Talk:Barney Rosset

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Interdisciplinary Project Importance Argument[edit]

Note that not only did Rosset publish multiple Nobel-prize-winning books (thus his importance to English language literature), he fought and won two storied censorship/free speech cases (law / US Constitution), overcoming the morality of the day (philosophy?). He was also born in Chicago. EditGirl99 (talk) 23:53, 13 August 2023 (UTC)[reply]

Untitled[edit]

Shouldn't some mention be made of the Evergreen Review? Or his family? 4.231.149.205 06:51, 24 December 2006 (UTC) Barney Rosset is an American hero and this article does not due him justice. I don't think that I am the person to give him the treatment he deserves on wikipedia, but I am saddened my that he only has a stub. His influence on contemporary culture is immense. He is still alive and this page is insulting. —Preceding unsigned comment added by Wmblair (talk • contribs) 07:04, 20 January 2008 (UTC)[reply]

other wife besides the painter and the 2007 marriage?[edit]

In John Nathan's autobiography, it says Rosset was married to Cristina, who was first hired to take care of Rosset's son when she was in high school. Nathan says Samuel Beckett "openly adored her." (p 108) Should this be added to the Rosset article? It currently doesn't seem to mention Cristina. —Preceding unsigned comment added by 72.235.251.198 (talk) 03:38, 15 July 2008 (UTC)[reply]

I went ahead and added Cristina, although I don't know her maiden name and what happened to her later between the 1960s and when Rosset remarried. Also added some other lifestyle info covered in Nathan's book.

I believe some mention should be made of Astrid, his wife or companion in later life who was instrumental in maintaining his work and legacy. — Preceding unsigned comment added by Fortgreene4 (talk • contribs) 12:21, 8 March 2012 (UTC)[reply]

what is the etiquette of mentioning drug usage in wikipedia articles?[edit]

is that a significant thing to add about someone's life? is it allowable on wikipedia? Nathan mentions it several times. —Preceding unsigned comment added by 72.235.251.198 (talk) 10:52, 15 July 2008 (UTC)[reply]

Its significant if it gets any coverage from reliable sources, and especially if it has any connection to the subjects notability. AT the time you wrote this, he was alive, so any unsourced statement would need to be immediately removed. Now that he has passed on, statements that are relatively innocuous MAY stay without a reference, with a citation tag. However, its bad etiquette to take the time to add a fact to any article without a source. In his case, being a publisher of controversial books, any drug use would be relevant.(mercurywoodrose)75.61.134.115 (talk) 02:19, 25 February 2012 (UTC)[reply]

Who Is Barney Rosset? - by Barny Rosset[edit]

"While still taking courses at the New School in New York (1951), I took over three abandoned reprints from a stillborn press called Grove and slowly embarked on a legal and literary trench war - from the campaigns for Lady Chatterley's Lover, Tropic of Cancer, and Naked Lunch all the way to putting the iconographic portrait of Che Guevara on the cover of the Evergreen Review. Was Grove controversial? The word is too pale for the tempests at Grove. Say rather that Grove was a valve for pressurized cultural energies, a breach in the dam of American Puritanism - a whip-lashing live cable of zeitgeist. One has to reach back to early Elizabethan Theatre to find a parallel in terms of enraptured audience, outraged authority, political daring, exploding passion, and the perennial threat of censorship. The writers: Beckett, Selby, Genet, Brecht, Robbe-Grillet, de Sade, Casement, Behan, Borges, Pinter, Ionesco, Fanon, Neruda, Kerouac, Baraka, Paz, Tutola, Oe, Malcolm X, Mamet, Stoppard, Burroughs…Miller! Not to mention my comrades-in-arms at Grove, with Dick Seaver, Fred Jordan, and Don Allen in the front row.”

Somewhat rashly, I also made and lost fortunes in film distribution, waging cultural war on behalf of I Am Curious (Yellow) the landmark Swedish film, and Titcut Follies (Frederick Wiseman's masterpiece which takes place in a prison for the criminally insane in Massachusetts). I endured hilarious but costly fiascos with Godard and Norman Mailer (Beyond the Law). I rode the gales of the '60s. My private life sometimes mirrored the fiction I published. “Kitten” in Robert Gover's best-selling novel The One Hundred Dollar Misunderstanding for instance, resembled my girlfriend at the time - the woman whose photograph we used on the cover of the book. This meshing of life and art is one that I could never escape.

Mine was an intimate school of publishing based on fascination with authors and their works. This led to close friendship with many writers. Grove Press was an extension of my personality, and of my co-conspirators, Allen, Jordan, and Seaver, seasoned by the interests and tenures of the talented editors, lawyers, friends and wives who joined the march at various times. Psychoanalysis, Asia, Sex, Revolution, Irish Independence, Theatre of the Absurd - none of these were elements in some marketing strategy but rather facets of the humanistic breadth of our interest.

How we came to publish The Autobiography of Malcolm X (written with Alex Haley of later Roots fame) is a good illustration of how I looked upon my role as a publisher. Doubleday had bought the book, set it in type, in galleys, and then Malcolm was assassinated at a public meeting. At that point Mr. Doubleday said he didn't want his store windows smashed and he didn't want his receptionists' faces smashed and he turned back the book.

But we accepted the risks, took it on, and published it very successfully, and Malcolm X's widow was paid considerable royalties. This book became the handbook, the bible, of the militant wing of the civil rights movement. Malcolm x created a whole new language, and shaped a new, proud black attitude in his eloquent call to arms. I'm proud that I published it.

At its peak Grove was a self-contained mini-conglomerate with a seven story building on Mercer Street, a publishing operation for hardcovers, quality and mass market paperbacks, an education department, a book club, a movie division, a theatre, a high-powered sales department, its own giant computer, and last but not least, a 1930s bar elegantly appointed in the Warner Brothers Art Deco look. I had always wanted to own a bar. Our beautiful Black Circle Bar on 11th Street taught me the hard way that it's cheaper to drink in somebody else's bar.” —Barney Rosset —Preceding unsigned comment added by 121.73.11.131 (talk) 07:43, 20 July 2008 (UTC)[reply]

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