Irving, John

A Prayer for Owen Meany

Owen Meany is a dwarfish boy with a strange voice who accidentally kills his best friend's mom with a baseball and believes--accurately--that he is an instrument of God, to be redeemed by martyrdom. John Irving's novel, which inspired the 1998 Jim Carrey movie Simon Birch, is his most popular book in Britain, and perhaps the oddest Christian mystic novel since Flannery O'Connor's work. Irving fans will find much that is familiar: the New England prep-school-town setting, symbolic amputations of man and beast, the Garp-like unknown father of the narrator (Owen's orphaned best friend), the rough comedy. The scene of doltish the doltish headmaster driving a trashed VW down the school's marble staircase is a marvelous set piece. So are the Christmas pageants Owen stars in. But it's all, as Highlights magazine used to put it, "fun with a purpose." When Owen plays baby Jesus in the pageants, and glimpses a tombstone with his death date while enacting A Christmas Carol, the slapstick doesn't cancel the fact that he was born to be martyred. The book's countless subplots add up to a moral argument, specifically an indictment of American foreign policy--from Vietnam to the Contras.

The book's mystic religiosity is steeped in Robertson Davies's Deptford trilogy, and the fatal baseball relates to the fatefully misdirected snowball in the first Deptford novel, Fifth Business. Tiny, symbolic Owen echoes the hero of Irving's teacher Günter Grass's The Tin Drum--the two characters share the same initials. A rollicking entertainment, Owen Meany is also a meditation on literature, history, and God. --Tim Appelo

Owen Meany, the only child of a New Hampshire granite quarrier, believes he is God's instrument; he is.
This is John Irving's most comic novel, yet Owen Meany is Mr. Irving's most heartbreaking character.
"Roomy, intelligent, exhilarating and darkly comic...Dickensian in scope....Quite stunning and very ambitious."
LOS ANGELES TIMES BOOK REVIEW
"John Irving is an abundantly and even joyfully talented storyteller."
THE NEW YORK TIMES BOOKR EVIEW

The World According to Garp

"Garp was a natural storyteller," says the narrator of John Irving's incandescent novel, referring to the book's hero, the novelist Garp, who has much in common with Irving himself. "He could make things up one right after the other, and they seemed to fit."

Irving packs wild characters and weird events into his classic--officially recognized as such in a Modern Library edition with a new introduction by the author--while amazingly maintaining the rough feel of realism in every scene and the pulse of life in every heart. Many novelists of his time might have populated a novel with a novelist protagonist whose life and books comment on each other and the novel we're reading. Transsexual football players, ball turret gunners lobotomized in battle, multiple adultery, unicycling bears, mad feminists who amputate their tongues in sympathy with the celebrated victim of a horrifying rape--Irving made them all people. Even the bear is a fitting character.

In a crucial episode, Garp's wife's seduction of a young man coincidentally occurs at the moment when Garp is delighting their young sons with a reckless car trick (one of the few scenes beautifully, eerily, heartbreakingly captured in the film version as well). Many authors would have been content with the harsh comedy of the scene, but Irving respects its integrity, and he builds the rest of the book on the consequences of the event. How does he get away with his killer cocktail of slapstick and horror? Because it's simply what we all face daily, rearranged into soul-satisfying art. "Life is an X-rated soap opera," according to Garp, and who can contradict him?

Rereading Garp 20 years later, one is struck by how elegantly Irving structures his bizarre and complex story. Take the two most celebrated bits in the book, the Under Toad and Garp's story "The Pension Grillparzer," which shimmers like an exquisite Kafkaesque insect in the amber of the novel. When Garp warns his son about the "undertow" at the beach, the boy imagines a monster out of Beowulf who lurks beneath the waves to suck you under: the "Under Toad." It's funny at first, but we soon find that the Under Toad is a metaphor with teeth--he connects with a prophetic dream of death in "The Pension Grillparzer," set in Vienna. Garp's son's last words are, "It's like a dream!" And as Irving--who studied at the University of Vienna--can certainly tell you, the German word for "death" sounds precisely like the English word "toad."

