Death, too, is always lurking, as Adam mulls his responsibility to himself and others before he loses them. Ghosts are a constant presence around Adam, both in Vermont and at an Aspen hotel that plays a central role in the story, symbols of family tragedy and neglected history.

Within that broad theme, Irving weaves in a few additional ones. A fair amount of blood is shed across the novel's pages. In every era, being outspoken against those forces makes characters a target. The story's key moments involve homo- and transphobia, the Reagan administration's willful neglect of the AIDS crisis, and religious hypocrisy. ('You never screw someone in a cast, sweetie - you just don't!' he's told after a bedroom injury.) Sometimes it involves more conventional matters of infidelity.īut Irving is also seriously targeting six or so decades' worth of sexual suppression and demonization. 'The issues we have,' a cousin tells Adam, 'are all about sex.' True: 'Chairlift' is largely about sexual connection, which is sometimes played for laughs, especially around Adam's awkward early experiences.

But his mother, a ski instructor at a Vermont resort, isn't telling. He aches to learn the identity of his father. Ranging from the end of World War II to the Trump era, the novel follows the life, family and romantic failures of its novelist hero, Adam. First, as the book's bulk suggests, is its scope.

Indeed, the contents of 'Chairlift' may be so familiar - a fatherless son, a headstrong mom, wrestling, the writing life, a mute woman, a transsexual friend - that at times it feels like a reboot of his 1978 classic, 'The World According to Garp.'īut the world has changed since 1978, and Irving has made a few tweaks to the narrative.

John Irving's 15th novel, 'The Last Chairlift,' is hard to miss: At more than 900 pages, it rivals the length of 'David Copperfield' and 'Moby-Dick,' two epics he admiringly references throughout the book.īut the new novel's true touchstone is Irving's own fiction.

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