Maybe only a 3 because I’ve been quite gluttonous with Murdoch this year.

However, this book truly made my heart ache.

The passage between Ann and Felix is simply outstanding!

It is an English comedy of manners that delves ever so deeply into the human psyche in the most subtle yet piercing of ways.

Murdoch has done an excellent job in creating this masterpiece.

The story not only entertains but also makes the reader reflect on the complex nature of human emotions and relationships.

The characters are well-developed and their interactions are both realistic and engaging.

The use of language is also very sophisticated, adding to the overall charm of the book.

Despite my initial hesitation in giving it a higher rating due to my overindulgence in Murdoch's works this year, I have to admit that this book is a must-read for anyone who enjoys a good English comedy of manners with a deeper meaning.

Well done, Murdoch!

There were both good and bad aspects to this novel.

Getting through the first chapter was truly a tiresome task.

Throughout the entire book, there were an excessive number of characters.

Although the psychological insights into the characters' inner thoughts were quite interesting, the characters themselves had such feeble natures that I ended up getting bored.

I just wanted to finish the book quickly.

As I process and understand what I have read, my feelings might change.

However, for the time being, I regard "An Unofficial Rose" as a novel that became bogged down in suppositions that were overly explored by Murdoch.

The concept itself is more captivating than its actual execution.

Overall, it had its moments of interest but also left me with a sense of dissatisfaction.

Probably my least favorite Murdoch.

It's a story filled with multiple love triangles and unrequited love. This book delves into the myths or ideals we set and think we desire compared to the reality of life. It also explores the contrast between "violence" in action and passivity, convention and will. How are we supposed to understand the balance between being the driver of our own life and considering the needs of others? There's often a sense of tension in Murdoch's works. The reader is aware of impending irrational and shocking behavior (aside from selling the painting), but this is lacking here. None of the characters achieve what they want, and in the end, it's neither satisfying nor does it evoke much emotion in the reader. We're left with the feeling that the lonely can never truly understand themselves or the one they love.

Byatt has identified a set of foils in the book - the "violent" characters versus the conventional characters. The violent characters include Randall, Emma, Lindsay, and Miranda, who are more alive, interesting, risk-taking, striving, free, and operate via the ego, but are always at risk of losing everything. The conventional characters like Ann, Felix, Hugh, Mildred, and Penn are more boring, in a state of stasis, and more "good," but are always at risk of never changing. Which set of these characters are we meant to relate to? Who is Murdoch rooting for? I found her description of Randall as violent to be annoying and inaccurate. In fact, Randall is a big baby, like a Donald Trump character (at one point he says, "if you don't agree to sleep w/ me I'll have to rape you"). Unlike Trump, Randall is looking for someone to dominate him. He wants form (read: god-like purpose), he wants necessity, which conveniently indicates to him that he is on his intended path. He thinks of himself as an artist, ironically missing the fact that with his roses he was the closest he'd get to art, although it's a twisted sort of art where the "artist" manipulates nature, Randall's godlike application of form. Like a solipsistic child, he can't handle the mundane and mess of real life. He's unable to see himself objectively as others do. His relationship with Lindsay, which is likely dictated by the fact that Lindsay looks like the woman in the Tintoretto painting, is doomed as soon as real life sets in. I didn't find him believable; he seemed too far removed from adulthood and reality. Miranda is the most traditionally violent character, destroying relationships and tossing herself from trees, but she's a child with largely no character development; she's flat. The violent symbol of the German dagger (like the Samurai sword in A Severed Head?) moves from the conventional into the hands of the violent (from Felix to Steve to Penn to Miranda).