All that death, and yet Garp is mainly exuberant. This story is, as Garp's stuttering writing teacher puts it, "rich with lu-lu-lunacy and sorrow." It enriches literature, and our lives. --Tim Appelo

20th ANNIVERSARY EDITION
with a new Afterword from the author



The New York Times bestseller



This is the life and times of T. S. Garp, the bastard son of Jenny
Fields--a feminist leader ahead of her times.  This is the life and death
of a famous mother and her almost-famous son; theirs is a world of sexual
extremes--even of sexual assassinations.  It is a novel rich with "lunacy
and sorrow"; yet the dark, violent events of the story do not undermine a
comedy both ribald and robust.  In more than thirty languages, in more than
forty countries--with more than ten million copies in print--this novel
provides almost cheerful, even hilarious evidence of its famous last line:
"In the world according to Garp, we are all terminal cases."

The Cider House Rules

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.

The Hotel New Hampshire (Ballantine Reader's Circle)

"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 Widow for One Year and The Cider House Rules.

Until I Find You: A Novel

At over 800 pages, John Irving's Until I Find You is a daunting proposition at best. Anyone who finishes it will have acquired forearm muscles, sore shoulders, and not much else. The story is self-indulgent, repetitive and, ultimately, boring, that cardinal sin that readers can't forgive. Longtime Irving readers have stayed with him through a few hits and a miss or two, but this is an all-time low. We are accustomed to Irving's work as quirky, bizarre, and off-the-wall and have forgiven all by calling such high-jinks and characters "imaginative" or "absolutely original." The only thing original about this tome is the descent into soft porn.

Jack Burns, the hero of the tale, is four years old when it all begins. He is the illegitimate son of Daughter Alice, a tattoo artist and, guess what, daughter of a tattoo artist. She takes Jack on a pilgrimage to find his womanizing father, William, a church organist and "ink addict." By seeking out church organs and tattoo parlors, she expects to find him. She doesn't, and by now we have spent more than a hundred pages in Northern European cities doing an imitation of Groundhog Day. Same story, different day: a little prostitution for Alice, a few questions asked; alas, no daddy.

Alice and Jack return to Toronto so that Jack may enter a previously all-girls school, which will admit little boys for the first time. There begins another 200 pages of the girls and the teachers abusing Jack, over and over again. By now, he is five and is, for some unfathomable reason, eminently interesting to girls and women. His "friend" Emma keeps careful track of "the little guy," as she calls Jack's penis, looking for signs of life. The worst part of all this is that none of it is funny or sad or even clever. There are wrestling vignettes, of course, and prep school tedium, but no bears. Maybe bears would have saved it. There were funny parts in The World According to Garp and The Cider House Rules as well as poignant, horrific parts in both of those and other Irving novels. This story is flat. The voice never changes; it just drones on.

Jack becomes an actor. First, he is a boy in drag because he is so pretty, then he takes transvestite parts. He and Emma, now a published novelist, live together in LA, which provides endless opportunity for name-dropping. His career eventually takes off and he gets recognition and awards, but still no daddy. Irving, it turns out, never knew his father, either. Perhaps this exercise will exorcise that demon once and for all and Irving's next book will be about something more compelling than a little boy's penis and his trashy mother's antics. If you do make it through to the book's snapper of an ending, you deserve to find out what it is on your own. Call it a reward. --Valerie Ryan

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.


From the Hardcover edition.

John Irving has won an O. Henry Award, a National Book Award, and an Oscar. Until I Find You is his eleventh novel. He lives in Vermont and Toronto.


From the Hardcover edition.

The Water-Method Man

The main character of John Irving's second novel, written when the author was twenty-nine, is a perpetual graduate student with a birth defect in his urinary tract--and a man on the threshold of committing himself to a second marriage that bears remarkable resemblance to his first....
"Three or four times as funny as most novels."
THE NEW YORKER


From the Paperback edition.

The 158-Pound Marriage (Ballantine Reader's Circle)

The darker vision and sexual ambiguities of this erotic, 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.

