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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“A more clear-sighted view [of the Bushmen] is long overdue—which makes Rupert Isaacson's book most welcome.” —The Economist
The Healing Land
The Bushmen and the Kalahari Desert
By Rupert Isaacson
Grove Press
978-0-8021-4051-7 • $13.00 • Paperback • Mar. 2004
Anthropology
Although brought up in “grey, drearily ordinary” London, Rupert Isaacson’s links to Africa were strong. Polly, his mother, was a South African and his father was raised in what is now Zimbabwe. Polly kept her memories of Africa alive and handed them on to her children via remembrances of her early life there. Thus, from an early age, Isaacson was fascinated: “Long before I ever went to southern Africa, its names and regions had been described to me so many times that I could picture them in my mind’s eye.”

After growing up with these tales and myths—mostly of the Kalahari Bushmen—Isaacson journeys to the dry vast grassland, which stretches across South Africa, Botswana, and Namibia, to discover the truth behind these childhood stories. Deep in the Kalahari, Isaacson meets the last group of Bushmen still living the traditional way, caught between their ancient culture and the growing need to protect and reclaim their dwindling hunting grounds. Dawid Kruiper, leader of these Xhomani Bushmen, allows Isaacson to observe their daily life, and he begins to understand the extent of their disenfranchisement. They have not only decreased in number, but have been literally reduced to beggars, having lost their land and their means of subsistence, and with that their identity as a people has been profoundly threatened.

Throughout his travels and interactions with the Bushmen, Isaacson’s narrative displays an unusual sense of humanity, warmth, and openness. It’s precisely these qualities that make The Healing Land so distinctive and allow Isaacson to bring out the truly extraordinary spiritual legacy of the

Bushman, which in spite of the ongoing oppression remains at the very center of their identity. He bears witness to some remarkable displays of the Bushman healing techniques—episodes of what appear to be genuine magic. There are shamans who turn themselves into lions, who conjure leopards from the landscape with sacred songs. Isaacson attends trance-inducing dances and witnesses incredible healings. But he also sees the heart-wrenching social problems of a dispossessed people. Then, Dawid, the Bushman leader, demands that Isaacson bring his mother—the original storyteller—out to the Kalahari. What follows is an adventure of an intensity he could never have predicted.

The Healing Land records Isaacson’s personal transformation amid these extraordinary people and his passionate contribution to their political struggle. It captures his enchantment with the character, kindness, and confusion of a place that has wrenched itself from the Stone Age into the new millennium.
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