The conventional characters are also frustrating. Ann, who Byatt argues might be the main character in this book and "lives by rules," refuses to think about what Randall is doing and ignores what's right in front of her. But how is this "good"? Isn't it just weakness, avoidance, and fear? In an interview, Murdoch has stated that morality is not applying form to the world. I don't believe that not-thinking equals acceptance or a refusal to hate/blame. The not-thinking is a thin screen, a shallow protection, meaningless when she's faced with real decisions. And in the end, Ann doesn't have more love, nor does she exercise any power. When she stops her not-knowing by searching herself for knowledge, she realizes that she loves Felix. However, nothing comes of it. She continues to ignore herself, her desires, and her ego (i.e., she continues to be the "good" that Douglas prescribes), and what does it get her? She doesn't exert any power over her own reality! There's a strange inevitability to the book, almost as if we're destined to learn the same lessons as our parents. Hugh at first takes a similar path as Ann, rejecting Emma to stay with his wife Fanny. Later in life, however, he finally takes the leap, selling a beloved painting to free Emma from her companion into the arms of his terrible son. Randall almost seems to have followed in his footsteps (although on a more escalated path); is Miranda meant to follow? In the end, the best and most admirable character is Mildred, who sacrifices her own desires for Hugh in an attempt to help her brother and is ultimately one of the few winners - she's a balance between love and ego.

There's an interesting conversation between Hugh, Douglas, and Ann about whether the young should be taught to hate Hitler:

1) Ann - (ignorance) - doesn't know

2) Douglas - (ideal) - the young should be left uncorrupted by our adult hate

3) Hugh - (practical) - the world is a scary place and the young should understand that evil exists

*spoiler alert*

Hugh does not get Emma

Emma does not get Lindsay

Lindsay ultimately probably loses Randall

Felix does not get Ann

Ann does not get Felix nor Randall

Miranda does not get Felix

Penn does not get Miranda

Maybe Mildred gets Hugh?

Humphrey does not get Penn

Iris Murdoch was indeed one of the most outstanding British writers of the 20th century. She was highly regarded and named as one of Britain's best writers since 1945. Her novel Under the Net was classified as one of the 100 Best Novels of the 20th century.

This novel truly showcases her brilliance. She masterfully constructs the complex love lives of nine interrelated characters. The vivid colors and lively verve she uses make the novel flow seamlessly. I must admit that I didn't encounter any difficulties while reading this.

However, I think the novel stops short of being truly amazing. The reason is that I didn't really develop a deep emotional connection with most of the characters. The novel presents an accurate portrayal of the unfairness of life. In it, the cheaters manage to win the hearts of the girls, while those who adhere to honor, duty, and chivalry end up heartbroken. This didn't leave a pleasant feeling in my mouth. As someone who tries to uphold honor and chivalry in today's world, I guess I wasn't keen on reading about the triumph of assholes in the end.

Ultimately, the novel didn't have a profound enough impact on me to make me fall in love with it. It was well-written, but that was about it. It didn't touch my soul or make me think deeply about life and love.

The Unofficial Rose by Iris Murdoch (1962) is her sixth novel and my first encounter with her works.

It delves into the complex relationship dynamics within a family and their rather unhappy romantic entanglements, which unfold over 348 pages of continuous drama.

A man, whose wife has passed away, now has the chance to rekindle a relationship with a former lover. Meanwhile, his son, dissatisfied in his marriage to Ann, has found someone new. The question remains: will he follow in his father's footsteps and stay in the marriage, or will he abandon his family for his new love? And will Ann, in the end, take a chance on finding happiness with someone else?

The writing style is modern and accessible, yet alongside the storyline, the book seems to lack depth and meaningfulness. It's like that random family drama film you might have watched on a Sunday evening when you were younger (before the era of Netflix and such).

It's fairly realistic in emphasizing the traditional, perhaps even present-day, concept that women will endure anything, while men can do as they please, with the wife always waiting at home. The idea that sacrificing oneself is somehow virtuous is also explored.

I must admit that I had a hard time finishing this book and rolled my eyes more times than I'd like to admit. Maybe it's because of my strong views on love and my stance on cheating and staying in unhappy relationships.

However, it all comes down to how a book is written and what the author aims to convey. Given the same characters, George Eliot might have offered a completely different perspective on society, people, and relationships.

I typically have a penchant for Murdoch's writing, and this book was no exception, for the most part.

However, I was somewhat distracted by the rather unlikeable characters. Their British vagueness, the way they repressed everything, and their overall insipidness made it a bit of a challenge to fully engage.

It was difficult to get a firm grasp on certain characters who lacked much of a backbone, such as Ann or Hugh. From the very beginning, I had Miranda's number, and true to form, she didn't "disappoint" in her predictability.

