New Releases by John Irving

John Irving’s fifteenth novel is “powerfully cinematic” (The Washington Post) and “eminently readable” (The Boston Globe). The Last Chairlift is part ghost story, part love story, spanning eight decades of sexual politics. In Aspen, Colorado, in 1941, Rachel Brewster is a slalom skier at the National Downhill and Slalom Championships. Little Ray, as she is called, finishes nowhere near the podium, but she manages to get pregnant. Back home, in New England, Little Ray becomes a ski instructor. Her son, Adam, grows up in a family that defies conventions and evades questions concerning the eventful past. Years later, looking for answers, he will go to Aspen. In the Hotel Jerome, where he was conceived, Adam will meet some ghosts; in The Last Chairlift, they aren’t the first or last ghosts he sees. John Irving has written some of the most acclaimed books of our time—among them, The World According to Garp and The Cider House Rules. A visionary voice on the subject of sexual tolerance, Irving is a bard of alternative families. In the “generously intertextual” (The New York Times) The Last Chairlift, readers will once more be in his thrall.

“Truly remarkable . . . encompasses the longings and agonies of youth . . . a complex and moving novel.”—Time “Astonishing . . . a writer of uncommon imaginative power. Whatever [John Irving] writes, it will be worth reading.”—Saturday Review It is 1967. Two Viennese university students, Siggy and Hannes, roam the Austrian countryside on their motorcycles—on a quest: to liberate the bears of the Vienna Zoo. But their good intentions have both comic and gruesome consequences in this first novel from John Irving, already a master storyteller at twenty-five years old. “Imagine a mixture of Till Eulenspiegel and Ken Kesey . . . and you''ve got the range of the merry pranksters who hot rod through Mr. Irving''s book . . . tossing flowers, stealing salt shakers, and planning the biggest caper of their young lives.”—The New York Times

“Irving looks cunningly beyond the eye-catching gyrations of the mating dance to the morning-after implications.”—The Washington Post The darker vision and sexual ambiguities of this sensual, ironic tale about a ménage a quatre in a New England university town foreshadow those of The World According to Garp; but this very trim and precise novel is a marked departure from the author''s generally robust, boisterous style. Though Mr. Irving''s cool eye spares none of his foursome, he writes with genuine compassion for the sexual tests and illusions they perpetrate on each other; but the sexual intrigue between them demonstrates how even the kind can be ungenerous, and even the well-intentioned, destructive. “One of the most remarkable things about John Irving''s first three novels, viewed from the vantage of The World According to Garp, is that they can be read as one extended fictional enterprise. . . . The 158-Pound Marriage is as lean and concentrated as a mine shaft.”—Terrence Des Pres “Deft, hard-hitting . . . What Irving demonstrates beautifully is that a one-to-one relationship is more demanding than a free-for-all.”—The New York Times Book Review

The New York Times bestselling saga of a most unusual family from the award-winning author of The World According to Garp. “The first of my father’s illusions was that bears could survive the life lived by human beings, and the second was that human beings could survive a life led in hotels.” So says John Berry, son of a hapless dreamer, brother to a cadre of eccentric siblings, and chronicler of the lives lived, the loves experienced, the deaths met, and the myriad strange and wonderful times encountered by the family Berry. Hoteliers, pet-bear owners, friends of Freud (the animal trainer and vaudevillian, that is), and playthings of mad fate, they “dream on” in a funny, sad, outrageous, and moving novel by the remarkable author of A Prayer for Owen Meany and Last Night in Twisted River.

A commemorative hardcover edition of the only collection ever published of the celebrated novelist''s shorter works. Here is a treat for devoted fans of John Irving. First published twenty years ago, Trying to Save Piggy Sneed contains a dozen short works by the author, beginning with three memoirs. The longest of the memoirs is "The Imaginary Girlfriend," his candid account of his twin careers in writing and wrestling, which, as the Denver Post observed, is filled "with anecdotes that are every bit as hilarious as the antics in his novels . . . [and] combines the lessons of both obsessions." The middle portion of the book is fiction. Over a career that spans thirteen novels, these are the six stories that Mr. Irving considers finished. Among them is "Interior Space," for which he won the O. Henry Award. In the third and final section are three homages: one to Günter Grass and two to Charles Dickens. To each of the twelve pieces, he has contributed author''s notes, which provide some perspective on the circumstances surrounding the writing of each piece. For readers who prefer a hardcover, this commemorative edition is a book to treasure. For new readers, it is a perfect introduction to the author of works as moving and mischievous as The World According to Garp,A Prayer for Owen Meany, and In One Person. Skyhorse Publishing, as well as our Arcade, Yucca, and Good Books imprints, are proud to publish a broad range of books for readers interested in fiction—novels, novellas, political and medical thrillers, comedy, satire, historical fiction, romance, erotic and love stories, mystery, classic literature, folklore and mythology, literary classics including Shakespeare, Dumas, Wilde, Cather, and much more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to books on subjects that are sometimes overlooked and to authors whose work might not otherwise find a home.

