Best Selling Books by John Irving

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

“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.

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

“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

“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 Son of the Circus and A Prayer for Owen Meany.

Trying to Save Piggy Sneed contains a dozen short works by John Irving, beginning with three memoirs, including an account of Mr. Irving’s dinner with President Ronald Reagan at the White House. The longest of the memoirs, “The Imaginary Girlfriend,” is the core of this collection. The middle section of the book is fiction. Since the publication of his first novel, Setting Free the Bears, in 1968, John Irving has written twelve more novels but only half a dozen stories that he considers “finished”: they are all published here, including “Interiors,” which won the O. Henry Award. In the third and final section are three essays of appreciation: one on Günter Grass, two on Charles Dickens. To each of the twelve pieces, Mr. Irving has contributed his Author’s Notes. These notes provide some perspective on the circumstances surrounding the writing of each piece—for example, an election-year diary of the Bush-Clinton campaigns accompanies Mr. Irving’s memoir of his dinner with President Reagan; and the notes to one of his short stories explain that the story was presented and sold to Playboy as the work of a woman. Trying to Save Piggy Sneed is both as moving and as mischievous as readers would expect from the author of The World According to Garp, The Cider House Rules, A Prayer of Owen Meany, A Widow for One Year, and In One Person. And Mr. Irving’s concise autobiography, “The Imaginary Girlfriend,” is both a work of the utmost literary accomplishment and a paradigm for living. 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.

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.

"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. 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. "An aura of fate had marked him," John Irving writes, of Juan Diego. "The chain of events, the links in our lives--what leads us where we''re going, the courses we follow to our ends, what we don''t see coming, and what we do--all this can be mysterious, or simply unseen, or even obvious." 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"--

“Imagine a young man on his way to a less-than-thirty second event — the loss of his left hand, long before he reached middle age.” 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 change.

NEW YORK TIMES BESTSELLER • John Irving’s classic novel about a troubled doctor, the conflicted young orphan he mentors, and what it means to be of use in the world—the basis for the Academy Award–winning film starring Tobey Maguire, Michael Caine, and Charlize Theron “Witty, tenderhearted, fervent . . . This novel is an example, now rare, of the courage of imaginative ardor.”—The New York Times Book Review “Good night!” he would call. “Good night—you princes of Maine, you kings of New England!” Homer Wells grows up in a rural Maine orphanage under the tutelage of Dr. Wilbur Larch, a physician who both delivers babies and performs illegal abortions. Dr. Larch trains Homer in obstetrics and gynecology, hoping the boy will follow in his footsteps. Yet Homer refuses, unwilling to conduct the procedures. Homer seizes the opportunity to leave the orphanage after meeting Wally and Candy, an attractive couple who come to Dr. Larch seeking an abortion. While working on the apple orchard owned by Wally’s parents, Homer falls in love and soon begins an illicit affair. Fifteen years later, a shocking discovery leads Homer to back to the orphanage—and to a decision that will ultimately alter the course of his life. First published in 1985, The Cider House Rules explores the nature of love, the complexities of found family, and the unpredictable consequences of our moral choices.

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.

“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

“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

After forty years, John Irving returns to the world of his bestselling classic novel and Academy Award-winning The Cider House Rules, revisiting the orphanage in St. Cloud’s, Maine, where Dr Wilbur Larch takes in Esther, a Viennese-born Jew whose life is shaped by anti-Semitism. Esther Nacht is born in Vienna in 1905. Her father dies on board a ship from Bremerhaven to Portland, Maine, and anti-Semites murder her mother in Portland. In the orphanage at St. Cloud’s, it’s clear to Dr Larch, the physician and director of the orphanage, that the abandoned child not only knows she’s Jewish, but she’s familiar with the biblical Queen Esther she was named for. Dr Larch knows it won’t be easy to find a Jewish family to adopt Esther; he doubts he’ll find any family to adopt her. When Esther is fourteen, soon to become a ward of the state, Dr. Larch meets the Winslows, a philanthropic family with a history of providing for unadopted orphans. The Winslows aren’t Jewish, but they detest anti-Semitism and similar prejudice. Esther’s gratitude to the Winslows is unending. As she retraces her steps to her birth city, Esther keeps loving and protecting the Winslows – even in Vienna. The final chapter of this historical novel is set in Jerusalem in 1981, when Esther is seventy-six.

“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

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.

John Irving''s memoir describes the author''s involvement (and lack thereof) in five of the films that have (and have not) been made from his nine novels. My Movie Business focuses primarily on the thirteen years Mr. Irving spent writing and rewriting his screenplay of The Cider House Rules, for four different directors. A Miramax production, the film was finally shot in the fall of 1998 directed by the Swedish director Lasse Hallström (My Life as a Dog), with Michael Caine in the role of Dr. Larch. The Cider House Rules is a November 1999 release. Mr. Irving 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 ongoing struggle to shepherd his screenplay of A Son of the Circus into production. In addition to 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. Never have the two forms of storytelling been so lucidly compared and contrasted; the details are memorable, the examples clarifying. My Movie Business includes photos by Stephen Vaughan, the still photographer on the film set of The Cider House Rules.