IN ONE PERSON - IRVING JOHN - Simon&Schuster

A tale inspired by the U.S. AIDS epidemic in the 1980s follows the experiences of individuals torn by devastating losses and political upheavals whose perspectives on tolerance and love are also irrevocably shaped by awareness of what might have been. (general fiction). Reprint.

“His most daringly political, sexually transgressive, and moving novel in well over a decade” (Vanity Fair).

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.”

Prendendo spunto da esperienze reali - e con tante divagazioni -, l'autore di 'Pane e football' scopre mille connessioni, ovvie e non, tra il mondo del cibo e quello del calcio. In una narrazione personale, vissuta tra il Regno Unito e l'Italia, si raccontano fatti e aneddoti di gastronomia e tradizione culinaria, il tutto attraverso l'evento sportivo. Perché se il cibo è elemento essenziale di molti momenti sociali, quale migliore evento, per questi due Paesi, se non le partite di calcio? Ne vengono fuori pezzi di storia sociale e di costume, talvolta sorprendenti, di due realtà ed epoche diverse. Denominatore comune è il vissuto di un appassionato di calcio e di cucina. Un'ideale autobiografia 'gastrosportiva' che è anche un inno alla biodiversità e alla memoria.

'Sono i nostri desideri a plasmarci. In un minuto scarso di accese, inconfessabili fantasie ho desiderato di diventare scrittore e di fare sesso con Miss Frost, non necessariamente in quest'ordine.' Quando Billy, a tredici anni, entra per la prima volta nella biblioteca della sua cittadina del Vermont, è in cerca di libri su ragazzi che si sono presi 'una cotta per la persona sbagliata': nel suo caso il futuro patrigno Richard, il crudele compagno di scuola Kittredge e la stessa bibliotecaria Miss Frost, statuaria, con le spalle larghe, i bicipiti robusti e un seno da adolescente. Figlio di un crittografo da cui la madre si era subito separata, cresciuto in una famiglia di uomini eccentrici e donne puritane, circondato da un cast di amici, amiche, amanti, travestiti, transgender che rifiutano di farsi incasellare in una categoria o in uno schema, Billy racconta oltre mezzo secolo di avventure tragicomiche alla ricerca di sé (e del padre). Attraverso le sue parole, John Irving mette in scena una toccante epopea sul terrore di essere diversi, sulla profonda verità delle passioni che ci abitano, sulla felice impossibilità di essere altro da sé.

Uno dei libri più venduti nel mondo, caratterizzato da una vena di pazzia e di tristezza, 'Il mondo secondo Garp' è una rassegna di atteggiamenti incongrui e imprevedibili verso il sesso, il matrimonio, la famiglia e il femminismo. Una donna 'sessualmente sospetta', la madre di Garp, diviene bersaglio di un pazzo che odia le donne e che la ucciderà; Garp, a sua volta, diviene bersaglio delle femministe radicali e sarà vittima di una pazza che odia gli uomini. Un libro ironico e insieme drammatico che rivela le contraddizioni dell'America di fronte alle problematiche della liberazione sessuale.

A tale inspired by the U.S. AIDS epidemic in the 1980s follows the experiences of individuals torn by devastating losses and political upheavals whose perspectives on tolerance and love are also irrevocably shaped by awareness of what might have been. (general fiction).

His most political novel since The Cider House Rules and A Prayer for Owen Meany, John Irving's In One Person is an intimate and unforgettable portrait of the solitariness of a bisexual man who is dedicated to making himself “worthwhile.”

Advance praise for John Irving's In One Person:

“This tender exploration of nascent desire, of love and loss, manages to be sweeping, brilliant, political, provocative, tragic, and funny—it is precisely the kind of astonishing alchemy we associate with a John Irving novel. The unfolding of the AIDS epidemic in the United States in the '80s was the defining moment for me as a physician. With my patients' deaths, almost always occurring in the prime of life, I would find myself cataloging the other losses—namely, what these people might have offered society had they lived the full measure of their days: their art, their literature, the children they might have raised. In One Person is the novel that for me will define that era. A profound truth is arrived at in these pages. It is Irving at his most daring, at his most ambitious. It is America and American writing, both at their very best.” —Abraham Verghese, author of Cutting for Stone and My Own Country

“In One Person is a novel that makes you proud to be human. It is a book that not only accepts but also loves our differences. From the beginning of his career, Irving has always cherished our peculiarities—in a fierce, not a saccharine, way. Now he has extended his sympathies—and ours—still further into areas that even the misfits eschew. Anthropologists say that the interstitial—whatever lies between two familiar opposites—is usually declared either taboo or sacred. John Irving in this magnificent novel—his best and most passionate since The World According to Garp—has sacralized what lies between polarizing genders and orientations. And have I mentioned it is also a gripping page-turner and a beautifully constructed work of art?” —Edmund White, author of City Boy and Genet: A Biography

While playing baseball in the summer of 1953, Owen Meany hits a foul ball that kills his best friend's mother, and he becomes convinced that he is an instrument of God.