One thing that bothered me was not knowing exactly how old Miranda was supposed to be. This lack of clarity made reading about her antics slightly creepy.

I couldn't help but feel sorry for poor Penn and hoped that he would only remember his time as "fun".

Overall, I liked the ending. The fact that it left open the demise of some of the main characters added an element of mystery and kept me thinking long after I finished the book.

Despite its flaws, there was still something about this book that kept me turning the pages, eager to see what would happen next.

In some parts, this really shone as amazing.

The details were so captivating and the story was unfolding in a way that kept me on the edge of my seat.

It was like a magical journey that I didn't want to end.

However, in other parts, I was so bored that I wished it would instantly end.

The pace slowed down significantly and the plot seemed to drag.

I found myself looking at the clock, wondering when it would be over.

It was a bit of a disappointment because the beginning had been so promising.

Overall, it was a mixed experience and I'm not sure if I would recommend it to others.

Maybe they would have a different opinion, but for me, it had its highs and lows.

'An Unofficial Rose' is a captivating family story that delves into the complex and dysfunctional dynamics of the Peronett family.

The story begins with the death of the matriarch, Fanny, and the events of her funeral set the stage for the unfolding drama.

Hugh Peronett, now free from the constraints of his wife's presence, desires to rekindle an old relationship with Emma.

His son, Randall, is eager to leave his wife, Ann, in order to pursue Lindsey, Emma's companion.

Meanwhile, Hugh's grandson, Penn, is visiting for the summer and becomes involved with Randall and Ann's daughter, Miranda, while also being pursued by another character.

Adding to the chaos, members of another family also have their eyes set on various members of the Peronett family.

The web of relationships is intricate and flawed, with only Ann and Penn seeming to be free from the strong urge to manipulate others that plagues the rest of the characters.

The book, written in 1962, reflects the social and cultural norms of its time.

Ann is encouraged by the priest to stay married to Randall, despite his desertion for another woman, based on the belief that marriage is forever.

A straight woman and a gay man maintain an open marriage of convenience.

Randall's disturbing response to Lindsey's question about sex further highlights the unconventional nature of the relationships in the story.

In the end, the identity of the prime manipulator is a surprising twist that adds an extra layer of intrigue to the narrative.

Although there are some clues scattered throughout the book, the revelation is still unexpected and likely would have been quite shocking in 1962.

Overall, 'An Unofficial Rose' is a thought-provoking exploration of family, relationships, and the power dynamics that exist within them.

Book Reviews: Un Unofficial Rose

An English family gathers around a coffin. The deceased is Fanny Peronett. Her husband, Hugh, a retired civil servant, stands close. Their son Randall, an entrepreneur married to Ann, has a teenage daughter Miranda. Randall has an affair with Lindsay Rimmer, who lives in London with her companion Emma Sands, a novelist who had an affair with Hugh twenty-five years ago. Randall hates Ann and needs money to divorce, so Hugh plans to sell a Tintoretto painting. However, Ann refuses to divorce due to her religious and emotional convictions. A family friend, Felix Meecham, an army officer, has been in love with Ann. After Randall leaves, he asks Ann to marry him, but Miranda disagrees as she prefers her father. Miranda secretly loves Felix, who tells her not to marry him. Ann won't accept Felix's proposal, and he decides to return to India. Hugh wants a new relationship with Emma, but she rejects his proposal. Hugh then travels to India for a holiday with Felix and his older sister Mildred, who loves Hugh.

