Synopses & Reviews
"According to his mother, Jack Burns was an actor before he was an actor, but Jack's most vivid memories of childhood were those moments when he felt compelled to hold his mother's hand. He wasn't acting then."
So begins John Irving's eleventh novel, Until I Find You the story of the actor Jack Burns. His mother, Alice, is a Toronto tattoo artist. When Jack is four, he travels with Alice to several North Sea ports; they are trying to find Jack's missing father, William, a church organist who is addicted to being tattooed. But Alice is a mystery, and William can't be found. Even Jack's memories are subject to doubt.
Jack Burns goes to schools in Canada and New England, but what shapes him are his relationships with older women. John Irving renders Jack's life as an actor in Hollywood with the same richness of detail and range of emotions he uses to describe the tattoo parlors in those North Sea ports and the reverberating music Jack heard as a child in European churches.
The author's tone indeed, the narrative voice of this novel is melancholic. ("In increments both measurable and not, our childhood is stolen from us not always in one momentous event but often in a series of small robberies, which add up to the same loss.") Until I Find You is suffused with overwhelming sadness and deception; it is also a robust and comic novel, certain to be compared to John Irving's most ambitious and moving work.
"Actor Jack Burns seeks a sense of identity and father figures while accommodating a host of overbearing and elaborately dysfunctional women in Irving's latest sprawling novel (after The Fourth Hand
). At the novel's onset (in 1969), four-year-old Jack is dragged by his mother, Alice, a Toronto-based tattoo artist, on a year-long search throughout northern Europe for William Burns, Jack's runaway father, a church organist and 'ink addict.' Back in Toronto, Alice enrolls Jack at the all-girls school St. Hilda's, where she mistakenly thinks he'll be 'safe among the girls'; he later transfers to Redding, an all-boy's prep school in Maine. Jack survives a childhood remarkable for its relentless onslaught of sexual molestation at the hands of older girls and women to become a world-famous actor and Academy Award-winning screenwriter. Eventually, he retraces his childhood steps across Europe, in search of the truth about his father a quest that also emerges as a journey toward normalcy. Though the incessant, graphic sexual abuse becomes gratuitous, Irving handles the novel's less seedy elements superbly: the earthy camaraderie of the tattoo parlors, the Hollywood glitz, Jack's developing emotional authenticity, his discovery of a half-sister and a moving reunion with his father. Agent, Janet Turnbull Irving. (July)
" Publishers Weekly
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"With Jack Burns, Irving has created his most complex protagonist....And in the long, winding, complex and moody narrative that is Until I Find You, Irving has fashioned a real heart-stopper of a story and one of his finest novels to date." Milwaukee Journal Sentinel
"Some novels are simply too long, and this is one of them. The framework of the plot cannot support so much detail and so many prolonged scenes....[B]y a third of the way through this almost impenetrable tale, no one will care." Booklist
"Irving's 11th novel may disappoint longtime fans this is a quieter, more contemplative journey than his previous works, requiring some patience and reflection....[A] rewarding and meaningful experience." Library Journal
"[T]he book's second half is so much more lively, you can't help but wish Irving had packed even bigger chunks of Hollywood into this jumbo volume....[T]he results are worth reading even if they end up filling only half a book. (Grade: B-)" Entertainment Weekly
"[A] bloated and lugubrious new novel....Jack's 'melancholic logorrhea' might yield some useful therapeutic results, but in terms of storytelling, it makes for a tedious, self-indulgent and cruelly eye-glazing read." Michiko Kakutani, The New York Times
"At more than 800 pages, Until I Find You takes the crown for the best longest novel of recent years....Irving lays on a lot of charming comedy." San Francisco Chronicle
"It does go on and on, and someone, somewhere in the production line at Garp Enterprises, Ltd., should have advised John Irving not to rush to print until he'd crafted pain into art, as he's done so masterfully before." Marianne Wiggins, The Washington Post
"All in all, this is a wonderfully thought-provoking book. Despite its length and heft (I was afraid of dropping it on my foot), its artistry is so compelling that I'm considering reading it again. How weird is that?" Chicago Sun-Times
"On the surface, the book seems to be a galloping sexual bildungsroman. And yet, beneath the farce, a slow undercurrent of sorrow makes itself felt....[There] might be [an] intriguing 300-page novel secreted inside this sprawling, uneven one." Chicago Tribune
"As Jack Burns matures, so does the book....This is a novel worth reading all the way through." Dallas-Ft. Worth Star Telegram
"The last 300 or so pages of Until I Find You are marvelous, and the twists and turns as Jack pursues his final search are believable and touching. The main problem is with the long middle of the novel in which Jack seems not only to have forgotten his father, but to have lost himself." Charlotte Observer
"[A] diluted story, a 350-page novel told in more than twice that space....The magical alchemy of plot, character and psychology that Irving brought to the best of his earlier tales is nowhere to be found." Cleveland Plain Dealer
"[E]ven when, a good two-thirds of the way through, he finally did something that impressed me, I still found myself not liking this book very much, which disturbed me because of how much I admire Irving." San Jose Mercury News
"Until I Find You, an often stunningly visual novel, is burdened by bloat. One can easily imagine a pared-down, vivid film version." Los Angeles Times
"No John Irving novel is any easy read; he'd rather take the long way home than the easy path. Yet it's always an unpredictable journey, and once you emerge from the emotional briar patch, you find yourself sad that it's over, and ready to take the trip again." Rocky Mountain News
Suffused with overwhelming sadness and deception, this 11th novel by the bestselling author a chronicle of the life of an actor is also a robust and comic novel, certain to be compared to Irving's most ambitious and moving work.