While playing baseball in the summer of 1953, Owen Meany hits a foul ball that kills his best friend's mother, and he becomes convinced that he is an instrument of God.

While playing baseball in the summer of 1953, Owen Meany hits a foul ball that kills his best friend's mother, and he becomes convinced that he is an instrument of God.

Writer John Rozum and artist Frazer Irving (BATMAN AND ROBIN) team up to deliver the finest in contemporary urban horror - with a super hero twist in this sensational graphic novel! XOMBI centers around David Kim, a medical researcher who was attacked in his laboratory by strange creatures and left for dead. His supernaturally induced mortal injuries were repaired by nanomachines injected into his body. The combination of science and the supernatural has had two consequences. 1) He cannot die. Ever. He can self-heal any wound, any disease, never has to brush his teeth, diet, worry about aging, or use a toilet. The nanomachines in his body process everything and keep him in peak physical condition. This condition brought on BY artificial means is what makes him a xombi. 2) He has now become a magnet for supernatural phenomenon. All manner of really strange stuff occurs with him somehow winding up in the center of it.

From the deepest, darkest recesses of the Nerve Centre vaults, the eerie alien editor of 2000 AD known as the Mighty Tharg presents some horror-tinged tales in time for Halloween. In Necronauts, world famous escapologist Harry Houdini must join forces with novelists H.P. Lovecraft, Sir Arthur Conan Doyle and phenomenologist Charles Fort to defeat an unholy force which has followed him back from a place beyond human imagination...

A Love Like Blood sees a vampire prince and a reckless female werewolf fall in love, despite the fact that their tribes are engaged in an age-old war. Does love still conquer all when fangs are involved?

Editions P.O.L is perhaps the most innovative and important Frenchpublisher today, welcoming richly challenging and experimentalliterature into its fold to appear side by side with books belongingsquarely in the mainstream. This issue of The Review of Contemporary Fiction pays tribute to this remarkable publisher with essays,images, and excerpts from previously untranslated works, and aninterview with founder and director Paul Otchakovsky-Laurens.

Marianna Martines (1744-1813) was one of the most accomplished, prolific, and highly honored female musicians of the eighteenth century. She spent most of her life in a remarkable household that included celebrated librettist Pietro Metastasio, who supervised her education and remained a powerful and supportive mentor. She studied with the young Joseph Haydn, and Vienna knew her as a gifted, aristocratic singer and keyboard player who performed for the pleasure of the Empress Maria Theresa. The regular private concerts she held in her home attracted the presence and participation of some of Vienna's leading musicians; Mozart enjoyed playing keyboard duets with her. She composed prolifically and in a wide variety of genres, vocal and instrumental, writing church music, oratorios, Italian arias, sonatas, and concertos. Much of that music survives, and those who study it, perform it, and listen to it will be impressed today by its craftsmanship and beauty. This book, the first volume fully devoted to Martines, examines her life and compositional oeuvre. Based largely on eighteenth-century printed sources, archival documents, and letters (including several by Martines herself, most of them published here for the first time), the book presents a detailed picture of the small but fascinating world in which she lived and demonstrates the skillfulness and creativity with which she manipulated the conventions of the gallant style. Focusing on a limited number of representative works, and using many musical examples, it vividly conveys the nature and extent of her compositional achievement and encourages the future performance of her works. The late Irving Godt was professor of music at Indiana University of Pennsylvania. John A. Rice, independent scholar, is a member of the Akademie für Mozart-Forschung in Salzburg.

In 1954, in the cookhouse of a logging and sawmill settlement in northern New Hampshire, an anxious twelve-year-old boy mistakes the local constable’s girlfriend for a bear. Both the twelve-year-old and his father become fugitives, forced to run from Coos County–to Boston, to southern Vermont, to Toronto–pursued by the implacable 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 living replica of Coos County, 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, Last Night in Twisted River is written with the historical authenticity and emotional authority of The Cider House Rules and A Prayer for Owen Meany. It is also as violent and disturbing a story as John Irving’s breakthrough bestseller, The World According to Garp.

What further distinguishes Last Night in Twisted River is the author’s unmistakable voice–the inimitable voice of an accomplished storyteller. Near the end of this moving novel, John Irving writes: “We don’t always have a choice how we get to know one another. Sometimes, people fall into our lives cleanly–as if out of the sky, or as if there were a direct flight from Heaven to Earth–the same sudden way we lose people, who once seemed they would always be part of our lives.”


From the Hardcover edition.