Philosophical Reviews: Un Unofficial Rose

On a rainy day, Hugh Peronnett stands beside the coffin of his wife Fanny, her burial impending. This is a time for him to reflect on his past. His main regret is neglecting Fanny and his inability to love her due to his selfishness and lack of interest. Hugh's father believes that a rational person cannot believe in God, but is rationality truly immune to faith? Are belief and faith inseparable? It's interesting to analyze Hugh's reluctance to persuade his son to divorce Ann. Why does this happen? Why do they think their wives are a threat and are scared of their critical thinking? The reader discovers that Randall and Lindsay met after Steve's death. Randall feels attracted to Lindsay. Was Steve's death decisive? Is she an antidote to his pain? Clearly, the relationship between Hugh and Mildred is more than just sexual. Hugh thinks Mildred can heal an old wound between him and Emma. The death of his wife causes a rebellion in his soul. He feels trapped and oppressed. The only way to free himself is to establish a dialogue with Emma. But they haven't spoken for twenty-five years. What happened? Ann Peronett is the only character to reject love. If someone loves her, it will influence her behavior, which she believes is bad as it limits her freedom. She is like the black cat on the cover, imprisoned in the thorns of the red rose, symbolizing passion and romance. She will never escape this tangle of thorns to experience an unknown love with Felix. This shows a lack of personality, but in a way, her ego is formless. All the other characters are not on the path of goodness; they experience a demonic love.

Literary Criticism: Un Unofficial Rose

It's a rainy day, and many people gather around a coffin. Among them is Hugh Peronett, the husband of the deceased Fanny Peronnett. Hugh doesn't open his umbrella out of respect for his wife. His mind is filled with thoughts as he fears not having loved and truly known her. His greatest regret is his married life with Fanny. Close to him is Randall, his son who married Ann, and Miranda, his daughter. Due to the emotion, he forgets his daughter's age. A first family contrast is the reading of the will, with all the goods going to Hugh Peronnett. Douglass Swan, Fanny's spiritual advisor, couldn't persuade her to talk about her soul's status. The deep resentment between Randall and his wife Ann makes the reader wonder. What are the reasons? This dilemma keeps you reading. The reader also wonders what basis Mildred has for calling Douglas and Randall 'Wild violent men' and what experiences she has had. Randall's attraction to Lindsay has many reasons. For him, Lindsay is 'his angel of unrighteousness' and 'divinely indifferent to ordinary morality'. The love triangle between Randall, Lindsay, and Emma intrigues the reader. How will this love evolve? Has jealousy been defeated? Why does Randall think Ann is a threat to his existence? Why can't Ann understand his deep thoughts? Penn is fascinated by the Gray Hallock Tower and Mildred. He will follow her and discover the tomb of Steven Peronett at the local cemetery. Miranda reveals to Penn that her brother was a lover of birds. The love has no boundaries and involves Mildred and Hugh. Hugh wants to see Emma but is unsure whether to go to India. He asks Mildred Finch for guidance. His insecurity is deeper than just the distance. His main dilemma is 'Why open an old wound?' The first pages of chapter twelve beautifully describe the mood of two people, and then Tintoretto's painting enters the scene. In a chapter, there is a contrast between Hugh and his son Randall, who is jealous of Emma. One of the most interesting characters is Felix Meecham. He comes from India and cares about Ann. He tries to distinguish sex from love with difficulty and tells Ann's daughter that he won't marry her. He is a classic example of a character who has matured through interpersonal relationships and is not a slave to sex. Another problem for Hugh is his relationship with his son Randall. He doesn't want Randall to divorce Ann, but Randall despises him and tells him he wants to sleep with Emma and orders him to sell the Tintoretto painting. Hugh lacks the strength to oppose his son. He knows that Emma and Lindsay are close. If he can break their friendship, maybe there will be a place for him in Emma's heart if his son leaves Lindsay. The 'victim' is Ann, who suffers greatly from the divorce. She loves Felix but believes marrying him would be wrong due to her religiosity. She also believes that marrying Felix will only change her life if Randall doesn't come back home, and she will consider herself a widow. The most exotic characters are Penn, an Australian with a collection of daggers he wants to give to Miranda, and Miranda herself. After being rejected by Felix, Miranda tears apart her dolls with the daggers given to her by Penn. Randall has doubts about the future with Lindsay and believes he may return to Ann, not considering Felix. All the characters in this novel have sexual relationships with each other, except for Ann, who lives in peace with herself.

