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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“This is photojournalism at its best. . . . Richards is to the 1980s what Jacob Riis, Lewis Hine, Walker Evans, Dorothea Lange, Robert Capa and Eugene Smith were to earlier eras.” —The Wall Street Journal
The Knife and Gun Club
Scenes from an Emergency Room
By Eugene Richards
Atlantic Monthly Press
978-0-87113-624-4 • $21.00 • Paperback • Nov. 1995
Photography
“There is this unrecognized, unappreciated thing that goes on in here. The wife that I divorced never had, will never have any appreciation of this place, of the terrible things and the wonderful things that happen. I’ve told her, but I don’t think anybody could know unless they spend time here to see the tears, the laughter, the boredom, the blood.”—John Yakovich, M.D.

Combining the words of the people who work there and photographs that expose its very soul, award-winning photojournalist Eugene Richards explores the emergency room of a big-city hospital. Dubbed the “knife and gun club” by local residents, the ER of Denver General Hospital is an acclaimed, albeit controversial, health-care facility. Richards first went there to do a report on emergency medicine for a magazine, but when the assignment was finished he knew he couldn’t stay away; he returned again and again, working twelve- to twenty-four days in the facility’s trauma and medicine rooms and out in the ambulances. A witness to terrible pain, to life-and-death decisions, and to occasional joy, Richards came to view the emergency room as a microcosm of life, where the restarting of a stopped heart hold the promise of the future, where a six-hour gunshot-wound emergency carries the hurt of assassination and war.

In The Knife and Gun Club are images and sounds of violence and healing, suffering and humor, birth and death. From the doctors, nurses, paramedics, and health aides come startlingly personal revelations about their lives in medicine. They speak openly about the fear of failure, malpractice, alcohol and drug abuse among patients and health professionals, euthanasia, AIDS, the discrepancy in quality of care for the rich and the poor. And they reveal what is required for their own survival. For some it is an elemental toughness that allows them to work in this most stressful world, that keeps their spirits from being broken. A doctor told Richards one night, as the sirens screamed and the action swirled around them, “People come here to die, and a lot of people do just that. But you didn’t do good if you didn’t try to save them.”

The Knife and Gun Club is by turns an oral history, an adventure, and theater. It is a complex human drama empowered by bold and unflinching photographs.

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