Of the six books I’ve read so far by Iris Murdoch, An Official Rose stands out. It reminds me strongly of The Sandcastle and The Bell.

There are affairs and troubled teens, the beautiful evocation of the British countryside. And like in The Bell and this one, there’s the contrast between the country and the town.

However, what this book has in abundance compared to the others is the degree of manipulation and calculation employed by the characters to achieve their desires. In this regard, it is more reminiscent of A Severed Head and Flight of the Enchanter. Here, we have an enchanter figure in the form of Emma, a slighted mistress and successful writer, described as both a witch and a queenly figure on her throne. Emma deftly manipulates and plays with numerous characters, much like a writer does. Although she may not gain true happiness from this, there is undoubtedly a dark pleasure for her.

Yet, Emma is not the sole manipulator in this novel. Mildred, the neighbor of the central Peronett family, also directs events to benefit herself and her brother Felix, with love and marriage as the ultimate goals, first checking with her openly gay husband Humphrey if it’s okay. Sometimes, despite the contemporary ease with which sexuality is treated, this book seems like a Victorian novel, pining over forbidden fruit, considering finances before love, and having tortured yearnings for another.

Perhaps the ultimate torturer is Miranda, the teenage daughter of Ann and Randall. Although she seems eleven going on thirty, I won’t elaborate further except to say that the scene with the photos and dolls is particularly sinister. There are other aspects of this book that verge on the dark side. Humphrey’s intentions towards Penny are hinted at in a way that might be concerning and uncomfortable in today’s world, and it is reminiscent of The Bell in this respect. However, I don’t think there is any actual menace involved. Emma and Lindsey are also like two witches in their cave, using Randall like a puppet for their own amusement. Yet their bond itself has elements of enchanter and victim, mistress and servant, or perhaps mistress and something more.

This book lacks the humor of Under the Net or A Severed Head, and there are very few characters who truly engaged my sympathy. Penny seems to be the only truly innocent one among them. Indeed, the whole Australian side of the family is a contrast to the English in their apparent decency. Ann and Felix might be the most open in their behavior, but Hugh and Mildred, despite their connivances, still manage to be sympathetic in their old age desire for one last love.

In the end, it seems very few characters will find happiness, and I’m beginning to think this is an inherent part of Murdoch’s writing. She is extremely good at showing how people can be together yet alone. There are numerous references in this book to the ‘solitude’ of the characters, and not necessarily as a negative thing. Disappointment is a recurrent theme throughout this book and her others, and romantic or resolved endings, so far in my reading, are not part of her oeuvre. However, because of her excellent writing, the journey towards this end is always captivating, and this sixth book was no exception.

Favorite lines;

..although the context for thinking him an ass was almost completely there, the judgment could not quite be made: the elusive but indubitable light of intelligence flickering in that mild visage forbade any too casual dismissal of its owner.’

‘There are few persons, even among those most apparently straitlaced, who are not pleased by the flouting of a convention, and glad deep inside themselves to think that their society contains deplorable elements.’

‘He was hers as a mild chronic illness might be hers, when one knows all its strange ways and it has become a part of the personality.’

The second book by Iris Murdoch this year (and definitely not the last for me) that I am listening to in audio format and remain deeply impressed. "The Sea, the Sea" was perhaps deeper - the power of the water element in human emotions, clothed in book form. But it was also obvious there that such a thing couldn't be screened with box office success. However, regarding "A Wild Rose", I completely don't understand how it could be limited to just a few episodes of an ultimately unknown British TV series (An Unofficial Rose) in 1974?

Even today, I envision such a flamboyant drama where the elderly father of the family (Hugh) could be played by Jeremy Irons or Jim Broadbent, his son could be Rufus Sewell, and among others, Felicity Jones in the role of the abandoned wife, and Tom Hiddleston - the hopelessly in love handsome cousin of the neighbor, not losing hope of taking the widowed Hugh into her arms...

Shouldn't I sometimes write such notes? Maybe the power of thought will strike the screenwriters in Hollywood? Oh, that would be a film. We would leave the cinemas in silence, with teary eyes and a lump of helpless despair in our throats, which can only be quenched with a glass of cold white wine, looking out the window at the night city. Imagine....?