About the Author
John Irving has won an O. Henry Award, a National Book Award, and an Oscar. Until I Find You is his eleventh novel. He lives in Vermont and Toronto.
Reading Group Guide
1. Jack Burnss most vivid childhood memory is the moment of reaching for his mothers hand. Why is this feeling so significant for Jack? Is there a similarly powerful memory from your own childhood that you can recall? Why has it stayed with you?
2. “The trip to the North Sea with his mother had formed Jack Burns” (309). In what ways had the search for his father-which took Jack and Alice from Copenhagens tattoo parlors to Amsterdams red light district-shaped Jacks character? Also, discuss how Jacks perception of the odyssey changes over the course of the novel. If this trip “formed” him, how does the “revision” of the trip later in the novel “un-form” him?
3. Describe Jacks mother, Alice Stronach, and discuss her heartache and human failings. Did you feel sympathy for her? Anger? Both? In her own way, was Alice ever a good mother to Jack? Do you think she would have been a different mother, or woman, had William Burns chosen to stay with her?
4. As a reader, you also may have felt subject to Alices deceptions; are you willing to forgive her? Is Jack?
5. John Irving captures the peculiar, gritty, and fascinating world of tattooing with its eccentric heroes, history, and unique fraternity. What about this subculture surprised you most? Why do you think some people are addicted to being tattooed?
6. Describe the image and significance of the broken heart tattoo on the cover of the novel. Do you think tattoos are for the fierce at heart, or for the sentimental? If you were ever to get a tattoo, what would you choose?
7. In both positive and negative ways, women and girls have a profound impact on Jack Burns. How is the “sea of girls” at St. Hildas transformative for him? Describe Emma Oastler, and her peculiar relationship with Jack. Consider also Miss Wurtz, and Mrs. McQuat-the “Gray Ghost” who was “always the voice of Jacks conscience” (330).
8. As John Irving writes, “In this way, in increments both measurable and not, our childhood is stolen from us-not always in one momentous event but often in a series of small robberies, which add up to the same loss.” How is Jack slowly robbed of his childhood? Discuss Alice, Mrs. Oastler, and Mrs. Machado as “thieves” of Jacks childhood. Do you think it is possible to have an innocent childhood today? How long does childhood last?
9. Why does Jack Burns love performing? After working with Miss Wurtz, why does he come to the conclusion that “Life was not a stage; life was improv” (163)?
10. Who is Jacks “audience of one,” and how does the vision of this sole spectator affect his acting and, more generally, his life? In your own life, who would you choose to envision as your “audience of one”?
11. Discuss the theme of sexuality in the novel, both in its positive and negative forms. How does Jacks abuse haunt his later relationships with Michele and Claudia? Also, why does Jack feel most comfortable portraying women in film? Is Jacks transvestism a way for him to control, or perhaps hide, his sexuality?
12. Consider Jacks reaction to Emmas death. Why cant he cry? Describe Emmas hold on Jack, both in life-at St. Hildas, the Oastler household and the house on Entrada Drive- and in death, with her odd “gift” of the Slush-Pile Reader screenplay. Did Emma ultimately help Jack or hurt him? Do you think her motivations were selfless, or selfish? Finally, why does her death leave Jack feeling as though he “[doesnt] know who he [is]” (431)?