John Irving returns to the themes that established him as one of our most admired and beloved authors in this absorbing novel of fate and memory. In Avenue of Mysteries, Juan Diego—a fourteen-year-old boy, who was born and grew up in Mexico—has a thirteen-year-old sister. Her name is Lupe, and she thinks she sees what’s coming—specifically, her own future and her brother’s. Lupe is a mind reader; she doesn’t know what everyone is thinking, but she knows what most people are thinking. Regarding what has happened, as opposed to what will, Lupe is usually right about the past; without your telling her, she knows all the worst things that have happened to you. Lupe doesn’t know the future as accurately. But consider what a terrible burden it is, if you believe you know the future—especially your own future, or, even worse, the future of someone you love. What might a thirteen-year-old girl be driven to do, if she thought she could change the future? As an older man, Juan Diego will take a trip to the Philippines, but what travels with him are his dreams and memories; he is most alive in his childhood and early adolescence in Mexico. As we grow older—most of all, in what we remember and what we dream—we live in the past. Sometimes, we live more vividly in the past than in the present. Avenue of Mysteries is the story of what happens to Juan Diego in the Philippines, where what happened to him in the past—in Mexico—collides with his future.

Poco imaginaban los Berry que un oso danzando encima de una motocicleta y su amo, Freud, judío y vienés, iban a ser el origen de toda una saga de hijos y hoteles. Gracias a ellos fundarán el primer Hotel New Hampshire en una ex escuela de señoritas del estado de Maine, donde Franny, la hija mayor, vivirá una experiencia terrible ; John, el narrador, empezará a levantar pesas ; Frank, el primogénito, insistirá en perpetuar la imagen de Patético, el perro, y todo ello mientras Egg balbucea y la pequeña Lilly se encierra en su cuarto para crecer y escribir. Pero las cosas no acaban de funcionar y Freud telegrafía desde Viena y ofrece otro hotel, con oso incluido. Allí irá toda la familia, o lo que de ésta queda, a convivir en el segundo hotel, entre terroristas y prostitutas, y nada sino una bomba -y Lilly saliendo de su habitación con la novela prometida- conseguirá que vuelvan a Estados Unidos y al tercer Hotel New Hampshire, al lugar donde todo había empezado.

Rarement une voix avait su captiver l''imagination des lecteurs et des critiques comme celle de John Irving, dans Le Monde selon Garp, son premier roman traduit en français. Une fois encore, avec son nouveau livre, L''Hôtel New Hampshire, chacun se laisse envelopper et séduire par un univers tout aussi étrange et désarmant : celui de l''excentrique famille Berry.Car, comme l''explique John - narrateur et troisième rejeton de cette famille qui comprenait cinq enfants, un ours et un chien nommé Sorrow : "Notre histoire favorite concernait l''idylle entre mon père et ma mère : comment notre père avait fait l''acquisition de l''ours ; comment notre père et notre mère s''étaient retrouvés amoureux et, coup sur coup, avaient engendré Frank, Franny et moi-même ("Pan, Pan, Pan !" disait Franny) - puis, après un bref intermède, Lily et Egg ("Paff et Pschitt !" disait Franny).C''est ainsi que la voix de John Berry, tour à tour nostalgique et passionnée, nous relate son enfance et celle de ses frères et soeurs dans trois hôtels et sur deux continents différents. "La première des illusions de mon père était que les ours peuvent survivre à la vie que mènent les humains, et la seconde que les humains peuvent survivre à la vie que l''on mène dans les hôtels."Ce qu''il advint des rêves de Win Berry et comment ces rêves influèrent sur la destinée de ses enfants, tel est le sujet de ce roman grave et hilarant dû à "l''humoriste américain le plus important de ces dix dernières années", selon les termes de Kurt Vonnegut.