I feel this book in such a way, alive, multi-linear, where the emotions of the elderly are no less powerful than those of children, truly cruel and equally naive. Where growing up is always painful, and growing old is可怕 only because those we loved when we were young are growing old.

This is my third Murdoch work, following her remarkable Booker-winning novel The Sea, The Sea and her rather lackluster swan-song Jackson's Dilemma. Just like the other two, this one also features a group of English upper-class individuals struggling with their moral conundrums.

It contains most of the elements I've come across so far – a prosperous Englishman past his prime, a clique of friends, family, and secret admirers that serves as a hotbed for ethical dilemmas, troubled marriages, gay characters, and inspiration derived from religion and Western philosophy, with a touch of Eastern spirituality.

The novel commences with the self-justifying ruminations of retired civil servant Hugh Peronett at the funeral of his wife, Fanny. Indeed, Hugh's reflections on his life that has slipped by, his passionless marriage which he regarded as a dull, resigned companionship, his unsuccessful attempts at adultery, and his unfiltered views on those around him initially piqued my interest in the book.

Everyone in this circle of friends is longing for someone else (usually unattainable), and I was slightly irritated by reading through pages of discussions about heartbreaks caused by unrequited love and potential matchmaking opportunities.

I relished the well-developed characters – most of them are confused and unlikable people enduring the misery of love. Hugh and his self-centered son Randall are both attracted to charming, difficult, and morally questionable, almost devious women as they seek liberation from their own unexciting marriages with straightforward women. Randall's wife, Ann, is particularly irksome. An embodiment of "goodness," she is a passive and spineless mass of confusion who never defends herself, believing it to be the right thing for a virtuous wife.

With a diverse range of characters and insights into their impulses, drives, and actions, it was fascinating to observe how the events unfolded amid opposing wills and complex relationships. Nevertheless, the hazy motivations behind Emma's mischievous deeds still elude me.

This has prompted me to explore more of Murdoch's work, where she delves deeper into moral ambiguity and philosophy. Hopefully, I will be able to read The Black Prince this year.

Love Murdoch, but after a while all her books seem to be the same.

Her works often explore complex themes such as morality, love, and human nature. However, the repetitive nature of her writing can make it feel as if one is reading the same story over and over again.

The characters in her books may have different names and faces, but their personalities and behaviors often follow a similar pattern. The plots, too, tend to unfold in a predictable manner, with the same set of conflicts and resolutions.

Despite this, Murdoch's writing still has its charm. Her use of language is beautiful and precise, and she has a talent for creating vivid and engaging worlds.

Perhaps the key to enjoying Murdoch's books is to approach them with an open mind and a willingness to overlook their flaws. By doing so, one can appreciate the depth and complexity of her ideas and the beauty of her writing.

Overall, while Murdoch's books may not be to everyone's taste, they are still an important part of the literary canon and well worth exploring for those who are interested in the human condition.

It is a bit dark and desolate for Murdoch. Here, very little of her wonderful wry humor regarding the human condition manages to show through. Both the male and female characters are buffeted and tossed about by fate. They all have scant comprehension of the forces that are at work within their lives. However, the women receive a far harsher deal than the men, which appears to be the case in most of Murdoch's early novels. This serves as a sobering commentary on divorce prior to the takeoff of second wave feminism. It also provides a window into a social world that, thankfully, no longer exists. We can see how the characters struggle and are at the mercy of circumstances beyond their control. The lack of understanding of the forces shaping their lives adds to the sense of helplessness and desolation. It makes us reflect on how far society has come in terms of gender equality and our understanding of the complex dynamics at play in people's lives.

I had to dnf this at around 50%. I truly LOATHED the story!

It commences with the characters, and every single one of them is either flat or highly unlikeable. I could not sympathize with Hugh, Randall, or even Ann. The web of attraction, this so-called 'love and lust', is simply preposterous.

The entire plot is completely absurd! We follow different characters, and aside from the little kid, all of them are married and committed, with children, yet they desire to experiment with their sexual needs. I just can't.

I really made an effort to push through with this one. I despise dnfing books, but when no character, not the plot, the world, or the writing style appeals to me, what on earth am I supposed to do?

I feel like I've wasted my time reading this far, and I'm left with a sense of disappointment and frustration. Maybe this book just wasn't for me, but it's still a letdown when you have high hopes and they're not met.

Hard work is an essential aspect of achieving success in many aspects of life.