This Is A Past Review

Mildred Finch is the wife of Humphrey. She is described positively by the author as strong, but her weakness is love. She is 'The captain of her private soul' and 'The clever, capable and sardonic', suggesting she will never fall in love, but she is still human. A mask portrays her as rational, unemotional, and solid, a prerequisite for studying human nature. She can understand what a man is thinking just by looking at him, not through magic but through empathy. She gives Felix advice on how to win Ann's heart. Is she able to recognize true love in him? Emma Sands is the best friend of Lindsay Rimmer, Randall's lover. Emma and Lindsay are inseparable, which shapes the plot between Randall and Lindsay. Is Emma active or passive in this relationship? Emma lives in London, is graduated, and intelligent. She believes men are selfish. The beauty of Lindsay Rimmer is magical, driving Randall crazy with her intelligence, charisma, and physical beauty. She lives in London with Emma Sands, and Randall is aware of this. The novel opens with the death of Fanny Peronett from cancer. She believed in Randall's marriage to Ann. Her husband was Hugh Peronett, and she was the mother of Randall. She also loved Ann, but we don't know what kind of love it was. We know little about her personality, just like her husband. Hatfield is her cat, which has run wild since her death and disappeared into the fields. The lack of personality is significant as it is the point of contact between her and the cat, two free spirits. They are, in my opinion, the unconventional rose because their inner beauty doesn't need thorns to protect themselves. Steve Peronett is Hugh's grandson, and we know he is dead. Humphrey Finch is the most successful character in this novel. He is homosexual and married to Mildred. Their relationship is described as 'intimate yet abstract, a frictionless machine that generates little warmth but functions excellently'. The philosophical dilemma is to understand why Penn has changed his mind. The flat characters are Beryl Finch and Marie Laure. Beryl Finch was hated by her family for being a girl. According to Mildred, 'That girl will never marry. She is always being the self-conscious vanguard of something or other, and men hate it.' She is 30 years old, single, and the principal of a Teachers' training college in Straffordshire. Marie Laure lives in Delhi, India. She is intelligent and loves Felix. The most interesting passage about this character is the letter she writes to Felix, declaring her love for him. Felix is disturbed because he has left things unfinished with her. What is it? Pages later, we learn that he wrote a letter to Marie but never sent it, believing that silence is better. Penn Graham is Hugh's grandson. The most intriguing passages involve Steve's soldiers and the birds with Miranda. 'He had never thought that he could find a girl's knees exciting. But then Miranda was not a girl. Yet she was not a little girl either. What was she then?' 'And What was happening to him?' The relationship with Miranda is also strange. Miranda tells Penn, 'How many dead people do you know?' Penn is shocked and replies, 'I know more than twenty.' We know that Miranda Peronett is a 14-year-old daughter of Randall and Ann. She is described as a mysterious girl who doesn't publicly express her feelings. She represents selfishness as she doesn't want the marriage between Ann and Felix because she loves Felix with a childish adoration. She loves her father Randall but is insensitive to her mother Ann's feelings, calling her an 'Anonymous faceless figure'. Why? Randall Peronett is the husband of Ann. His father is Hugh, and his mother is Fanny, now deceased. His son Steve died of polio. It's not clear why Randall doesn't love Ann, but the author gives a clue. 'In any case, there was still Ann, and perhaps there would always be Ann. Pity for unloved Ann haunted Randall like a demon, preventing him from rising, preventing him from being free.' Hugh Peronett is preoccupied with the fact that his son will leave Ann for Lindsay, not because of the divorce but because he will be forced to sell a painting of Tintoretto. After Fanny's death, he is determined to rekindle his relationship with Emma. Ann is a controversial character. She is the wife of Randall, and their relationship is not based on love or happiness but on mutual companionship. In their marital life, Randall is the more honest one, not loving Ann. They live together for the sake of their daughter Miranda. In this novel, we see that Ann loves her husband and dislikes the roses, which are related to Randall's business. Ann loves Randall because she doesn't want to be alone. Her love means oppression as she considers her husband a property, a 'protective tenderness'. Felix Meecham is a colonel, the older brother of Mildred. He is handsome and simple, and he loves Ann and Marie Laure. Being handsome, he is also loved by Emma. His personality is controversial as he loves Ann and can wait for her for years, but his love for Marie Laure is based on egoism. The central theme of the novel is marriage. From the experiences of the characters, we understand that there is no love or happiness. Marrying someone is a tradition, and although they may seem happy, the only character who knows what love means is Miranda, who loved Felix unconditionally but was then ruined by society. The essence of society is well represented by Hugh: 'After more than forty years of marriage, and although his wife had not been a mysterious woman, he had not really known what was in her heart.' Randall doesn't love Ann as she is too oppressive, and he is not a gentleman. He loves Lindsay because 'She was an angel of unrighteousness, so he often told her, and through her he enjoyed a most exhilarating holiday from morals.' He wants to be free. Randall and Lindsay made love in Rome, and he was extremely happy, at the apex of his happiness. But then what? Is there a higher apex? If not, what happens? Why isn't the girl's point of view clear? It's clear that humans are immune to love. There is a constant search for happiness, but it doesn't happen. Loving someone is like eating an ice cream, satisfying immediate needs for a while. The dream of Randall is to be free, but freedom doesn't exist as everyone depends on others. To escape this prison, we must be passive like Ann. In a televised discussion with Frank Kermode in 1965, Iris Murdoch said that Ann’s having a ‘lack of ego’ was ‘one way of being good.’ In my opinion, the main character of this novel is the cat, free to do what it wants.

