About The Book

After forty years, John Irving returns to the world of his bestselling classic novel and Academy Award–winning film, The Cider House Rules, revisiting the orphanage in St. Cloud’s, Maine, where Dr. Wilbur Larch takes in Esther—a Viennese-born Jew whose life is shaped by anti-Semitism.

Esther Nacht is born in Vienna in 1905. Her father dies on board the ship to Portland, Maine; her mother is murdered by anti-Semites in Portland. Dr. Larch knows it won’t be easy to find a Jewish family to adopt Esther; in fact, he won’t find any family who’ll adopt her.

When Esther is fourteen, soon to be a ward of the state, Dr. Larch meets the Winslows, a philanthropic New England family with a history of providing foster care for unadopted orphans. The Winslows aren’t Jewish, but they despise anti-Semitism. Esther’s gratitude for the Winslows is unending; even as she retraces her roots back to Vienna, she never stops loving and protecting the Winslows. In the final chapter, set in Jerusalem in 1981, Esther Nacht is seventy-six.

John Irving’s sixteenth novel is a testament to his enduring ability to weave complex characters and intricate narratives that challenge and captivate. Queen Esther is not just a story of survival but a profound exploration of identity, belonging, and the enduring impact of history on our personal lives showcasing why Irving remains one of the world’s most beloved, provocative, and entertaining authors—a storyteller of our time and for all time.

Excerpt

Chapter 1: The Townspeople of Pennacook 1. The Townspeople of Pennacook
A Josiah Winslow was born in Plymouth, Massachusetts, in 1629—his father, Edward Winslow, was a Separatist Puritan who’d traveled on the Mayflower in 1620. Edward’s younger brother John sailed on the Fortune, arriving in Plymouth in 1621. Beginning in Puritan times, more Winslows kept coming.

The present-day James Winslow, who was called Jimmy as a child, was unimpressed by his Winslow ancestry—he’d learned not to care who his ancestors were. “When it comes to your forebears, you deserve no credit, you should take no blame—you don’t get to pick your parents, do you?” Jimmy’s grandfather, an English teacher, had told him.

James Winslow would be a student abroad for only one year, yet what happened to him in a foreign country confirmed his belief in his intrinsic foreignness. It seemed a contradiction that Jimmy Winslow would always say he was just a New Hampshire boy. He wasn’t New Hampshire enough for the townspeople of Pennacook; the townsfolk had made it their business to know where the Winslows came from.

If you grew up in Pennacook, in southeastern New Hampshire, in the 1940s and 1950s, where you came from mattered. You knew there was a class system in America; you were aware of a ruling class, and you sensed your place in society. The town is situated around the falls where the freshwater Pennacook River meets the tidal, saltwater Squamscott—once the land of the Squamscott Native Americans, a subtribe of the Pennacook Nation. The name Pennacook comes from the Abenaki word penakuk, meaning “at the bottom of the hill.” The town’s founder had left England to escape religious persecution; he’d also been exiled from the Massachusetts Bay Colony for sharing his sister-in-law’s dissident religious views. The English Puritans bought the land from a Squamscott sagamore. There were similar small towns throughout New England—factory towns or mill towns, where your social standing was clear. Class consciousness wasn’t unique to Pennacook, where there was a textile mill (as long ago as 1830) and a shoe factory (since 1884). What set Pennacook apart, and gave the town an acute class consciousness, was a private school for boys.

Established in 1781, Pennacook Academy was an independent school for boarding and day students, ninth grade to twelfth. The academy was one of the oldest secondary schools in the United States. In the 1950s and 1960s, when James Winslow was a student there, he was aware that his social standing at the academy wasn’t evaluated by his fellow students in the same way it was by the town.

In the 1950s and 1960s, unlike the town, Pennacook Academy was a meritocracy; the school cared if you were good in the classroom. To the academy, your grades mattered—to the boys, not so much. Your wit was what mattered to the boys; they cared if you could entertain them. You were forgiven for not being entertaining only if you were a jock. To Jimmy Winslow, the way he was evaluated at school made more sense than the scrutiny he withstood in town.