“The nearest thing to an autobiography Irving has written . . . worth saving and savoring."—Seattle Times Dedicated to the memory of two wrestling coaches and two writer friends, The Imaginary Girlfriend is John Irving''s candid memoir of his twin careers in writing and wrestling. The award-winning author of best-selling novels from The World According to Garp to In One Person, Irving began writing when he was fourteen, the same age at which he began to wrestle at Exeter. He competed as a wrestler for twenty years, was certified as a referee at twenty-four, and coached the sport until he was forty-seven. Irving coached his sons Colin and Brendan to New England championship titles, a championship that he himself was denied. In an autobiography filled with the humor and compassion one finds in his fiction, Irving explores the interrelationship between the two disciplines of writing and wrestling, from the days when he was a beginner at both until his fourth wresting related surgery at the age of fifty-three. Writing as a father and mentor, he offers a lucid portrait of those—writers and wrestlers from Kurt Vonnegut to Ted Seabrooke—who played a mentor role in his development as a novelist, wrestler, and wrestling coach. He reveals lessons he learned about the pursuit for which he is best known, writing. “And,” as the Denver Post observed, in filling “his narrative with anecdotes that are every bit as hilarious as the antics in his novels, Irving combines the lessons of both obsessions (wrestling and writing) . . . into a somber reflection on the importance of living well.”

Mozart''s piano sonatas are among the most familiar of his works and stand alongside those of Haydn and Beethoven as staples of the pianist''s repertoire. In this study, John Irving looks at a wide selection of contextual situations for Mozart''s sonatas, focusing on the variety of ways in which they assume identities and achieve meanings. In particular, the book seeks to establish the provisionality of the sonatas'' notated texts, suggesting that the texts are not so much identifiers as possibilities and that their identity resides in the usage. Close attention is paid to reception matters, analytical approaches, organology, the role of autograph manuscripts, early editions and editors, and aspects of historical performance practice - all of which go beyond the texts in opening windows onto Mozart''s sonatas. Treating the sonatas collectively as a repertoire, rather than as individual works, the book surveys broad thematic issues such as the role of historical writing about music in defining a generic space for Mozart''s sonatas, their construction within pedagogical traditions, the significance of sound as opposed to sight in these works (and in particular their sound on fortepianos of the later eighteenth-century) , and the creative role of the performer in their representation beyond the frame of the text. Drawing together and synthesizing this wealth of material, Irving provides an invaluable reference source for those already familiar with this repertoire.

Billy, a solitary bisexual man, is dedicated to making himself worthwhile.

The Fourth Hand asks an interesting question: “How can anyone identify a dream of the future?” The answer: “Destiny is not imaginable, except in dreams or to those in love.” While reporting a story from India, a New York television journalist has his left hand eaten by a lion; millions of TV viewers witness the accident. In Boston, a renowned hand surgeon awaits the opportunity to perform the nation’s first hand transplant; meanwhile, in the distracting aftermath of an acrimonious divorce, the surgeon is seduced by his housekeeper. A married woman in Wisconsin wants to give the one-handed reporter her husband’s left hand– that is, after her husband dies. But the husband is alive, relatively young, and healthy. This is how John Irving’s tenth novel begins; it seems, at first, to be a comedy, perhaps a satire, almost certainly a sexual farce. Yet, in the end, The Fourth Hand is as realistic and emotionally moving as any of Mr. Irving’s previous novels – including The World According to Garp, A Prayer for Owen Meany, and A Widow for One Year – or his Oscar-winning screenplay of The Cider House Rules. The Fourth Hand is characteristic of John Irving’s seamless storytelling and further explores some of the author’s recurring themes – loss, grief, love as redemption. But this novel also breaks new ground; it offers a penetrating look at the power of second chances and the will to

From the author of A Widow for One Year, A Prayer for Owen Meany and other acclaimed novels, comes a story of a father and a son - fugitives in 20th-century North America. In 1954, in the cookhouse of a logging and sawmill settlement in northern New Hampshire, a twelve-year-old boy mistakes the local constable''s girlfriend for a bear. Both the twelve-year-old and his father become fugitives, pursued by the constable. Their lone protector is a fiercely libertarian logger, once a river driver, who befriends them. In a story spanning five decades, Last Night in Twisted River - John Irving''s twelfth novel - depicts the recent half-century in the United States as a world "where lethal hatreds were generally permitted to run their course." From the novel''s taut opening sentence - "The young Canadian, who could not have been more than fifteen, had hesitated too long." - to its elegiac final chapter, what distinguishes Last Night in Twisted River is the author''s unmistakable voice, the inimitable voice of an accomplished storyteller.

