She's never an easy read, and this is no exception.

For a book written in 1993, it is incredibly old-fashioned. I wonder who looked, dressed, or behaved like her characters back then - because I didn't know anyone wearing bow ties! Apparently, TV hasn't impinged on the lives of the girls at all.

The elitist/academic slant to names like Aleph/Alethea and Clement means most readers would automatically feel distanced from the characters, I think. And as so often with Murdoch, there are moral, philosophical, and spiritual questions looking for a plot.

BUT although I didn't really care about the characters, I was intrigued by the analogies, and it's left me thinking. Was Peter Mir, Jesus? There's lots of torment and suffering (the human condition, loss of innocence), and lots of inactivity which drove me mad - why does no one tell anyone that they love them until it's nearly too late? Why does everyone get taxis everywhere?

I guess Murdoch had been within Oxbridge for so long at this point that her experience of life was very rarified and privileged. I found Lucas and Mir sinister (Gawain and Green Knight respectively?), Clement, Louise, Bellamy, and Joan infuriating, and Sefton, Harvey, Aleph, and Moy utterly unbelievable as teenagers.

I can do one Murdoch a year, I think, but I do always return - if nothing else, this book has an original and intriguing set up with the Cain and Abel plot twist!

Probably Murdoch's best book after 1983's 'The Philosopher's Pupil', this work stands out for several reasons.

Even though her latter is probably the only one post-1970s that I can imagine wanting to invest time to re-read, this particular book has its own unique charm.

It might offer a deeper exploration of human nature, more complex characters, and a more engaging plot.

Perhaps it delves into philosophical themes in a more profound and thought-provoking way.

Or maybe the writing style is more captivating, drawing the reader in and keeping them hooked until the very end.

Whatever the case may be, it is clear that this book is a significant contribution to Murdoch's body of work and well worth the attention of readers.

I have delved into the world of "The Green Knight". It is one of those books that initially made me a bit distrustful, to the extent that I skipped to the ending and read backwards.

The extensive cast of characters is truly fascinating. However, their actions and attitudes often seem rather unreal. The philosophical discussions within the book are charming and thought-provoking.

Nevertheless, the author presents detailed descriptions of the characters but fails to allow for an examination of them in conflict. As a result, I was unable to develop the kind of attachment to them that I would have had if I had witnessed their personalities unfold in specific situations.

Once I stopped caring about the characters, the artificial nature of the plot began to annoy me to a great extent. It became increasingly difficult for me to engage with the story on a deeper level.

Overall, while "The Green Knight" has its interesting aspects, it also has certain flaws that prevent it from being a truly captivating read for me.

I'm still not entirely certain what to make of this book.

Given the title and the source of the recommendation (to me), I had anticipated something along the lines of an out-and-out fantasy novel. However, that was not the case.

This novel chronicles the lives of a couple of families and groups of friends, seemingly set in modern-day England. I say seemingly because although they possess cars and cell phones, the dialogue, descriptions, and the topics people choose to discuss read more like those of a Victorian novel.

The book managed to hold my interest to some extent - some characters were far more captivating than others - overall, but it kind of had a tendency to go in and out of focus.

The main story (if it can be determined as such) involves an outsider to the group (they repeatedly and quite clearly compare him to the Green Knight of Sir Gawain fame), and his interaction, influence, and ultimate effect on the group(s).

However, this character doesn't make an appearance until well into the book, and departs long before the novel concludes. In fact, the ending of the novel, while clearly written, doesn't really seem to have much connection to what has preceded it in the previous 450 pages.

It's an odd book indeed. I'm not in the least bit sorry that I read it, by any means, but I'm not sure how much of it will remain with me.

The Green Knight, by Iris Murdoch

I truly relish a captivating, lengthy novel that engages my mind when I could otherwise be numbing it with television. The novel, as an art form, offers Iris Murdoch vast opportunities to explore diverse ideas and forms. She can immerse herself in a character's ceaseless self-doubt, another's profound philosophy, and a dog's执着quest for its master. In this case, she delves into the ancient myth of "Sir Gawain and the Green Knight" to determine its contemporary significance.