What did the Mayflower matter to those Pennacook Academy boys? Their class consciousness wasn’t aroused by America’s first settlers—least of all, by the ship they sailed on. The day boys distrusted the boarders and vice versa. In an international school, nothing is universally true, but the boarding students were generally more worldly; in comparison, the townies seemed unsophisticated.

James Winslow was distrusted by both the day boys and the boarders, because he was in a subclass of townies. Faculty children were in a difficult position, but Jimmy Winslow was an unusual faculty brat. He was the grandson of the most revered member of Pennacook’s English Department. Thomas Winslow was the most popular teacher at the academy; his students adored him. You might suppose, then, that James Winslow would have been trusted by his fellow students and welcomed by the faculty, above all the other boys—but he wasn’t a real Winslow. Jimmy was a nobody’s boy. This much was understood: his mother had adopted him; his father was an unknown. As for the boy’s birth mother, she put no one at ease. For starters, she was an orphan.

To the townspeople of Pennacook, James Winslow was (and would always be) the orphan’s kid. The academy was kinder. To the students and faculty alike, maybe Jimmy wasn’t a real Winslow, but there were a whole lot of Winslows and they all loved and looked after that boy. (Well, no wonder, the townspeople of Pennacook pointed out—Jimmy was the only Winslow boy.)

Years later, whenever James Winslow was being modest, or he was otherwise at a loss for words—and he always spoke excruciatingly slowly—he would repeat he was just a New Hampshire boy. Naturally, the townspeople of Pennacook thought they knew better; the Winslows weren’t like the rest of the locals, the orphan’s kid included. For all their meddlesomeness, what the townspeople of Pennacook actually knew amounted to only this. The circumstances of James Winslow’s birth were fraught with irregularities. When babies are born and transferred in such a way that you don’t even know whose babies they are—not exactly—aren’t things bound to go off the rails in a family? The townspeople of Pennacook were poised for things to go awry with the Winslows—with that adopted boy, especially. Maybe then those Winslows wouldn’t seem so proud. The townspeople of Pennacook were sick and tired of the respect shown those Winslows as a model family, even when it came to their adopting an orphan’s child.

Reading Group Guide

“Not enough was known about where those orphans came from. With orphans, too much is missing; there’s always something you don’t know” (page 7). Discuss the importance of familial belonging in Queen Esther. What does it mean to “come from” somewhere? How does the novel challenge or uphold your understanding of having a “home”?

From the Book of Esther, after which Esther Nacht is named, to Charles Dickens’s Great Expectations, to Jimmy Winslow’s The Dickens Man, stories play a major role in Queen Esther. Discuss the role of stories and storytelling in the novel. What does it mean to “have a story”? How is the importance of storytelling to Jimmy similar to or different from its importance to Esther? Why do you think Jimmy is attracted to being a storyteller?

The threat of Hard Rain’s “alleged overreaction to thunderstorms” (page 227) hangs over Jimmy’s stay in Vienna. What role does Hard Rain play in Queen Esther, and how might we interpret her fear of thunderstorms? Is it significant that, when a thunderstorm does come, Hard Rain doesn’t “overreact” in the way Jimmy, Claude, and Jolanda have been anticipating?

“Hard Rain is a woman” is a phrase repeated several times in Queen Esther. It’s one of the first things Jolanda teaches Siegfried to say in English, and it’s what Jimmy writes in Siegfried’s copy of Roommates in Vienna when they meet in Jerusalem. What is the significance of this refrain in the novel?

Although Jimmy is a heterosexual man, he is surrounded by sexual minorities: Honor is asexual, Jolanda is a lesbian, and Mieke is a lesbian who wants “to try it with a guy” (page 197). Discuss the portrayal of sex and sexuality in Queen Esther. What role does sex play in Jimmy’s life? In what way does the novel either challenge or uphold traditional notions of sex and sexuality?

Queen Esther starts with a history of the Winslow family in America: “Beginning in Puritan times, more Winslows kept coming” (page 1). Why do you think the novel begins this way? What role does family history play in Queen Esther? How, if at all, does personal history intersect with national history?

In Chapter 8, we learn that Esther wants the following quote from Jane Eyre tattooed on her chest: “I care for myself. The more solitary, the more friendless, the more unsustained I am, the more I will respect myself” (page 71). Why do you think Esther is so drawn to this quote? What do you think Jimmy would make of it? If Jimmy were to get a tattoo, what words or image do you think he might choose?