Trying to Save Piggy Sneed

Here is a treat for John Irving addicts and a perfect introduction to his work for the uninitiated.  To open this spirited collection, Irving explains how he became a writer.  There follow six scintillating stories written over the last twenty years ending with a homage to Charles Dickens.  This irresistible collection cannot fail to delight and charm.

The Imaginary Girlfriend (Ballantine Reader's Circle)

“The Imaginary Girlfriend is a miniature autobiography detailing Irving’s parallel careers of writing and wrestling. . . . Tales of encounters with writers (John Cheever, Nelson Algren, Kurt Vonnegut) are intertwined with those about his wrestling teammates and coaches. With humor and compassion, [Irving] details the few truly important lessons he learned about writing. . . . And in beefing up 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.”
–The Denver Post

A Widow for One Year (Modern Library of the World's Best Books)

John Irving's A Widow For One Year is the epic story of a family, dysfunctional at best, unable to cope with tragedy--or with each other. The unabridged audiobook, narrated by George Guidall (The Cat Who Sang for the Birds, The Inner Sanctum, The Legacy) draws the listener in with a crisp, methodical vocal presentation. Guidall portrays each character with a convincingly distinct voice, accurately impersonating the characters' intonations and verbal habits. The interaction between characters is both conversational and believable.

We first meet Ruth Cole in the summer of 1958 when she walks in on her mother having sex with 16-year-old Eddie O'Hare, the assistant to Ruth's alcoholic father. The death of Ruth's older brothers (years before she was born) turns her mother, Marion, into a zombie who is unable to love her surviving daughter. Ted Cole is a semisuccessful writer and illustrator of disturbingly creepy children's novels. His womanizing habits prove he's "as deceitful as a damaged condom," but he remains the only stable figure in Ruth's life. The tempestuous tale fast-forwards to the year 1990 when Ruth's soaring writing career is faring far better than her lackluster love life. The final segment of the novel ends in 1995 when 41-year-old Ruth is ready to fall in love for the first time.

This profoundly absorbing story expresses the depths of misery and the healing power of love. Irving writes as a true storyteller, and Guidall executes the narrative with vigor and enthusiasm. (Running time: 24.5 hours, 14 cassettes) --Gina Kaysen

Ruth Cole is a complex, often self-contradictory character--a "difficult" woman.  By no means is she conventionally "nice," but she will never be forgotten.

Ruth's story is told in three parts, each focusing on a crucial time in her life.  When we first meet her--on Long Island, in the summer of 1958--Ruth is only four.

The second window into Ruth's life opens in the fall of 1990, when Ruth is an unmarried woman whose personal life is not nearly as successful as her literary career.  She distrusts her judgment in men, for good reason.

A Widow for One Year closes in the autumn of 1995, when Ruth Cole is a forty-one-year-old widow and mother.  She's about to fall in love for the first time.

Richly comic, as well as deeply disturbing A Widow for One Year is a multilayered love story of astonishing emotional force.  Both ribald and erotic, it is also a brilliant novel about the passage of time and the relentlessness of grief.

Twenty years after The World According to Garp, John Irving gives us a new novel about a family marked by tragedy and the "difficult" women who survive.

Ruth Cole is a complex, often self-contradictory character. By no means is she conventionally "nice", but she will never be forgotten. Ruth's story is told in three parts, each focusing on a critical time in her life. When we first meet her -- in the Hamptons in the summer of 1958 -- Ruth is only four. Her parents, having suffered the loss of two children before Ruth was born, are still haunted by their memories of these unspeakable deaths; now Ruth's mother is having an affair with a sixteen-year-old boy, while her father sleeping with someone else's wife.

The second window into Ruth's life opens in the fall of 1990, when Ruth is a renowned author -- and an unmarried woman whose personal life is not nearly as successful as her literary career. Ruth distrusts her judgment in men, for good reason.

A Widow for One Year closes in tile autumn of 1995, when Ruth Cole is a widow and a mother. She's about to fall in love for the first time.

Richly comic as well as deeply disturbing, A Widow for One Year is a multilayered love story of astonishing emotional force. Both ribald and erotic, it is also a brilliant novel about the passage of time and the relentlessness of grief.