A Hindi film star, an American missionary, a pair of twins separated at birth, a diminutive chauffeur, and a serial killer collide in a riotous novel by the author of The World According to Garp “His most entertaining novel since Garp.”—The New York Times Book Review “A Son of the Circus is comic genius . . . get ready for [John] Irving''s most raucous novel to date.”—The Boston Globe “Dr. Farrokh Daruwalla, reared in Bombay by maverick foes of tradition, educated in Vienna, married to an Austrian and long a resident of Toronto, is a 59-year-old without a country, culture, or religion to call his own. . . . The novel may not be ''about'' India, but Irving''s imagined India, which Daruwalla visits periodically, is a remarkable achievement—a pandemonium of servants and clubmen, dwarf clowns and transvestite whores, missionaries and movie stars. This is a land of energetic colliding egos, of modern media clashing with ancient cultures, of broken sexual boundaries.”—New York Newsday “His most daring and most vibrant novel . . . The story of circus-as-India is told with gusto and delightful irreverence.”—Bharati Mukherjee, The Washington Post Book World “Ringmaster Irving introduces act after act, until three (or more) rings are awhirl at a lunatic pace. . . . [He] spills characters from his imagination as agilely as improbable numbers of clowns pile out of a tiny car. . . . His Bombay and his Indian characters are vibrant and convincing.”—The Wall Street Journal “Irresistible . . . powerful . . . Irving''s gift for dialogue shines.”—Chicago Tribune BONUS: This edition contains an excerpt from John Irving''s In One Person.

Until I Find You is the story of the actor Jack Burns – his life, loves, celebrity and astonishing search for the truth about his parents. When he is four years old, Jack travels with his mother Alice, a tattoo artist, to several North Sea ports in search of his father, William Burns. From Copenhagen to Amsterdam, William, a brilliant church organist and profligate womanizer, is always a step ahead – has always just departed in a wave of scandal, with a new tattoo somewhere on his body from a local master or “scratcher.” Alice and Jack abandon their quest, and Jack is educated at schools in Canada and New England – including, tellingly, a girls’ school in Toronto. His real education consists of his relationships with older women – from Emma Oastler, who initiates him into erotic life, to the girls of St. Hilda’s, with whom he first appears on stage, to the abusive Mrs. Machado, whom he first meets when sent to learn wrestling at a local gym. Too much happens in this expansive, eventful novel to possibly summarize it all. Emma and Jack move to Los Angeles, where Emma becomes a successful novelist and Jack a promising actor. A host of eccentric minor characters memorably come and go, including Jack’s hilariously confused teacher the Wurtz; Michelle Maher, the girlfriend he will never forget; and a precocious child Jack finds in the back of an Audi in a restaurant parking lot. We learn about tattoo addiction and movie cross-dressing, “sleeping in the needles” and the cure for cauliflower ears. And John Irving renders his protagonist’s unusual rise through Hollywood with the same vivid detail and range of emotions he gives to the organ music Jack hears as a child in European churches. This is an absorbing and moving book about obsession and loss, truth and storytelling, the signs we carry on us and inside us, the traces we can’t get rid of. Jack has always lived in the shadow of his absent father. But as he grows older – and when his mother dies – he starts to doubt the portrait of his father’s character she painted for him when he was a child. This is the cue for a second journey around Europe in search of his father, from Edinburgh to Switzerland, towards a conclusion of great emotional force. A melancholy tale of deception, Until I Find You is also a swaggering comic novel, a giant tapestry of life’s hopes. It is a masterpiece to compare with John Irving’s great novels, and restates the author’s claim to be considered the most glorious, comic, moving novelist at work today.

When a child hears a noise in the night he gets up to investigate. He calls his father to help him and they work through all the things that the ''noise'' could be, eventually realising that it is nothing to be scared of. An empowering book about over coming ones fears handled with brilliant originality by John Irving and Tatjana Hauptmann.

“I am doomed to remember a boy with a wrecked voice—not because of his voice, or because he was the smallest person I ever knew, or even because he was the instrument of my mother’s death, but because he was the reason I believe in God; I am a Christian because of Owen Meany.” In the summer of 1953, two eleven-year-old boys—best friends—are playing in a Little League baseball game in Gravesend, New Hampshire. One of the boys hits a foul ball that kills the other boy’s mother. The boy who hits the ball doesn’t believe in accidents; Owen Meany believes he is God’s instrument. What happens to Owen, after that 1953 foul ball, is extraordinary and terrifying.

