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

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“[The Rebels’ Hour] achieves intense intimacy with a few characters to represent a much more immense historical experience. . . . It is as deeply reported and directly observed as the very best nonfiction.” —Philip Gourevitch, The New Yorker
The Rebels' Hour
By Lieve Joris
Translated from the Dutch by Liz Waters
Grove Press
978-0-8021-4421-8 • $15.00 • Paperback • Mar. 2010
History (Africa)
Lieve Joris has long been considered “one of the best journalists in the world . . . following in the footsteps of Herodotus as well as Ibn Khaldoun or Ryszard Kapu´sci´nski” (Libération, France). In The Rebels’ Hour, she illuminates the dark heart of contemporary Congo through the prism of one lonely and complicated man—a rebel leader named Assani who eventually becomes a highranking general in the Congolese army.

When Assani, a young cowherd, leaves his remote eastern village to pursue his studies in the city, he learns that he is ethnically Tutsi; though uninterested in politics or military life, he is forced to take sides in the bloody conflict rocking the Congo in the wake of the genocide in neighboring Rwanda. Strong, clever, and trusting of no one, he becomes a fearsome rebel leader. With his expanding cadre of child soldiers he traverses the war-ravaged country, repeatedly dodging death at the hands of competing rebel factions in the bush, angry mobs in the capital city of Kinshasa, and even the rebel-turned-dictator Laurent Kabila himself.

The Rebels’ Hour thrusts us into Assani’s world, forcing us to navigate the chaos of a lawless country alongside him, compelled by an instinct to survive in a place where human life has been stripped of value. Though pathologically evasive, Assani—in Joris’s horrifying and brilliant zoom-lens portrait—stands out in relief as a man who is both monstrous and sympathetic, perpetrator and victim.
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