The Green Knight revolves around a group of individuals whose lives are disrupted by an alleged attempted murder. Or perhaps it wasn't an attempted murder at all. Maybe three men, Peter, Clement, and Lucas, were murdered, yet none died. Even when their heads are chopped off, they return laughing.

Among the three, the reader gains insight into Clement's perpetual confusion. The minds of Lucas and Peter remain closed to the reader, revealed only through their words and actions. Peter, however, is indecisive. He is initially driven by thoughts of making amends, then by revenge, and finally by love, before descending into dementia and reportedly dying.

Lucas represents the secular scholar who is so full of contempt for others that he has no independent thought. He murders his half-brother and a stranger for no apparent reason and then takes the prettiest of three sisters to America. There, as a visiting professor of antiquity, he uses Aleph as a trophy until, hopefully, she wakes up.

Much of the novel focuses on Louise and her three daughters, who have only a tangential connection to Lucas, Clement, and Peter. Sefton, Aleph, and Moy are destined to break free from their "aviary" where they sing and chatter like caged birds. They will pursue their own careers, and their widowed mother will come to terms with her grief. These four, along with other assorted friends, have no place in the original myth of Gawain and the Green Knight.

As other critics on Goodreads have noted, Murdoch's London seems like a mythical place tailored to her needs. It has the familiar theaters and dreary weather of London but could be any major city in an unspecified era. The twenty-first-century reader, accustomed to constant technological change, searches in vain for clues about when the story takes place. Doctors have unrestricted authority; lawyers prosecute murder without an autopsy, and empty buildings are left unlocked. The only familiar technology is the landline telephone. For all we know, King Arthur might still be sitting with his Knights of the Round Table.

Iris Murdoch seems to appear in her novel as the Wise Woman, Tessa Millen. She is a social worker, sexually available to curious young explorers. She leaves her home open to mad women but hunts down men who distort the truth.

The novel might have been more complete if Clement had finally recognized the full horror of his life. Unlike Sir Gawain, he never discovers himself despite his constant anxiety. He has endured a lifetime of violent abuse yet loves his sadistic older brother with unwavering affection. (Not unlike Anax's worship of Bellamy, but Bellamy eventually realizes his mistake.) He somehow misses the Revelation that would be obvious to anyone else. No wonder Lucas despises him.

Murdoch's characters seemingly do not experience trauma. In The Sea, the Sea, after her release, Mary Hartley Fitch and her husband invited her kidnapper, Charles Arrowby, to afternoon tea! Hello?

I sometimes wondered which character, if any, the author loves. Moira, burdened with the unfortunate name Moy, seems to be a favorite. This lover of spiders, hamsters, and misplaced rocks, on the verge of madness, is lured nearly to her death by seals and then rescued by a dog.

Like The Sea, the Sea, this novel seems to struggle to find an ending. We all know that life goes on, and no one lives happily ever after. But art necessarily imposes boundaries on its depictions. Murdoch's closing chapters seem hesitant, as if she prefers a gradual fade-out rather than a plausible conclusion. I wish someone, preferably Lucas, had recognized his evil. He should have gone to prison; and perhaps he still will, following Peter's death. I hope clueless Clement has found his purpose with indecisive Louise.

But, as I finished the book late at night, I was satisfied with Harvey's denouement on the bridge and Moy's replacement of the rock.

A complex, layered literary labyrinth awaits the reader within the pages of this remarkable work. The language employed is truly stunning and evocative, painting vivid pictures in the mind and tugging at the heartstrings. It is a different kind of novel, one that defies categorization and challenges the traditional norms of storytelling. I found myself completely immersed in its world, captivated by its unique charm and depth. Each page turned revealed new secrets and surprises, keeping me on the edge of my seat until the very end. This is a novel that will stay with you long after you have finished reading, leaving an indelible mark on your literary soul. I loved it with all my heart and would highly recommend it to anyone looking for a truly unforgettable reading experience.

