The Cider House Rules

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

'The reason Homer Wells kept his name was that he came back to St Cloud's so many times, after so many failed foster homes, that the orphanage was forced to acknowledge Homer's intention to make St Cloud's his home.' Homer Wells' odyssey begins among the apple orchards of rural Maine. As the oldest unadopted child at St Cloud's orphanage, he strikes up a profound and unusual friendship with Wilbur Larch, the orphanage's founder - a man of rare compassion and an addiction to ether. What he learns from Wilbur takes him from his early apprenticeship in the orphanage surgery, to an adult life running a cider-making factory and a strange relationship with the wife of his closest friend...

The Cider House Rules is a two-part stage adaptation of the John Irving novel. Spanning eight decades of American life, it tells the story of Dr. Wilbur Larch, founder of the St. Cloud's, Maine orphanage and hospital, and of the complex father-son relationship he develops with the young orphan Homer Wells. Homer's growth into adulthood begins first at St. Cloud's, and then out in the wide world, where he learns about life and love and must ultimately decide whether to return to St. Cloud's and fulfill the destiny his "father" has always believed in for him.

Autumn in Blossom Valley means pumpkin patches are ripe and Winona Mae Montgomery and her Granny Smythe’s cider shop is flourishing. But with this season comes . . . A FATAL HARVEST The Fall Festival is in full swing. Civil War reenactors from three counties are partaking in Blossom Valley’s tribute to John Brown. Blue Ridge Mountain foliage is in full bloom. And best of all is Jacob Potter’s pumpkin farm where his hay rides, piglet races, pumpkin picking and corn maze are time-honored draws for locals and tourists alike. That’s why it’s such a shock when Mr. Potter is found dead, hidden under a tarp in the back of Winnie’s pickup truck. This certainly betrays Potter’s reputation as one of the town’s most popular citizens. Fortunately, when it comes to solving a murder, no one has a patch on Winnie. Now, all eyes are on her to do it. Unfortunately, that includes those of the killer who’ll do anything to keep an orchard full of secrets buried.

The New York Times bestselling saga of a most unusual family from the award-winning author of The World According to Garp. “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 Prayer for Owen Meany and Last Night in Twisted River.

Billy, a solitary bisexual man, is dedicated to making himself worthwhile.

“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.

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.

This is the digital version of the printed book (Copyright © 2008). Adrenaline junkies, dead fish, project sluts, true believers, Lewis and Clark, template zombies . . . Most developers, testers, and managers on IT projects are pretty good at recognizing patterns of behavior and gut-level hunches, as in, “I sense that this project is headed for disaster.” But it has always been more difficult to transform these patterns and hunches into a usable form, something a team can debate, refine, and use. Until now. In Adrenaline Junkies and Template Zombies, the six principal consultants of The Atlantic Systems Guild present the patterns of behavior they most often observe at the dozens of IT firms they transform each year, around the world. The result is a quick-read guide to identifying nearly ninety typical scenarios, drawing on a combined one-hundred-and-fifty years of project management experience. Project by project, you’ll improve the accuracy of your hunches and your ability to act on them. The patterns are presented in an easy-reference format, with names designed to ease communication with your teammates. In just a few words, you can describe what’s happening on your project. Citing the patterns of behavior can help you quickly move those above and below you to the next step on your project. You’ll find classic patterns such as these: News Improvement Management by Mood Ring Piling On Rattle Yer Dags Natural Authority Food++ Fridge Door and more than eighty more! Not every pattern will be evident in your organization, and not every pattern is necessarily good or bad. However, you’ll find many patterns that will apply to your current and future assignments, even in the most ambiguous circumstances. When you assess your situation and follow your next hunch, you'll have the collective wisdom of six world-class consultants at your side.