In My Movie Business, John Irving tells of the thirteen years he spent adapting his novel The Cider House Rules for the screen—for four different directors. He also writes about the failed effort to make his first novel, Setting Free the Bears, into a movie; about two of the films that were made from his novels (but not from his screenplays), The World According to Garp and The Hotel New Hampshire; and about his slow progress shepherding his screenplay of A Son of the Circus into production. The memoir also gives an incisive history of abortion in the United States and a fascinating account of the distinguished career and medical writings of the author''s grandfather, Dr. Frederick C. Irving, a renowned obstetrician and gynecologist, who provided Irving with the medical background for The Cider House Rules. Besides its qualities as a memoir—anecdotal, comic, affectionate and candid—My Movie Business is an insightful essay on the essential differences between writing a novel and writing a screenplay.

“A Widow For One Year will appeal to readers who like old-fashioned storytelling mixed with modern sensitivities. . . . Irving is among the few novelists who can write a novel about grief and fill it with ribald humor soaked in irony.”—USA Today In A Widow for One Year, we follow Ruth Cole through three of the most pivotal times in her life: from her girlhood on Long Island (in the summer of 1958) through the fall of 1990 (when she is an unmarried woman whose personal life is not nearly as successful as her literary career), and at last in the autumn of 1995, when Ruth is a forty-one-year-old widow and mother (and she’s about to fall in love for the first time). Both elegiac and sensual, A Widow for One Year is a multilayered love story of astonishing emotional force. Praise for A Widow for One Year “Compelling . . . By turns antic and moving, lusty and tragic, A Widow for One Year is bursting with memorable moments. . . . A testament to one of life’s most difficult lessons: In the end, you just have to find a way to keep going.”—San Francisco Examiner-Chronicle “A sprawling 19th-century production, chock full of bizarre coincidences, multiple plot lines, lengthy digressions, and stories within stories. . . . An engaging and often affecting fable, a fairy tale that manages to be old-fashioned and modern all at once.”—The New York Times “[Irving’s] characters can beguile us onto thin ice and persuade us to dance there. His instinctive mark is the moral choice stripped bare, and his aim is impressive. What’s more, there’s hardly a writer alive who can match his control of the omniscient point of view.”—The Washington Post Book World “In the sprawling, deeply felt A Widow for One Year, John Irving has delivered his best novel since The World According to Garp. . . . Like a warm bath, it’s a great pleasure to immerse yourself in.”—Entertainment Weekly “John Irving is arguably the American Balzac, or perhaps our Dickens—a rip-roaring storyteller whose intricate plot machinery is propelled by good old-fashioned greed, foolishness and passion.”—The Nation “Powerful . . . a masterpiece.”—St. Louis Post-Dispatch

First published in 1985, The Cider House Rules is John Irving''s sixth novel. Set in rural Maine in the first half of this century, it tells the story of Dr. Wilbur Larch--saint and obstetrician, founder and director of the orphanage in the town of St. Cloud''s, ether addict and abortionist. It is also the story of Dr. Larch''s favorite orphan, Homer Wells, who is never adopted.

“John Irving, it is abundantly clear, is a true artist.”—Los Angeles Times Fred "Bogus" Trumper has troubles. A divorced, broke graduate student of Old Norse in 1970s New York, Trumper is a wayward knight-errant in the battle of the sexes and the pursuit of happiness: His ex-wife has moved in with his childhood best friend, his life is the subject of a tell-all movie, and his chronic urinary tract infection requires surgery. Trumper is determined to change. There''s only one problem: it seems the harder he tries to alter his adolescent ways, the more he is drawn to repeating the mistakes of the past. . . . Written when Irving was twenty-nine, Trumper''s tale of woe is told with all the wit and humor that would become Irving''s trademark. “Three or four times as funny as most novels.”—The New Yorker Praise for The Water-Method Man “Friendship, marriage, and family are his primary themes, but at that blundering level of life where mishap and folly—something close to joyful malice—perpetually intrude and distrupt, often fatally. Life, in [John] Irving''s fiction, is always under siege. Harm and disarray are daily fare, as if the course of love could not run true. . . . Irving''s multiple manner . . . his will to come at the world from different directions, is one of the outstandint traits of The World According to Garp, but this remarkable flair for . . . stories inside stories . . . isalready handled with mastery . . . and with a freedom almost wanton in The Water-Method Man [which is Garp''s predecessor by six years].”—Terrence Des Pres “Brutal reality and hallucination, comedy and pathos. A rich, unified tapestry.”—Time

T.S. Garp, a man with high ambitions for an artistic career and with obsessive devotion to his wife and children, and Jenny Fields, his famous feminist mother, find their lives surrounded by an assortment of people including teachers, whores, and radicals