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On a New England campus, Viennese housewife Utchka and her aspiring writer husband live a rather placid life with their two children.Until, that is, they meet Severin Winter, Professor of German and wrestling coach, and his delicate wife Edith at a faculty party. Utchka and Severin are rather taken with one another, and, conveniently, their spouses appear to be similarly smitten.A bizarre ménage a quatre is the result of these convoluted desires, and what starts out as a bit of fun is soon subject to the darker machinations of obsession,..
“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
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
“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
John Irving returns to the themes that established him as one of North America's most admired and beloved storytellers in this absorbing novel of fate and memory. 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.
“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
Trying to Save Piggy Sneed contains a dozen short works by John Irving, beginning with three memoirs - two of which (including an account of Mr. Irving's dinner with President Reagan at the White House) are new to American readers. The newest and longest of the memoirs, "The Imaginary Girlfriend", is the core of this collection. The middle section of the book is fiction. In 28 years, John Irving has written eight novels - but only a half-dozen short stories that he considers "finished"; they are all published here. In the third and final section are three essays of appreciation: one on Gunter Grass, two on Charles Dickens. To each of the 12 pieces, which cover 30 years of writing, Mr. Irving has contributed his Author's Notes.
“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.”
An American classic first published in 1985 by William Morrow and adapted into an Academy Award-winning film, The Cider House Rules is among John Irving's most beloved novels. Set in rural Maine in the first half of the twentieth 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. “A novel as good as one could hope to find from any author, anywhere, anytime. Engrossing, moving, thoroughly satisfying.” —Joseph Heller, author of Catch-22
A Hindi film star and an American missionary are twins separated at birth; a dwarf — a former circus clown — mistakes the missionary for the movie star. And stalking one of them is a serial killer...
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 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.” What further distinguishes Last Night in Twisted River is the author’s unmistakable voice—the inimitable voice of an accomplished storyteller.
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.
“One night when she was four and sleeping in the bottom bunk of her bunk bed, Ruth Cole woke to the sound of lovemaking—it was coming from her parents’ bedroom.” This sentence opens John Irving’s ninth novel, A Widow for One Year, a story of a family marked by tragedy. 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 critical 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 on the fall of 1990, when she 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.
NATIONAL BESTSELLER The first new work of fiction since 2013 from one of Canada's most successful, idiosyncratic and world-defining writers, Douglas Coupland. He's called it Binge because it's impossible to read just one. Imagine feeling 100% alive every moment of every minute of the day! Maybe that's how animals live. Or trees, even. I sometimes stare at the plastic bag tree visible from my apartment window and marvel that both it and I are equally alive and that there's no sliding scale of life. You're either alive, or you're not. Or you're dead or you're not. Thirty years after Douglas Coupland broke the fiction mould and defined a generation with Generation X, he is back with Binge, 60 stories laced with his observational profundity about the way we live and his existential worry about how we should be living: the very things that have made him such an influential and bestselling writer. Not to mention that he can also be really funny. Here the narrators vary from story to story as Doug catches what he calls "the voice of the people," inspired by the way we write about ourselves and our experiences in online forums. The characters, of course, are Doug's own: crackpots, cranks and sweetie-pies, dad dancers and perpetrators of carbecues. People in the grip of unconscionable urges; lonely people; dying people; silly people. If you love Doug's fiction, this collection is like rain on the desert.