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A Widow for One Year by John Irving

A Widow for One Year (1998)

by John Irving

Other authors: See the other authors section.

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6,80981541 (3.69)1 / 119

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Showing 1-5 of 70 (next | show all)
Didn't care for it and wouldn't recommend it. It was a disciplined slog to finally reach the last sentence which had the singular benefit of indicating that my long, literary trek was over. Reading this, it occurred to me that Mr. Irving may be suffering from the curse of popularity which incapacitates editors to utter things like: "John? What the hell is this?" For whatever reasons, the book seemed self-aggrandizing to a fault, while the irrational and prolific use of italics and exclamation points eludes explanation altogether. Not my cup of tea I guess.

Undaunted, however, I am now in possession of Mr. Irving's latest offering "Avenue of Mysteries." We'll see. ( )
  Renzomalo | Jan 23, 2016 |
I definitely don't like Irving's style. Too crude for me, and the characters don't really touch my heart.
The ending is great, but it was hard for me to get to it! ( )
  CathCD | Jan 16, 2016 |
This book was tricky, one unique layer of story overlapping another complete different and unique one and there were several such stories inter-folded. I liked some of it, I disliked a lot of it. I have to credit the author for creating such a complex storyline and then pulling it off so successfully. The best part about this book were the children's stories Ruth's father the great painter children's writer created. Those were smart and horror striking at the same time. I have severe mixed feelings regarding this book, and I had read it real slow.. ( )
2 vote PsYcHe_Sufi | Jul 12, 2015 |
Got it as paperback, but listened to the audio book instead.
Read by George Guidall who reads really well and has a fling for foreign place names and imitating 4-year-olds! Really good.
Irving, one more time, is an intricate story weaver. He never tells, he weaves.
Such a long story can't always be narrated on an equally high level, but it always seems that he had the whole thing in mind before splitting it up and adding to fill 1000 odd pages.

And rarely have I read a novel with such a beautiful, unexpected, heart-rendering and come-full-circle final sentence as in this one.
  Kindlegohome | Jul 9, 2015 |
One of his best. Great characters driving the plot. Even though the plot might have been unbelievable in places, the characters made you believe. Hard to explain, but the book just made me feel good. Ruth was a wonderful, strong, likable, complex character that you had to root for! ( )
1 vote AliceAnna | Oct 24, 2014 |
Showing 1-5 of 70 (next | show all)
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» Add other authors (22 possible)

Author nameRoleType of authorWork?Status
John Irvingprimary authorall editionsconfirmed
Commandeur, SjaakTranslatorsecondary authorsome editionsconfirmed
Guidall, GeorgeNarratorsecondary authorsome editionsconfirmed
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"... as for this little lady, the best thing I can wish her is a little misfortune" -William Makepeace Thackeray
For Janet, a love story.
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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.
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(Click to show. Warning: May contain spoilers.)
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Amazon.com Amazon.com Review (ISBN 0345424719, Paperback)

John Irving fans will not be startled to find that A Widow for One Year is a sprawling farce-tragedy crawling with characters who are writers. In the opening scene, 4-year-old Ruth Cole walks in on her melancholy mother, Marion, who is in flagrante with 16-year-old Eddie, the driver for drunken Ted (Ruth's dad and Marion's estranged, womanizing husband).

Eddie spends the rest of his life obsessively writing novels like Sixty Times, his roman à clef about his 60 seductions by Marion. Ted is a failed novelist who gets rich and famous writing creepy children's stories based on tales he tells Ruth (such as The Mouse Crawling Between the Walls). Marion abandons Ruth, Ted, and Eddie and becomes a successful pseudonymous novelist. And Ruth becomes the most richly celebrated writer of them all because of her early training by Ted, who not only told her stories, but also helped her craft narratives to explain their home's many photographs of her brothers, who died in a gory car wreck the year before she was born. Grief over the boys is why Ruth's mother does not dare to love her.

Ruth, Irving's first female main character, works brilliantly, first as an imaginative, almost Salingeresque child coming to terms with her bewildering family, then as a grownup striving to understand her mother's motives--or at least to track her down. Ted is a mordantly funny caricature, interestingly sinister and plausibly self-justifying when most inexcusable. Eddie is a lovable schlemiel, yet not too sentimentally drawn. And what set pieces Irving can write! The story of the boys' death is horrific and effective in dramatizing the character of Ted, who narrates it. Ted's attempted murder by a spurned lover is as hilarious as the VW-down-the-marble-stairway scene in A Prayer for Owen Meany (which has been adapted by Disney Studios), though not quite on a par with the celebrated "Pension Grillparzer" episode in The World According to Garp (reissued in a 20th anniversary edition by Modern Library).

Irving has the effrontery to get away with practically any scene that comes into his head--Ruth winds up an eyewitness to a hooker's murder in Amsterdam, a Dutch detective starts tracking her down (just as Ruth is hunting Marion), and the multiple plot strands all converge in a finale that neatly echoes the opening scene. It's all done with the outrageously coincidental yet minutely realistic brio of Charles Dickens, with a sad, self-conscious jokiness like that of Irving's mentor, Kurt Vonnegut. --Tim Appelo

(retrieved from Amazon Thu, 12 Mar 2015 18:12:31 -0400)

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Three interludes in the life of Roth Cole, writer and daughter of writers.

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