13. As Irving writes, “So much of what you think you remember is a lie” (532). After Alices death, when Jack embarks on his second trip to the North Sea ports, we learn along with him that much of what he remembers about his past is untrue. How did you feel, as a reader, to learn that Jack had been lied to, and that his memories (and our memory, as readers) were false? Discuss your reaction to the “revision” of Jacks life, to the elusive nature of memory, and consider how perspective can change the entire truth of a story.
14. Describe Jacks reunion with his father. Were you surprised by Williams condition? Even though William was absent for many years, how did he manage to be very much involved in his sons life?
15. When does Jack finally stop “acting”? Describe the moment with Heather when he becomes “the real Jack Burns at last” (747). What brings him into himself for the first time? Have you ever had a moment like this, when your life suddenly clicked? When your sense of self became noticeably whole or true, even for an instance?
A Conversation with the Author
Q: Daughter Alice’s strange and wonderful world of tattooing comes to life in Until I Find You, from the “flash” tacked to the parlor walls to the bands of fiercely loyal tattooists. What gave you the initial idea to set the novel in this world?
John Irving: I build a novel from the back to the front; I know the end of the story before I write the first sentence. I try to write the last sentence first, even the last several paragraphs. I knew that Jack’s father, William Burns, was waiting for his son to find him; I knew that William was institutionalized in a Swiss sanatorium, and that the final two chapters of the novel would bring us there. I began with the life of this man who has suffered losses–his son, two women he loved, lastly his music. I began with what physical manifestation his obsessive-compulsive disorder might take. That led me to making him a full-body–a tattoo addict. And that in turn led me to make Alice a tattoo artist, and the daughter of the tattoo artist who gives William his first tattoo.
Q: How did you research tattoo culture? Did you visit many parlors?
JI: In A Widow for One Year, when I was doing research in Amsterdam with a policeman–about the details concerning the murder of a prostitute–the policeman introduced me to Amsterdam’s most famous tattoo artist, Henk Schiffmacher. His tattoo name is Hanky Panky, but the police in Amsterdam used him as a handwriting analyst; he was also good at deciphering partial fingerprints. I already knew him. He was the first person I turned to for my tattoo research.
Meeting Henk led me to making connections with other tattoo artists in those North Sea ports. He knew everyone. I visited more than a dozen tattoo parlors in Europe; several in the U.S. and Canada, too, and I went to many tattoo conventions. I got two tattoos, so I knew what it felt like to be tattooed, and I learned how to tattoo. I gave a woman in Amsterdam a tattoo on her forearm. It was a sprig of holly to cover up a former boyfriend’s name. She must not have liked my work, because when I met her for dinner a few years later, she had covered up my cover-up with a third tattoo.
Q: You say in the novel that tattooing is a “sentimental” pursuit; how so?
JI: Maritime tattooing, from the end of World War I through the late 1960s or early 1970s, was chiefly souvenir shopping; one marked the body the way people used to put travel stickers on their suitcases. Ports of call, hearts (broken and otherwise), sailing ships, girls in grass skirts, mermaids, sea monsters, pirates. And there were always religious tattoos–20 percent of all tattoos are religious. But all that has changed. The maritime world is fading. The new tattoos are too various to name.
Q: Have you met any “collectors,” like Jack’s dad, William Burns? What do you think drives this particular obsession?
JI: I have met a few collectors. They often don’t know why they can’t stop; the reasons vary. People are obsessed by different demons; it’s impossible to generalize the motives of tattoo addicts, just as there is no single reason, medically, why many full-body types feel cold. But many of them do. Jack comes to the conclusion that his father has had the sort of life that might make anyone feel cold; maybe the tattoos have nothing to do with it.
Q: Another fascinating world that is re-created in the novel is that of Hollywood, as Jack embarks upon his film career. How did your experiences writing screenplays and working with film agents influence your portrayal of Hollywood?
JI: My experiences in Hollywood–the people, producers, actors, and directors I have known–certainly helped me shape a life for Jack in L.A. My eldest son and his family live there. The film producer Richard Gladstein, who made The Cider House Rules, has become a close friend–as have my agent at C.A.A., Bob Bookman, and my entertainment lawyer, Alan Hergott. They’re all in the novel. I love Los Angeles. I might not love it if I lived there, or if the movie business were my only business. I like writing screenplays and working in that world as an occasional change from the solitary endeavor of writing a novel, but writing novels is my first love. I couldn’t live without writing novels; writing a movie is just for fun.