This is a semi-early novel by Iris Murdoch, dating back to the early 1960s. It is approximately her sixth work and presents an interesting combination of the early wildness seen in "Under the Net" and the later mellowness found in her longer novels of the 1980s. Murdoch has a penchant for writing and rewriting different versions of her novels in various settings. Her second novel, "Flight from the Enchanter," serves as a model that she explores multiple times with different types of enchanter figures. Another recurring theme in her works is when a character or characters are granted second chances at love. This can occur through meeting someone new, as in the case of Hugh, a recent widower who reunites with an old flame about 30 years after their affair ended. Or it can happen through leaving one's family behind, as Randall does. In both cases, we observe that the consequences vary in both situation and severity, and the expectations often clash with the reality.

This novel employs religious duty as a leitmotif to explore the different choices made by the characters and attempts to make sense of the increasing number of post-war divorces. The central image of an "unofficial rose," which I interpret as an object of observation and consideration that is not solicited or fairly evaluated, is a motif that Murdoch revisits later in her most brilliant work, "The Sea, the Sea," with delightfully savage results.

Overall, I have a tendency to enjoy Murdoch's novels. This particular one feels like a less fully developed version of a later favorite, but that does not imply it is bad. On the contrary, it is more subdued.

I appreciate the way Murdoch weaves together different themes and motifs to create a complex and engaging narrative. Her exploration of love, loss, and second chances is both thought-provoking and emotionally resonant.

While this novel may not be as polished or as impactful as some of her later works, it still offers valuable insights into her literary style and her preoccupations as a writer.

I would recommend this novel to fans of Murdoch's work or to anyone interested in exploring the themes of love, marriage, and religion in literature.

This particular work by Iris Murdoch is not among my absolute favourites.

However, it does offer a decent exploration into the world she has created, a world that I find myself drawn to every now and then.

The book delves into profound questions such as how one can strive to be good, how to truly know oneself, and simultaneously obtain what one desires and requires.

Hidden motives and the inherent unknowableness of other human beings are recurring and common themes throughout.

We encounter Machiavellian teenagers who are calculating and manipulative, greedy and selfish grown-ups who are driven by their own self-interests, weak men who lack the strength to assert themselves, and strong scheming women who use their wits and guile to get what they want.

Overall, while not my top pick, it still provides an interesting and thought-provoking glimpse into the complex and often tumultuous world of human nature as envisioned by Iris Murdoch.

Iris Murdoch is truly an incredible writer. Her works have the power to captivate and engage readers on a deep level.

However, this particular book presented a challenge. The reason being that all of the characters within its pages are so unlikable.

It's not often that one encounters a story where every single character seems to lack redeeming qualities. But Murdoch has managed to create such a world.

This unlikability of the characters makes the reading experience rather hard going. It forces the reader to grapple with their own feelings and judgments as they navigate through the narrative.

Despite this, Murdoch's writing style and her ability to craft a complex and thought-provoking story cannot be denied.

Perhaps this unlikability of the characters is a deliberate choice on her part, intended to make us question our own assumptions and biases.

In any case, this book is a testament to Murdoch's talent as a writer and her willingness to take risks and explore the darker side of human nature.