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In One Person: A Novel de John Irving
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In One Person: A Novel (2012 original; edició 2012)

de John Irving (Autor)

MembresRessenyesPopularitatValoració mitjanaMencions
1,682697,770 (3.58)81
An elderly bisexual man looks back upon his life and romances, reflecting on his unfulfilled loves and broken dreams.
Títol:In One Person: A Novel
Autors:John Irving (Autor)
Informació:Simon & Schuster (2012), Edition: 1, 448 pages
Col·leccions:Horror, Untitled collection, Science Fiction/Fantasy, Romances, Mystery, Vegan Cookbooks, Mystery, Holocaust/Genocide, La teva biblioteca, Per llegir

Detalls de l'obra

In One Person de John Irving (2012)

  1. 00
    Tomboy. de Thomas Meinecke (JuliaMaria)
    JuliaMaria: In beiden Werken geht es um sexuelle Identität.
  2. 11
    Self de Yann Martel (LynnB)
    LynnB: Explores gender identity.
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Anglès (60)  Alemany (3)  Neerlandès (3)  Danès (1)  Francès (1)  Noruec (1)  Finès (1)  Totes les llengües (70)
Es mostren 1-5 de 70 (següent | mostra-les totes)
The kindest thing I can say about this, after 47 pages, is I'm grateful that it has reminded me how much I dislike John Irving.

Horrible memories of reading The World According to Garp came back to me. It was the late 1970s, and I believed the blurbs that told me that this was a heartbreaking work of staggering genius, and that it would be very small-minded of me to be put off by the smirking, laddish and constant references to sex. And very small-minded and boring of me to feel uncomfortable about the the casual misogyny. But the whole thing -- starting with the woman who rapes a man who is in a persistent vegetative state so she can conceive the baby she wants, as if this was just the funniest thing you had ever heard -- just seemed wrong, wrong, WRONG.

And here we are again, and it still just doesn't seem right. There are two kinds of women in Irving novels: mouthy ball-breakers (bad, obviously) and walking delivery systems for boobs (good. Obviously ...) Boobs (perky, voluptuous, inadequately supported, flaunted) are referred to at least twice per page -- and if there is a page without two references, there must have been a typo. A woman faints -- literally faints -- because a good-looking man has spoken to her.

In 47 tedious pages, you can already see the queue of mouthy, nasty, boring and smug woman lining up to ruin the lives of Good Men. There is a line that, I think, gives away more than Irving intends: the narrator's grandmother (a boring snob, and complete cow ... quelle surprise) "... believed that all the women's roles in any dramatic performance should be played by boys and men; ... this was the way drama should be enacted-- strictly by male actors."

I think Irving is working his way toward that happy ideal. Although I'm not sure where that leaves the boobs.

( )
  maura853 | Jul 11, 2021 |
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! ( )
  CaitlinMcC | Jul 11, 2021 |
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. ( )
  EugenioNegro | Mar 17, 2021 |
John Irving's novels are recognizable "in general" by their mighty page content and some might not feel comfortable with the committment needed to finish such a wordy novel, but that would be unfortunate.

In essence "In one Person" is a study of attitude and tolerance (or not) towards our individual sexuality and in particular it addresses variance in sexual preference/behaviour from what is perceived as normal. The story is told through the eyes of Billy Dean, his colourful family and their life in small town rural America. In particular special mention, and indeed praise should be directed at Miss A Frost, librarian, a wonderful lady with a secret, brave and courageous past.

I love this story; it is offbeat, it is brave (encompassing the cruel burden of the aids epidemic and the destruction it reaped on a young mostly male population) it implores you the reader to rethink and question how we judge those who do not conform, and by so doing accept it is not wrong to be different. Highly recommended. ( )
  runner56 | Jan 31, 2020 |
3 points for being a pretty good John Irving novel. Plus one point for the interesting themes. Plus one point for Irving's courage in dealing with these matters. Minus one point (only, because I generally like him and the novel) for Irving's quirks and flaws -- characters who illustrate themes but aren't well developed, ridiculous coincidences, bears ;) ( )
  Robert_Musil | Dec 15, 2019 |
Es mostren 1-5 de 70 (següent | mostra-les totes)
Den amerikanske forfatteren John Irving har latt seg inspirere av Henrik Ibsen i sin nyeste roman. Ibsen-diskusjonene er det beste ved boken, som ellers inneholder forutsigbare Irving-temaer som bryting, en forsvunnet far, uklare identiteter og ikke minst sex i de fleste konstellasjoner
afegit per annek49 | editaNRK, Anne Cathrine Straume (Jun 18, 2012)
Jeg må tilstå med det samme: Jeg er blodfan av John Irving. Han forteller historier uten like, og i I en og samme person er han umiskjennelig irvingsk – tematikken er ikke ukjent for Irving-lesere, og hovedpersonen har som ofte før flere likhetstrekk med forfatteren. Denne romanen er både deilig, smertefull og underholdende å oppholde seg i. Typisk nok varer oppholdet i hundrevis av sider, litt over fem hundre
Irving likes to track his characters over long stretches of time. “In One Person” begins in the mid-1950s, when Billy is 13, and shadows him until he is in his late 60s, in 2010. As a work of fiction, it is true to the way we recall our lives rather than the way we actually live them; we live in linear time — we have no choice — but the curve of our memory is never a straight line. Happenings that lasted an hour can obsess us for years. Years of our lives can be forgotten.

» Afegeix-hi altres autors (18 possibles)

Nom de l'autorCàrrecTipus d'autorObra?Estat
John Irvingautor primaritotes les edicionscalculat
Hickey, John BenjaminNarradorautor secundarialgunes edicionsconfirmat
Hoekmeijer, NicoletteTraductorautor secundarialgunes edicionsconfirmat
Nielsen, Rose-MarieTraductorautor secundarialgunes edicionsconfirmat

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Thus play I in one person many people, and none contented.
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For Sheila Heffernon and David Rowland and in memory of Tony Richardson
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I'm going to begin by telling you about Miss Frost.
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My dear boy, please don't put a label on me -- don't make me a category before you get to know me!
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An elderly bisexual man looks back upon his life and romances, reflecting on his unfulfilled loves and broken dreams.

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Mitjana: (3.58)
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