Dominic Baciagalupo, cuoco italoamericano, tiene sempre una padella di ferro appesa al muro della sua camera da letto. Perché nel 1954, nel primitivo insediamento di boscaioli di Twisted River, New Hampshire, la vita è dura, e la padella un'ottima arma di difesa. Almeno fino alla notte in cui il figlio di Dom, Danny, la usa per ammazzare quello che crede un orso, e invece è una donna dai lunghi capelli corvini: l'amante di suo padre, e la fidanzata di un uomo vendicativo e violento, Carl. Nel mondo 'pieno di incidenti' in cui John Irving ambienta le sue storie, questo vuol dire, per padre e figlio, una fuga che durerà una vita. Fuga da una vendetta destinata prima o poi a colpire, da un 'odio letale' cui verrà lasciato libero corso. L'unico legame col passato sarà per i fuggitivi il taglialegna Ketchum, omone burbero ed eccentrico, il più improbabile degli angeli custodi. E mentre le vite dei tre, all'ombra dell'odio di Carl, seguono i loro corsi disuguali e accidentati, come i tronchi che a Twisted River vengono trasportati dalla corrente, John Irving ci racconta un mondo in cui la sopravvivenza è insieme 'tenace e precaria', e la casualità troppo spesso si trasforma in tragedia. Anche se a volte, proprio per caso, s'incontra lungo la strada quello che ciascuno può chiamare il senso della vita.

In 1954, in the cookhouse of a logging and sawmill settlement in northern New Hampshire, an anxious twelve-year-old boy mistakes the local constable's girlfriend for a bear. Both the twelve-year-old and his father become fugitives, forced to run from Coos County–to Boston, to southern Vermont, to Toronto–pursued by the implacable 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 living replica of Coos County, 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, Last Night in Twisted River is written with the historical authenticity and emotional authority of The Cider House Rules and A Prayer for Owen Meany. It is also as violent and disturbing a story as John Irving's breakthrough bestseller, The World According to Garp.

What further distinguishes Last Night in Twisted River is the author's unmistakable voice–the inimitable voice of an accomplished storyteller. Near the end of this moving novel, John Irving writes: “We don't always have a choice how we get to know one another. Sometimes, people fall into our lives cleanly–as if out of the sky, or as if there were a direct flight from Heaven to Earth–the same sudden way we lose people, who once seemed they would always be part of our lives.”


From the Hardcover edition.

Proposed topics for this issue include: Cardiac Screening Prior to Non-Cardiac Surgery ; Non-Invasive Imaging of the Heart and Coronary Arteries; Cardiopulmonary Bypass / ECMO / Left Heart Bypass: Indications, Techniques and Complications; On Pump versus Off Pump Coronary Artery Bypass Grafting; Surgical Treatment of Atrial Fibrillation; Minimally Invasive Valve Surgery; Valve Sparing Aortic Root Operations; Great Vessel, Aortic and Cardiac Trauma; Indications for the Treatment of Thoracic Aortic Aneurysms; Stent Grafts for Thoracic Aortic Pathology; Approach to the Treatment of Aortic Dissections; Indications and Treatment of Great Vessel Occlusive Disease; Surgical Therapy for the Failing Heart (DOR / VAD / Transplantation); Current Status of Percutaneous Valve Therapy; Congenital Heart Surgery in the Adult.

Owen Meany hits a foul ball while playing baseball in the summer of 1953 that kills his best friend's mother, an accident that Owen is sure is the result of divine intervention.

Instructors in various medical specialties, British but for one Georgian, have selected 40 case histories to help students learn how to approach and understand infectious diseases. Profiling diseases that cause the most morbidity and mortality worldwide, they follow the natural history of infection from point of entry of the pathogen through pathogenesis, clinical presentation, diagnosis, and treatment. Then the same five questions are asked about each case to encourage students to think about infections in a common sequence. Other learning aids for each case include multiple-choice review questions, summary bullet points, a reference list, a further reading list, and some relevant reliable websites. Annotation ©2009 Book News, Inc., Portland, OR (booknews.com)

In 1954, in the cookhouse of a logging and sawmill settlement in northern New Hampshire, an anxious twelve-year-old boy mistakes the local constable’s girlfriend for a bear. Both the twelve-year-old and his father become fugitives, forced to run from Coos County–to Boston, to southern Vermont, to Toronto–pursued by the implacable 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 living replica of Coos County, 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, Last Night in Twisted River is written with the historical authenticity and emotional authority of The Cider House Rules and A Prayer for Owen Meany. It is also as violent and disturbing a story as John Irving’s breakthrough bestseller, The World According to Garp.

What further distinguishes Last Night in Twisted River is the author’s unmistakable voice–the inimitable voice of an accomplished storyteller. Near the end of this moving novel, John Irving writes: “We don’t always have a choice how we get to know one another. Sometimes, people fall into our lives cleanly–as if out of the sky, or as if there were a direct flight from Heaven to Earth–the same sudden way we lose people, who once seemed they would always be part of our lives.”

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.