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
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The Soft Machine By William S. Burroughs

Nova Express By William S. Burroughs

The Ticket That Exploded By William S. Burroughs

The Adding Machine By William S. Burroughs

Naked Lunch By William S. Burroughs

Junky By William S. Burroughs

And the Hippos Were Boiled in Their Tanks By William S. Burroughs

Last Words By William S. Burroughs

The Wild Boys By William S. Burroughs

Naked Lunch: The Fiftieth Anniversary Edition By William S. Burroughs

Come in with the Dutchman By William S. Burroughs
Word Virus: The Williams S. Burroughs Reader finally brings the author’s actual writing back to the forefront.  In their selections, editors James Grauerholz and Ira Silverberg highlight the many faces of Burroughs: the narrative pioneer, the sardonic stand-up, the asexual Tiresias-like seer, and, in what may be a surprise to many, the humanist. . . . Apocalyptic, carnal and raw, Burroughs’ work bridges the epiphanies of modernism with the Foucaultian cool of postmodernism.  He stretches modernist forms and grammar like narrative silly putty, prefiguring the sly mischief of postmodern writers such as Thomas Pynchon and William Gibson. . . . Through it all Burroughs eludes easy literary classifications; by turns he is poststructuralist Dashiell Hammett, T.S. Eliot on the nod, Mark Twain with a gun . . . . Word Virus [is] a fantastic, weird, disturbing and intriguing tribute to an inimitable American voice.”—Mark Luce, Salon
Word Virus
The William S. Burroughs Reader
By William S. Burroughs
Grove Press
978-0-8021-3694-7 • $16.00 • Paperback • July 2000
Fiction
With the publication of Naked Lunch in 1959, William Burroughs brought international letters into the postmodern age, but he had already begun to chart the course that would establish him as one of postwar America’s most influential writers. Word Virus: The William S. Burroughs Reader brings together selections of Burroughs’ most important and challenging work—beginning with his very early writing (including a chapter from his and Jack Kerouac’s never-before-seen collaborative novel, And The Hippos Were Boiled in Their Tanks) and following his trajectory through My Education: A Book of Dreams.

Word Virus: The William S. Burroughs Reader follows major themes in Burroughs’ oeuvre while also serving up a sampling of his darkly hilarious “routines,” and is edited to serve as a tool for the scholar as well as an overview of his entire body of work for the general reader. Important biographical information, contained in the chapter introductions, provide key links to understanding the work in the context of the life. Ann Douglas’s introductory essay provides further background on Burroughs in the context of American letters and his Beat contemporaries.

Throughout a life that spanned the better part of the twentieth century, William Burroughs managed to be a visionary among writers: he imagined the Internet decades before its appearance and peered into the future of other technologies, kept the pace of world affairs and cultural trends, and, with each of his books, introduced new possibilities for the form. When he died in the summer of 1997, the world of letters lost its most elegant outsider.

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