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.

“My dear boy, please don’t put a label on me – don’t make me a category before you get to know me!” John Irving’s new novel is a glorious ode to sexual difference, a poignant story of a life that no reader will be able to forget, a book that no one else could have written. Told with the panache and assurance of a master storyteller, In One Person takes the reader along a dizzying path: from a private school in Vermont in the 1950s to the gay bars of Madrid’s Chueca district, from the Vienna State Opera to the wrestling mat at the New York Athletic Club. It takes in the ways that cross-dressing passes from one generation to the next in a family, the trouble with amateur performances of Ibsen, and what happens if you fall in love at first sight while reading Madame Bovary on a troop transport ship, in the middle of an Atlantic storm. For the sheer pleasure of the tale, there is no writer alive as entertaining and enthralling as John Irving at his best. But this is also a heartfelt, intimate book about one person, a novelist named William Francis Dean. By his side as he tells his own story, we follow Billy on a fifty-year journey toward himself, meeting some uniquely unconventional characters along the way. For all his long and short relationships with both men and women, Billy remains somehow alone, never quite able to fit into society’s neat categories. And as Billy searches for the truth about himself, In One Person grows into an unforgettable call for compassion in a world marked by failures of love and failures of understanding. Utterly contemporary and topical in its themes, In One Person is one of John Irving’s most political novels. It is a book that grapples with the mysteries of identity and the multiple tragedies of the AIDS epidemic, a book about everything that has changed in our sexual life over the last fifty years and everything that still needs to. It’s also one of Irving’s most sincere and human novels, a book imbued on every page with a spirit of openness that expands and challenges the reader’s world. A brand new story in a grand old tradition, In One Person stands out as one of John Irving’s finest works – and as such, one of the best and most important American books of the last four decades.

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.

Trying to Save Piggy Sneed contains a dozen short works by John Irving, beginning with three memoirs, including an account of Mr. Irving’s dinner with President Ronald Reagan at the White House. The longest of the memoirs, “The Imaginary Girlfriend,” is the core of this collection. The middle section of the book is fiction. Since the publication of his first novel, Setting Free the Bears, in 1968, John Irving has written twelve more novels but only half a dozen stories that he considers “finished”: they are all published here, including “Interiors,” which won the O. Henry Award. In the third and final section are three essays of appreciation: one on Günter Grass, two on Charles Dickens. To each of the twelve pieces, Mr. Irving has contributed his Author’s Notes. These notes provide some perspective on the circumstances surrounding the writing of each piece—for example, an election-year diary of the Bush-Clinton campaigns accompanies Mr. Irving’s memoir of his dinner with President Reagan; and the notes to one of his short stories explain that the story was presented and sold to Playboy as the work of a woman. Trying to Save Piggy Sneed is both as moving and as mischievous as readers would expect from the author of The World According to Garp, The Cider House Rules, A Prayer of Owen Meany, A Widow for One Year, and In One Person. And Mr. Irving’s concise autobiography, “The Imaginary Girlfriend,” is both a work of the utmost literary accomplishment and a paradigm for living. Skyhorse Publishing, as well as our Arcade, Yucca, and Good Books imprints, are proud to publish a broad range of books for readers interested in fiction—novels, novellas, political and medical thrillers, comedy, satire, historical fiction, romance, erotic and love stories, mystery, classic literature, folklore and mythology, literary classics including Shakespeare, Dumas, Wilde, Cather, and much more. While not every title we publish becomes a New York Times bestseller or a national bestseller, we are committed to books on subjects that are sometimes overlooked and to authors whose work might not otherwise find a home.

John Irving returns to the themes that established him as one of our most admired and beloved authors in this absorbing novel of fate and memory. In Avenue of Mysteries, Juan Diego—a fourteen-year-old boy, who was born and grew up in Mexico—has a thirteen-year-old sister. Her name is Lupe, and she thinks she sees what’s coming—specifically, her own future and her brother’s. Lupe is a mind reader; she doesn’t know what everyone is thinking, but she knows what most people are thinking. Regarding what has happened, as opposed to what will, Lupe is usually right about the past; without your telling her, she knows all the worst things that have happened to you. Lupe doesn’t know the future as accurately. But consider what a terrible burden it is, if you believe you know the future—especially your own future, or, even worse, the future of someone you love. What might a thirteen-year-old girl be driven to do, if she thought she could change the future? 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. 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. 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.

“The first of my father’s illusions was that bears could survive the life lived by human beings, and the second was that human beings could survive a life led in hotels.” So says John Berry, son of a hapless dreamer, brother to a cadre of eccentric siblings, and chronicler of the lives lived, the loves experienced, the deaths met, and the myriad strange and wonderful times encountered by the family Berry. Hoteliers, pet-bear owners, friends of Freud (the animal trainer and vaudevillian, that is), and playthings of mad fate, they “dream on” in a funny, sad, outrageous, and moving novel by the remarkable author of A Son of the Circus and A Prayer for Owen Meany.

“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.