I recall years ago while reading John Irving's The Cider House Rules, thinking to myself, "How can anyone read this book and not understand why abortion should be legal ?" I felt something quite similar while reading this book. For anyone out there who truly believes that homosexuality is choice, do yourself a favor and read this book . If you open your mind,even just a little bit, this book should help you see things in a whole new light ! ( )

Definitely a John Irving story, with a little more sex than usual, and much more variations in sex than usual. I really like his style and I enjoyed this book a lot. ( )

William (Bill/Billy) is in boarding school and a young teen when he begins to question why he has crushes on the “wrong people”. He has a crush on one of the wrestlers in school, and also the older (woman) librarian; he also has a crush on a friend’s mother, as well as his own stepfather. In the book, he is an older man (bisexual) and looking back on his life and his relationships over the decades.

I thought this was ok. There was a lot of sex. Of all kinds. Have to admit I got a bit tired of that after a while. But, I thought it got a bit more interesting (and sad) in the 80s when AIDS hit. To see him watch so many people he knew die of AIDS… Initially I was a bit confused with the storyline, as it was a bit back and forth in time and trying to keep track of who was whom and when they were in his life, but after a while, I think I got used to that. I was a bit surprised at how many people in this small town were lgbtq+, though. Maybe there weren’t as many as I thought, as it was spread out over time, but it seemed like a lot. ( )

This book was an education. Irving covers Shakespeare, Ibsen, "sexual differences" (as he often refers to them, and so as not to ruin the specifics for anyone), and quite a few other things I didn't know that much about, in fascinating detail. It was also a great read and a welcome reminder of why I loved his writing so much twenty or so years ago. Since he's written several books between this one and the last one I read (Owen Meany), it seems I have a bit of catching up to do! ( )

From negrocomics.wordpress.com
Not nearly enough has been written about John Irving's In One Person since its publication in 2012, so having read it just now I thought I should contribute notes of both a literary and a most spiritually didactic nature. For a synopsis one can visit any number of websites.

In One Person's world has a private language habit, a Shakespeare lens for everything, and a spiralling theme of crossdressers and otherwise non-gender-binary men. Irving's trademark truly excellent characterization and cagily naive narration abound. What struck me most about Irving's book, however, is how funny it is. Even in the grim third quarter in which we watch most of protagonist Billy Abbott's friends die of AIDS, we get about 500 words of tragedy and then an offhand remark that makes us laugh out loud. Maybe it's just my sense of humor. Like when he comes after a long series of AIDS vigil sequences to his hometown for a relatively simple checkin with a dead faculty member of his school: it is discovered that the orderly has only brought the corpse out in the snow to smoke a cigarette, not to wait for the hearse. Anyway, In One Person has no gags; rather, the timing is incredible.

I would like to point out a marvellously-rendered literary surprise in the book out of fear that it may be too often missed. The arc of investigating people's identity soars beautifully throughout the book, but the end holds a satisfying surprise. As much as the book's title may allude to the folly of casting people into vulgar categories that support people's gang mentality, and the phenomenon of these categories occurring "in one person," the title is revealed in the final chapter to also represent a conceit about our lifespan, aging, and successive generations. When the son of the protagonist's forbidden crush from the very beginning of the novel shows up, bearing the only reliable evidence of what's become of the wrestler Kittredge (his own one person mirrored in the elder wrestler and love interest Miss Frost), Billy underscores the voice and look of the younger Kittredge, who is the spitting image of his father. As Kittredge helped Billy start off on a path, Billy is now providing perspective for Kittredge's kid.

Here the story's spirals finally converge: we have not only the sexual phenomena gathering in unexpected groups in one person, but also the mysteries of maturity and life experience. The son of Kittredge and his father are as one person, but also the fate of Kittredge, Miss Frost and now the young transgender student Gee fit into one person, shifting identity through time.

Irving has been subtly warning us about this conceit throughout the book, particularly with the symbol of the yearbooks and with his complaints about terminology. As an artist who's also struggled with the identity police over time, I really appreciate Billy's annoyance not with the new terms, ie., transgender vs. transsexual, but with the rigidness with which successive generations of people insist on the correctness of these terms. Irving argues hereby for compassion and also curiosity: before you criticize someone older for not using the new hip term, be a fucking smart person and find out the nature of the old term.

Finally, I'm grateful on behalf of those old enough to remember that Irving has chosen now, in the age of complacent suburban gender-queerness that seems unable or rather unwilling to see itself from its socio-economic angle, to force AIDS back in our faces. People my age will always remember that AIDS was far scarier than nuclear war, and people Irving's age get the satisfaction of having their 1980s set --properly, I would argue --in the frame of the AIDS epidemic. Think of the suburban Christian terrorism we've lived through since the late 80s-early 90s: the PMRC, enforced gangster rap, youth group, Faith Driven Consumer, the Bush administration, No Child Left Behind, Gay-Straight Alliance ... what would Robert Mapplethorpe, Klaus Nomi, Essex Hemphill, Marlon Riggs, even Eazy-E and the local dancer, have taught us about these assholes and their judgmental phoniness if they'd made it longer???

Thank you, a thousand times thank you, Mr Irving, for reminding us about all the possibilities and the cumulative richness of life that must be pursued In One Person. ( )