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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Twelve By Nick McDonell

An Expensive Education By Nick McDonell

“The pacing . . . is perfect. His descriptions of various things—the cafés on Khao San Road; the desperate yearning of the young for independence, experience, and drugs—are visceral and stirring. At times he achieves actual unsettling suspense. Without question, Nick McDonell has other things a writer needs besides a publisher: voice and talent.” —Ariel Levy, New York Magazine
The Third Brother
A Novel
By Nick McDonell
Grove Press
978-0-8021-4267-2 • $13.00 • Paperback • May 2006
Fiction
"One of the best and most vivid evocations of [September 11] that I've read." —Jay McIneryny, The Guardian

“McDonell is forging himself a place as this generation’s champion of angst-riddled youth. . . . A terrific novelist already, McDonell is close to a spot at the table occupied by the likes of Barth, Bellow, Roth and Updike.” —Jon Land, The Providence Journal


Nick McDonell’s debut novel, Twelve, was a publishing sensation. It was an international best seller, garnished phenomenal reviews, and established its seventeen-year-old author as an important literary voice. In The Third Brother, McDonell delivers another remarkable novel, a haunting tale of brotherly love, family tragedy, and national grief.

Mike was a lucky child: a vacation house on Long Island, famous family friends, an Ivy League education, and also an older brother, Lyle, who looked out for him and protected him from his parents’ volatile marriage.

Mike is spending the summer working for a magazine in Hong Kong when his editor sends him to Bangkok to report on the drug-tourism crackdown. But Mike’s real mission is to find Christopher Dorr, a brilliant journalist and old friend of his parent who has gone AWOL. This is the beginning of a vertiginous journey that propels Mike into seedy nights in Thailand and back to New York, to a home wrecked by violence.


Praise for Twelve:


"As fast as speed, as relentless as acid . . . McDonell sketches in these characters with brisk authority, deftly cutting from one subplot to another in quick, cinematic takes. . . . He gives us a palpable sense of the privileged but spiritually desolate world that his characters inhabit." —Michiko Kakutani, The New York Times

"Twelve . . . delivers a satirical, even playful portrait of a world that is perilous but essentially humane. . . . [McDonell] renders Manhattan’s cosseted Upper East Side with both the casual authority of an insider and the wry distance of an observer. . . . He maintains a teasing affection for the absurdities of adolescence—an impressive feat of synthesis." —Jennifer Egan, The New York Times Book Review

"Like Bret Easton Ellis’s first novel, Less Than Zero, it is a report on the secret lives of certain privileged young Americans that is likely to shock some (if not all) of their oblivious parents. . . . It will command attention. . . . [McDonell] employs a prose style that affects pithiness and punch—a bit of Hemingway here, a bit of Hammett there, short paragraphs and terse dialogue—and that contains, beneath the tough-guy veneer, a soft inner core of sentimentality." —Jonathan Yardley, The Washington Post

"The artfulness of Twelve is undeniable. The story moves, dips into big issues of race and class, and has great writing that reveals what McDonell calls ‘the spiritual debilitation of a generation.’" —Heidi Benson, San Francisco Chronicle





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