At first, I posed the question to this novel: Who is the Green Knight, the character who could be considered equivalent to the one in the Sir Gawain story?

Subsequently, I inquired further: Even if we were to assume, and this is highly debatable, that there is a substitute for Gawain's Green Knight, does that necessarily imply a one-to-one correlation between the characters in the medieval story and those in the Murdoch novel?

Then, it seemed as if the novel was asking me: If I blatantly refer to the Gawain/Green Knight tale, does that somehow diminish any comparisons one might wish to make between these stories?

The narrative follows the standard Murdoch pattern - a diverse collection of upper-middle-class English individuals whose lives are disrupted when someone enters their world, someone who helps them uncover their truer - though not always better - selves. What sets this apart from other Murdoch novels is its otherworldliness. The Green Knight character appears to have come back to life and defies all expectations of realism and characterization. I appreciate how this forces us to question the power and necessity of allusions in storytelling, and how they can either be an unhelpful crutch (or perhaps a green girdle, depending on the narrative in question).

It makes one wonder about the role of such references and how they can both enhance and detract from the overall narrative. Do they add depth and richness, or do they simply serve as a convenient shortcut? These are the kinds of questions that this novel prompts, making it a thought-provoking read.

I finished this book over a week ago and still can't decide if I actually liked it or not.

It was well written. The plot was engaging enough that I had no problems finishing it. There were lots of surprising twists. However, in this case, the surprises mainly seemed completely out of character for the person involved.

I don't necessarily want to say it's bad writing. I've read other books by Murdoch and loved them. Maybe it's just me missing cues. But there were numerous points in this story where some bombshell reared up screaming "Deus ex Machina!" and pummeling you about the face as it threw characters around in ways no one could have guessed. If people react to your revelations with confusion and fact-checking, maybe you need less curveball and more foreshadowing.

The plot also revolves heavily around a murder, there is an attempted suicide, lots of threats of suicide, manipulative toxic-relationship-type dickery, and a fair bit of what seems to me to be very ableist language around a temporary, albeit serious, injury one of the characters suffers. Plus, there are some major pity-parties.

I wanted to be compassionate towards these characters and their internal battles, but most of them were acting like sulking queens of emo. This might be fine when you're a teenager still figuring out your emotions, but by the time you're a college student or the parent of one, I expect a little more self-awareness. If it had just been one endless pouter, that might have been tolerable. But no, we needed two, three, four? Why not? Misery loves company.

This miserable company consists of a group of friends and their adult or nearly adult children. The story opens following the disappearance of Lucas, who has been recently tried and acquitted of using excessive force after murdering a man who tried to mug him. Varying degrees of concern for his safety are evident. His brother is petrified that Lucas may have harmed himself, while others are only mildly concerned or even wholly unperturbed. Lucas' unexpected return is the catalyst for a bizarre introduction that sets the group off on these unusual (and possibly poorly plotted?) train wreck of inter-personal relationships.

I haven't read enough Murdoch to have a good idea of where The Green Knight fits in terms of quality compared to her other writing. It's definitely not her best work, but I don't know if it's one of her better or one of her worse. I also haven't read the titular Arthurian myth, although I looked up a synopsis while reading this book and one of the characters talks about the plot. You could probably smush that myth into this story, which might make things more clear.

Honestly, despite my complaints about pity-parties and gross attitudes, and my inability to determine if I enjoyed this book or not, I still find myself wanting to read it again. This is probably the best sign. I've never re-read anything I definitely hated. Whether I actually get around to it is another matter. I'll add it to the stack of books I want to revisit (teetering next to the spire of books I still have to read), and in a couple of years, we'll see what round two looks like.

This is such an excellently plotted book.

Every single loose end gets magnificently tied up at the conclusion.

As is always the case with Iris Murdoch, there are mystical, religious, and mythical aspects to this novel.

Just as the title implies, it is inspired by the mediaeval romance of Sir Gawain and the Green Knight.

I would highly urge readers not to be deterred by these elements.

Instead, go with the flow.

It is truly well worth the effort.

This book is a magical mystery tour de force that will captivate and engage readers from beginning to end.

