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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Death by Leisure By Chris Ayres
“We find ourselves in good hands throughout the journey. . . . Once in a while his descriptions actually take on a terse Hemingwayesque brilliance. . . . Ayres happened to be in Lower Manhattan during the events of Sept. 11, and in the midst of suffering from a typical bout of cowardice he managed to record the event with grace. . . . War Reporting for Cowards reminded me of the granddaddy of the genre, Evelyn Waugh’s novel Scoop, and that Ayres’s book can be mentioned in the same sentence is a tribute. . . . The truly indispensable part of this book is its final section. Once we finally get to Iraq, Ayres is at his journalistic and comic best. . . . Chronicle[s] many of the absurdities, horrors and discomforts of life during wartime circa two years ago, and the honor and steadfastness of the men and women who have to endure them.” —Gary Shteyngart, New York Times Book Review
War Reporting for Cowards
By Chris Ayres
Grove Press
978-0-8021-4256-6 • $13.00 • Paperback • July 2006
Military History
With the gonzo style of Hunter S. Thompson and the biting wit of P. J. O’Rourke, an unlikely reporter recounts how he got the opportunity of a lifetime—and ends up between Iraq and a hard place.

Chris Ayres is a small-town boy, a hypochondriac, and a neat freak with an anxiety disorder. Not exactly the picture of a war correspondent. He’s a twenty-seven-year-old reporter for The Times of London living in Los Angeles, and the only thing he cares to be embedded in is celeb-studded after-parties. But somehow, he has a habit of ending up in the wrong place at the wrong time, whether it’s a few blocks from the World Trade Center on September 11 or one cubicle over from an anthrax attack at The New York Post. When his boss asks him if he would like to go to Iraq, he doesn’t have the guts to say no.

War Reporting for Cowards is the Iraq War—with all of its horrors and absurdities—through the eyes of a “war virgin” who was there, in the heat of battle, and wishing he were anywhere but. After signing a $1 million life-insurance policy, studying a tutorial on repairing severed limbs, and spending $20,000 in camping gear (only to find out that his bright yellow tent makes him a sitting duck), Ayres is embedded with the Long-Distance Death Dealers, a battalion of gung ho Marines who, when they aren’t playing Monopoly using Baghdad and France as Park Place and Boardwalk, are a “disassembly line, churning out Iraqi body parts.” They switch between shunning him and threatening to shoot him in the head when he files an unfavorable story. As time goes on, though, he begins to understand them (and his inexplicably enthusiastic fellow war reporters) more and more: Each night of terrifying combat brings, in the morning, something more visceral than he has ever experienced—the thrill of having won a fight for survival.

In the tradition of M*A*S*H, Catch-22, and other classics in which irreverence springs from life in extremis, War Reporting for Cowards tells the on-the-ground story of Iraq in a way that is extraordinarily honest, heartfelt, and bitterly hilarious. It is sure to become a classic of war reportage.
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