However, in this particular case, it felt as if the efforts put in were somewhat dated.

The characters in the story or situation under consideration failed to capture my interest or compel me in any way.

I simply didn't like any of them.

Perhaps it was due to their lack of depth or the way they were presented.

Whatever the reason, it made the overall experience less than satisfactory.

Sorry to have to say this, but it's the truth as I see it.

Maybe with some revisions or a different approach, the characters could be made more engaging and the work could feel more relevant and exciting.

But as it stands now, it just didn't do it for me.

While reading An Unofficial Rose by Iris Murdoch, you may find it interesting to explore my questions related to it. These questions were answered in the alt.usage.english (AUE) Usenet newsgroup. I would like to express my gratitude to the participating AUE members for their valuable contributions.

The focus of my questions was primarily on the language used in the book. I was particularly interested in rare words, funny or original expressions, and strange constructs that I came across while reading. By posing these questions in the AUE newsgroup, I hoped to gain a deeper understanding of the language and its nuances. The responses I received from the members were insightful and helped me to appreciate the book even more. Overall, it was a great learning experience and I would highly recommend exploring the AUE newsgroup for anyone interested in language and literature.

I did not like it.

At first glance, it seemed unappealing to me. The appearance didn't catch my eye, and there was something about it that just didn't click. Maybe it was the color, or the shape, or perhaps the overall design. I couldn't quite put my finger on it.

As I delved deeper, I found that my initial impression wasn't wrong. The functionality was lacking, and it didn't meet my expectations. It didn't perform as well as I had hoped, and it left me feeling disappointed.

Furthermore, the experience of using it was not enjoyable. It was cumbersome and difficult to operate, and it didn't seem to be user-friendly at all. I had to struggle to get it to work the way I wanted, and it was a frustrating experience.

In conclusion, I did not like it. It failed to meet my standards in terms of appearance, functionality, and user experience. I would not recommend it to others, and I would not choose it again myself.

As always with Murdoch, it is an interesting read.

I suspect that I missed much of what was meant, but that's okay.

I heard bits of "Great Expectations" and slithers of "Crime and Punishment" or something anyway.

This shows that Murdoch's work is rich and complex, offering different layers of meaning that can be explored.

Even if one doesn't fully understand everything on the first reading, there is still value in the experience.

The references to classic works like "Great Expectations" and "Crime and Punishment" add another dimension to the reading, perhaps hinting at deeper themes or connections.

Overall, it's a reminder that good literature is often multi-faceted and rewards repeated readings and further study.

20.45

A writhing knot of distastefully unpleasant characters who reflect at tedious length. It seems as if they are trapped in a web of their own making, their actions and thoughts both repulsive and tiresome. I could not square what I have read about Iris Murdoch's philosophy (seeing the good with attention) to this novel at all. The characters here seem to lack any redeeming qualities, making it difficult to find the good that her philosophy suggests should be there. I need to read a biography as I also couldn't square the apparent support for the sacrament of marriage with what I know of her life. Maybe there is more to her beliefs and life than what meets the eye. I found the total focus on the intertwining and nastiness of these characters' sexual relationships intensely claustrophobic. It feels as if the author is trying to shock the reader rather than tell a meaningful story. The constant emphasis on sex makes the novel seem cheap and tawdry, rather than a work of art.

No one can explore the dark turmoil of romance like the great Murdoch. Her stories have a unique charm that draws readers in and makes them question their own beliefs and values. This particular story is set in the cozy sitting rooms of a bygone era, where matters of the heart are the focus. At first glance, it may seem like a simple trifle, but as the story unfolds, Murdoch's mastery becomes evident.

With her wonderful words, she weaves a romantic tale that is decidedly anti-romantic. She challenges the traditional notions of love and romance, showing us that sometimes, the things we think we want are not what we truly need. Through her characters, she opens up our own selfish souls, making us confront our own desires and insecurities.

Murdoch's ability to create complex and believable characters is truly remarkable. Each character in this story has their own unique personality and动机, and as we follow their journey, we become invested in their fates. The story is filled with twists and turns that keep us on the edge of our seats, and the ending is both unexpected and satisfying.

Overall, this is a brilliant piece of literature that showcases Murdoch's talent as a writer. It is a must-read for anyone who loves a good story that challenges their preconceptions and makes them think. I highly recommend it!