“In Great Expectations,” says Thomas Winslow to Jimmy, “. . . you will love the characters you’re supposed to love, and you’ll hate the ones you’re supposed to hate” (page 138). How does Tommy’s reading of Great Expectations play out in Queen Esther? Do you think we’re “supposed to love” some people, and “supposed to hate” others? How does the novel reaffirm or complicate this conception of love and hate? Support your ideas with reference to the text.

Esther is left at the orphanage at St. Cloud’s by two female “anti-Semites” (page 65); Jimmy is raised with two mothers and no father; Vienna, Jimmy’s daughter, is raised with a father and two mothers; and Siegfried is adopted by Annelies when the anti-Semitic Irmgard dies. These are just a few examples of how motherhood is portrayed and reconfigured in Queen Esther. Discuss the novel’s portrayal of mothers and motherhood. What do you think of the idea that “giving birth to a child and being a mother [are] two separate choices” (page 154)? Support your ideas with reference to the text.

“ ‘There is a telescope that sees into the future, Jimmy—it’s called the passage of time. Just wait and see,’ [Irmgard] said, closing the door” (page 329). Discuss the significance of this quote, and of the passage of time more broadly, in Queen Esther. What does it mean to see into the future by means of the passage of time? From the very first Winslow on board the Mayflower in 1620, to Jimmy Winslow in Jerusalem in 1981, the novel covers a long span of time. How is the passage of time portrayed in the novel?

About The Author

Photo by Katherine Holland

John Irving was born in Exeter, New Hampshire, in 1942. His first novel, Setting Free the Bears, was published in 1968, when he was twenty-six. He competed as a wrestler for twenty years, and coached wrestling until he was forty-seven. He is a member of the National Wrestling Hall of Fame in Stillwater, Oklahoma. In 1980, Mr. Irving won a National Book Award for his novel The World According to Garp. In 2000, he won the Oscar for Best Adapted Screenplay for The Cider House Rules. In 2013, he won a Lambda Literary Award for his novel In One Person. Internationally renowned, his novels have been translated into almost forty languages. His all-time bestselling novel, in every language, is A Prayer for Owen Meany. A dual citizen of the United States and Canada, John Irving lives in Toronto.

Product Details

  • Publisher: Simon & Schuster (November 4, 2025)
  • Length: 432 pages
  • ISBN13: 9781501189449

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Raves and Reviews

"Few skewer sanctimony quite like Irving at his best. More important: I fell in love, once again, with his people."

Peter Orner, The New York Times Book Review

"A story that's unmistakably Irving — amiably peopled, compellingly plotted and, above all, compassionate for its characters."

NPR

"Irving masterfully threads the narrative, from New England to Vienna to Jerusalem, while exploring the themes he frequently wrestles with—orphans, sexuality, and found families. Irving’s luminous prose embodies his singular gifts; the novel is expansive, darkly comic, melancholic, and deeply compassionate, conveying a profound empathy for his flawed characters. Countless literary references, lyrical flourishes, and allusions add depth to the Dickensian motif as Irving brilliantly blends moral ambiguity and emotional truth in this essential addition to his oeuvre."

Booklist (starred)

"Queen Esther is rich­ly tex­tured with unfor­get­table char­ac­ters, vivid set­tings, and famil­ial love that will stay with you long after you put the book down."
 

The Jewish Book Council

"To read a John Irving novel is to call to mind the classic works of Charles Dickens with their broad, melancholy searches for families lost and their acceptance of families made. Irving’s new work is especially potent."

Steven Whitton, The Anniston Star

"The novel is quintessential Irving: layered, funny, heartbreaking, and full of the strange humanity he has always captured so well.”

Canadian Jewish News

“It’s hard to imagine this historical novel landing at a more timely moment.”

Zoomer

“Irving has a lot on his mind [in Queen Esther] — the flow of history, to be sure, but also relationships, the nature of identity and the gnawing horror of antisemitism.”

National Post

“A profound exploration of identity and belonging, shaped by a story of survival and a call for tolerance.”
 

Diario de Burgos

“Irving continues to believe in the novel as an art form, and in characters conceived as moral destiny." 

Ángeles López, La Razón

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