It offers a unique and enchanting reading experience that is not to be missed.

So, don't hesitate, pick up this book and embark on a journey of discovery and wonder.

The action appears to center around an attempted murder of a half-brother by his envious sibling.

The actual victim, a man who tried to step in and got a nearly fatal blow to the head, then returns to life.

However, a truly fascinating aspect of the story is how this is differently perceived through the eyes of three precocious sisters. Each of them is extraordinary in her own unique way.

These girls or young women are somewhat nervously approaching the end of their lively yet sheltered girlhood.

They have been content, and consequently, they are more forthcoming than usual in their judgments and vivid in their motivations.

This gives the story a rich and multi-faceted dimension as we get to see the events unfold from their different perspectives, adding depth and complexity to the narrative.

It makes us wonder how their individual personalities and experiences will shape their understanding of the attempted murder and the return of the victim, and what impact these events will have on their future lives.

This statement "Not one of her best by a long shot" implies that whatever is being referred to is far from being her top-notch work. It could be a performance, a piece of art, a written assignment, or any other endeavor of hers.

Perhaps she has set a high standard for herself in the past, and this particular instance falls short of that standard. It might be that there were some flaws or不足之处 in it that were quite noticeable.

However, it's important to note that just because it's not one of her best doesn't mean it's completely without merit. There could still be some good aspects or闪光点 in it. Maybe she can learn from this experience and improve in the future.

Overall, this assessment gives an indication that she has the potential to do much better and that this particular effort is not representative of her full capabilities.

The Green Knight is a captivating drama that revolves around a family of three girls and a mysterious stranger. One girl is beautiful, two are highly intelligent, and the youngest is creative, has an affinity for animals, and a touch of magic. The novel has a fairy tale or ancient myth-like aura, as the title comes from the story of Sir Gawain. The Green Knight, Peter Mir, becomes central to the lives of the other characters after suffering an injury while performing a heroic action.

Peter is not the only character described as a knight; others are called angels, magicians, or fey, and there is even a courageous and anthropomorphized animal. The older sister Aleph remarks that it's like they are in a fairy tale with unspoken words and unanswered riddles. Even without the fairytale allusions, the novel is filled with secrets, unrequited love, soul searching, loss of faith, anguish, and injury.

The three girls are all interesting, but Moy, who is compared to a silky or fairy-like creature, is the most engaging. She has a kinship with all things and imagines the torture of separated rocks and the fates of the creatures she encounters. Moy stays within the "enchanted circle" of the Anderson family, which her sister describes as a place where they would crumble if they left.

Sefton and Aleph play different roles in the romantic entanglements, while their mother Louise is often mystified by her children and lost in her own dreams. Orbiting the family are Harvey, who faces his own challenges, and Clement, Louise's dead husband's actor friend, who is confused about his actions and loyalty. Bellamy's attempts to enter a religious order provide some amusement, and Lucas, Clement's older brother, is a mysterious figure.

Peter is fascinating, both in his desire to be part of the circle and his actions towards Clement and Lucas. He touches the lives of everyone and bewitches them with compassion, gifts, and a grand dinner party. Lucas is also an enchanter, and he and Peter seem like two sides of a coin, one dark and one light. Clement sees them as "two mad magicians" or "two archangels" in a battle, and much of the novel's drama concerns how this battle plays out.

The women in the novel also engage our empathy and interest. There are noble Louise and her girls on the brink of life, as well as Harry's mother Joan, a vamp with a dry sense of humor hiding her despair, Tessa, the wise woman who runs a women's shelter, and Cora, the maternal figure who tries to make everyone happy. Everyone in the novel cares deeply about at least one person, even if they are in the midst of their own existential crises, and there is a sense of family in the broader sense that helps explain Peter and his desires.

By the end of the novel, the enchanted circle has been broken as love and death have pulled the family apart. For Moy, there is a kind of rebirth. The novel ends like a fairy tale, with everyone in the place they should be or on the path to it, leaving the reader entirely satisfied with this realistically enchanting tale.