have covered Waiting for Godot, edited by Douglas McMillan and James Knowlson; Endgame, edited by S.E. Gontarski; and Krapp’s Last Tape, edited by James Knowlson. The plays covered in this final installment are Play, Come and Go, Eh Joe, Footfalls, That Time and What Where. To these ‘shorter plays’ Samuel Beckett devoted the same care and attention to the details of textual revision and stagecraft as he did to his longer works, and the editors have brought the same attention to these works as they did to the earlier volumes in this series.

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