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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The Player, The Rapture, The New Age By Michael Tolkin
“One of the most wounding and satirical of all Hollywood exposés: dark and mordant . . . savage. . . . A portrait of life among the high-rollers and deal makers of a major Hollywood studio in the post-Golden Age. Unnerving. . . . A nightmare rendered with icy precision.”—Los Angeles Times
The Player
By Michael Tolkin
Grove Press
978-0-8021-3513-1 • $13.00 • Paperback • Apr. 1997
Fiction
“Just as Griffin suspected, there was a meeting in Levison’s office without him.” With this opening, we are taken into the mind and life of Griffin Mill, senior vice president of production at a major Hollywood studio. It is a mind full of paranoia, duplicity, and guile—and a life full of money, power, and fame. It is the movie business.

Griffin Mill is ruthlessly ambitious, driven to control the levers of America’s dream-making machinery. Griffin listens to writers pitch him stories all day, sitting in judgment on their fantasies, their lives. But now one writer to whose pitch he responded so glibly is sending him postcards: “You said you’d get back to me. You didn’t. And now in the name of all writers who get pushed around by studio executives I’m going to kill you.”

Squeezed between the threat to his life and the threat to his job Griffin’s deliberate and horrifying response spins him into a nightmare. Then he meets the sad and beautiful June Mercator and his obsession for her threatens to destroy them both.

With a compulsively readable narrative that offers a devastating portrait of contemporary Hollywood—the studio execs, the deal-making, the politics, the pitches—The Player is the smartest book about Hollywood since What Makes Sammy Run? and the most sinister since The Day of the Locust. If Dashiel Hammett were alive today, this is the book he would write about Hollywood.

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