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.

John Irving, one of the world’s greatest novelists, returns with his first novel in seven years — a ghost story, a love story, and a lifetime 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, Adam 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 the 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 Last Chairlift, readers will once more be in his thrall.

A thorough descriptive list of 225 printed constitutions, statutes, session acts and resolutions passed by properly authorized bodies of the Cherokee Nation, Chickasaw Nation, Choctaw Nation, Creek (or Muskogee Nation), Indian Territory, Nez Perce tribe, Omaha Tribe, Osage Nation, Ottawa Tribe, Sac and Fox nation, Seminole Nation, Seneca Nation, State of Sequoyah, Stockbridge and Munsee Tribe and the Winnebago Tribe. Each chapter begins with a brief history of the tribe or nation and each entry contains useful biographical, historical and bibliographical notes. The author observes that many of these items have not been "recorded in any connection, and the scant biographical information about the others are widely scattered."

John Irving, one of the world’s greatest novelists, returns with his first novel in seven years — a ghost story, a love story, and a lifetime 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, Adam 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 the 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 Last Chairlift, readers will once more be in his thrall.

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.

This book is a guide to Mozart's six most famous string quartets, dedicated to his friend, Joseph Haydn. In addition to providing a full synopsis of each quartet this book examines the music in relation to Mozart's earlier quartets, considers the genesis of these six pieces and charts their reception through a broad range of sources: letters and diary entries, contemporary criticism and early biographies.

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.

A masterpiece from one of the great contemporary American writers. 'A wonderful novel, full of energy and art, at once funny and heartbreaking...terrific' WASHINGTON POST Anniversary edition with a new afterword from the author. A worldwide bestseller since its publication, Irving's classic is filled with stories inside stories about the life and times of T. S. Garp, struggling writer and illegitimate son of Jenny Fields - an unlikely feminist heroine ahead of her time. Beautifully written, THE WORLD ACCORDING TO GARP is a powerfully compelling and compassionate coming-of-age novel that established John Irving as one of the most imaginative writers of his generation. 'A diamond sleeping in the dark, chipped out at last for our enrichment and delight...As approachable as it is brilliant' COSMOPOLITAN

Mozart's piano concertos stand alongside his operas and symphonies as his most frequently performed and best loved music. They have attracted the attention of generations of musicologists who have explored their manifold meanings from a variety of viewpoints. In this study, John Irving brings together the various strands of scholarship surrounding Mozart's concertos including analytical approaches, aspects of performance practice and issues of compositional genesis based on investigation of manuscript and early printed editions. Treating the concertos collectively as a repertoire, rather than as individual works, the first section of the book tackles broad thematic issues such as the role of the piano concerto in Mozart's quasi-freelance life in late eighteenth-century Vienna, the origin of his concertos in earlier traditions of concerto writing; eighteenth-century theoretical frameworks for the understanding of movement forms, subsequent historical shifts in the perception of the concerto's form, listening strategies and performance practices. This is followed by a 'documentary register' which proceeds through all 23 original works, drawing together information on the source materials. Accounts of the concertos' compositional genesis, early performance history and reception are also included here, drawing extensively on the Mozart family correspondence and other contemporary reports. Drawing together and synthesizing this wealth of material, Irving provides an invaluable reference source for those already familiar with this repertoire.

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 is 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.

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.

Mozart's piano concertos stand alongside his operas and symphonies as his most frequently performed and best loved music. They have attracted the attention of generations of musicologists who have explored their manifold meanings from a variety of viewpoints. In this study, John Irving brings together the various strands of scholarship surrounding Mozart's concertos including analytical approaches, aspects of performance practice and issues of compositional genesis based on investigation of manuscript and early printed editions. Treating the concertos collectively as a repertoire, rather than as individual works, the first section of the book tackles broad thematic issues such as the role of the piano concerto in Mozart's quasi-freelance life in late eighteenth-century Vienna, the origin of his concertos in earlier traditions of concerto writing; eighteenth-century theoretical frameworks for the understanding of movement forms, subsequent historical shifts in the perception of the concerto's form, listening strategies and performance practices. This is followed by a 'documentary register' which proceeds through all 23 original works, drawing together information on the source materials. Accounts of the concertos' compositional genesis, early performance history and reception are also included here, drawing extensively on the Mozart family correspondence and other contemporary reports. Drawing together and synthesizing this wealth of material, Irving provides an invaluable reference source for those already familiar with this repertoire.

"His most daringly political, sexually transgressive, and moving novel in well over a decade" ("Vanity Fair").
Winner of a 2013 Lambda Literary Award
A "New York Times" bestselling novel of desire, secrecy, and sexual identity, "In One Person" is a story of unfulfilled love--tormented, funny, and affecting--and an impassioned embrace of our sexual differences. Billy, the bisexual narrator and main character of "In One Person," tells the tragicomic story (lasting more than half a century) of his life as a "sexual suspect," a phrase first used by John Irving in 1978 in his landmark novel of "terminal cases," "The World According to Garp."
"In One Person" is a poignant tribute to Billy's friends and lovers--a theatrical cast of characters who defy category and convention. Not least, "In One Person" is an intimate and unforgettable portrait of the solitariness of a bisexual man who is dedicated to making himself "worthwhile."

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.

Mozart's piano sonatas form a richly diverse and significant part of his instrumental output, and span much of his mature composing career, thereby representing a microcosm of the composer's changing style. Part I examines the contexts in which the sonatas were composed and performed, and reviews likely sources of influence. Part II concentrates on the genesis of the sonatas and the surviving autographs, which reveal important information about Mozart's compositional process. In Part III the music is studied from the standpoint of rhetoric - a discipline featured in numerous contemporary aesthetic and theoretical textbooks on music - and proceeds through an investigation of the nature of the musical ideas, followed by a discussion of formal design and finally a consideration of the style. The resulting picture affords a cross-section of Mozart's compositional strategies.

Mozart's piano sonatas form a richly diverse and significant part of his instrumental output and span much of his mature composing career, thereby representing a microcosm of the composer's changing style. Part I examines the contexts in which the sonatas were composed and performed, and reviews likely sources of influence. Part II concentrates on the genesis of the sonatas and the sources, which reveals important information about Mozart's compositional process. In Part III the musical style is studied from the standpoint of rhetoric--a discipline featured in numerous contemporary aesthetic and theoretical textbooks on music.

'The reason Homer Wells kept his name was that he came back to St Cloud's so many times, after so many failed foster homes, that the orphanage was forced to acknowledge Homer's intention to make St Cloud's his home.' Homer Wells' odyssey begins among the apple orchards of rural Maine. As the oldest unadopted child at St Cloud's orphanage, he strikes up a profound and unusual friendship with Wilbur Larch, the orphanage's founder - a man of rare compassion and an addiction to ether. What he learns from Wilbur takes him from his early apprenticeship in the orphanage surgery, to an adult life running a cider-making factory and a strange relationship with the wife of his closest friend...

Juan Diego's little sister is a mind reader. As a teenager, he struggles to keep anything secret - Lupe knows all the worst things that go through his mind. And sometimes she knows more. What a terrible burden it is to know - or to think you know - your future, or worse, the future of someone you love. What might a young girl be driven to do if she thought she had the power to change what lies ahead? Later in life, Juan Diego embarks on a journey to fulfil a promise he made in his youth. It is a long story and it has long awaited an ending, but Juan Diego is unable to write the final chapters. This is the story of what happens when the future collides with the past.