Q: What do you think Jack Burns would have become, had he not chosen acting?
JI: Maybe Jack would have been a writer if he hadn’t been an actor first. They are similar. Jack is most uncomfortable being himself. Being someone else is easier. I invent whole lives for a living; I am someone else, or several other people, every day.
Q: Along those lines, is there another career, other than writing, that you yourself could have imagined undertaking?
JI: I might have been an actor; I was always comfortable onstage, and my writing is always very visual–cinematic, really. Read the opening “shot” (as I call it) to Hardy’s Tess of the d’Urbervilles. It’s a movie. Were they alive today, both Hardy and Dickens would have written screenplays. (I hope they would have written novels, too, of course.)
Q: Can you imagine a film being made of Until I Find You?
JI: I can easily imagine a film of Until I Find You. It would begin at the end of the novel, or near the end–in Part V, anyway. It would begin with Jack talking to Dr. Garcia, deep in “therapy”; Jack’s voice-over would narrate the story of his life in chronological order, with occasional interruptions from Dr. Garcia. Since I wrote many drafts of this novel in the first-person voice, I have in essence already written the voice-over. The film ends when he calls Dr. Garcia from the hotel room in Zurich and leaves a message for her on her answering machine. “Thank you for listening to meÉ” etc.
Q: The sport of wrestling makes another appearance in your work, as Jack Burns proves to be an accomplished wrestler in high school. Do you know the sport well?
JI: I’ve wrestled for twenty years.
Q: One particularly moving passage in the novel, that is also printed on the back cover, reads: “In this way, in increments both measurable and not, our childhood is stolen from us–not always in one momentous event but often in a series of small robberies, which add up to the same loss.” Do you think it’s possible to have a pure childhood in today’s world? Do you think children grow up too fast, even under the healthiest circumstances? Or is this loss, this growing up, just a natural and inevitable part of childhood?
JI: No adult in my family would tell me anything about who my father was–not until I was thirty-nine and divorcing my first wife. This was an immeasurable gift to my imagination; I have been inventing my father most of my writing life. And I had sex with an older woman when I was eleven; in Until I Find You, Jack is ten. This is not without effect. As a teenager, and into my twenties and thirties I had an attraction to older women that I couldn’t understand or explain. I am an overprotective father–even a paranoid one. But human experience is individual. I am a novelist and occasional screenwriter because I don’t believe in generalizations; I believe in specific stories.
Q: We’re always curious to know how a writer writes; would you mind sharing a glimpse of your process and craft?
JI: I believe in plot. I must know where I’m going before I start. When I start writing a book, the actual writing, I don’t want to be distracted from the sentences themselves. I want to know the story ahead of me; I know all about the characters. I want to be thinking only about the sentences–writing them and rewriting them. Revision is more than half of my work as a writer.
Q: After spending so much time with Jack Burns, inside his head, has he become one of your favorite characters? Do you even have favorite characters–or, like children, do you simply love them all? Or, this might be fun: Do you have a favorite minor character in the novel? One that others might overlook?
JI: Like children, I love all my characters, but some were a bigger stretch for me than others. Dr. Larch in The Cider House Rules, Dr. Daruwalla in A Son of the Circus. I take pride in them. Jack Burns was the hardest of them all because he’s not a stretch; he was hard because he was the most like me. Certain minor characters repeat themselves. Melony in Cider House is reborn as Hester in A Prayer for Owen Meany, and they are both reborn and enlarged upon in the character of Emma in Until I Find You. Emma is an achievement I’m proud of. I love her. In another way, for her power over Jack, I love Emma’s mother, Mrs. Oastler, too.
Q: Along those lines, is there a minor moment or scene in the novel that resonates with you in a special way? Something others might overlook, but that you might have a peculiar fancy for, or something that makes you laugh?
JI: In Until I Find You, Jack entertains the illusion that he actually “remembers” his trip to the North Sea with his mom when he was four–he is confronted by the truth of how little he could possibly have “remembered” only in Helsinki when he meets the four-year-old son of the pregnant aerobics instructor. He sees himself in that boy. That’s a huge moment in the book for me.
Q: Are there particular books or authors that have influenced you? What is your own favorite book?
JI: Dickens was and remains the most important author for me. I have read his books many times, and have even purposely not read one of them. I am saving it for a severe illness or a near-death experience. Something I will read when I have to despair of doing anything else. I have not read Our Mutual Friend. That’s the one I have saved.