There's evil.

There's Satanic.

And then, at the very last level of Dante's Inferno, beneath the chains of ice and the frozen tombs of fallen angels, there sits Iris Murdoch.

Under a blanket, getting cozy by an open fireplace, having tea and eating cake.

Iris is a diabolical trickster, a goddess of strife.

She is also one of the most important and talented writers of our modern era. Her skill at plotting rivals that of Shakespeare, and her craft at philosophical debate is unmatched in fiction. Even when compared to Camus, Kafka, and Cormac McCarthy, she holds her own.

Murdoch develops and writes better characters than the majority of her peers.

But she's also full of poison.

She is an existential threat to your worldview, no matter what it may be.

The more I return to her works like Jackson's Dilemma, The Sea the Sea, The Black Prince, and Message to the Planet, the more the philosophy in those books makes Conspiracy Against the Human Race look like My Little Pony.

On one hand, you have a nihilist saying 'life is cruel and inflicting it on others is a moral evil', and here is Murdoch clicking her tongue like a devil and replying 'actually moral evil is beloved by all and that is why life is cruel.'

Oh dear. No matter who wins the debate, everybody loses.

In a Fairly Honorable Defeat, Murdoch has a villain sit in a scene and nearly break the fourth wall to pieces, espousing that 'actually we hate goodness and love evil'. And then she proves it to you, the reader, while having the same villain butcher relationships, destroy lives, and giggle about it over the telephone like some filthy Puck.

Now that, my darlings, is a trick.

It is one thing to turn a man into a cockroach, it is another thing entirely to turn a man into a cockroach and make your audience love the insect.

That's a sadistic game. Of course, the character is a representation, not real, but by drawing attention to its own artificiality and asking you to accept its behavior as wrong, while writing it to be so entertaining that you can't help but admire them? That's a painful little play.

Iris' work here is much like the Treachery of Images, in that it is telling you 'this is not a pipe' while drawing attention to the pipe. Where you can notice nothing else but the bloody pipe. Creating a paradox of bias. And it is an artful destruction of our morals. Like Aaron in Titus Andronicus making a confession that should bring down the wrath of the gods themselves. And by doing so, and not being immediately struck by a lightning bolt, proving beyond a shadow of a doubt that the Gods are not listening.

If they exist at all.

Murdoch plays the game like a boxer who tells you exactly where they are going to hit you and how. And that you will be unable to do anything to stop it. Because you can do nothing.

And then she proceeds to beat you with ease and precision. Exactly how she predicted. To the point that you would think fate itself moved through her hands.

A Fairly Honorable Defeat is a diabolical book. It is Mephistophelian. It makes Machiavelli look like a kitten. The Satanic Bible is a hysterical wet-fart compared to this elaborate nest of razor-wire.

The book centers around an antagonist, Julius, who makes a game of destroying lives. The villain is revealed to be so deliberately cruel and horrendous that he's almost inspiring. His abandonment of all rules of social conduct and civilization makes him innately anti-authority in a way that the Joker could only dream of being. At first, the game seems like a comedy. Arrogant moralists and overblown hedonists are thrown into a tizzy by hilarious deceptions and clash in the night, bumbling around each other like confused lovers.

It's so classic Shakespeare, the bard's fingerprints are all over it.

Until Iris Murdoch does the unthinkable and shows you the real-world consequences of these kinds of social games.

So many steps of Julius' character are set up in advance to reveal his true nature in the final chapters of the book. His stuttering, which makes him come off as an underdog, hides the depths of his primal cunning and manipulation. His own lies and deceit are held in contrast to other characters attempting to lie to spare loved ones from cruel truths. And Julius scolds such behavior, showing it is not honesty or deceit that he values, but cruelty. He is portrayed as a truth-teller, honest to a fault of being daring, but this is itself Julius' greatest lie. His 'brutal honesty' is simply a mask for glib viciousness. His destroying of people's clothes and destroying their hearts and trust on a whim are not the actions of a person unburdened by social codes, as they are impulsive deeds of childish glee. Sickening. Stupid. Ill-minded.

And then Murdoch pulls back and shows you the bigger picture in the final moments. Shows you exactly where and how Julius learned his little tricks. It's a reveal that hits you like a cold wind. The weight of it landing on you like a hundred years. It makes you want to defend him, even when you know you cannot.

It is unmitigated cruelty.

The very nature of his character is a play on the reader's own morality. The simplistic laws of black and white. Good and evil. Just and unjust. Absolutes torn to shreds. To accept the unspoken justification for his deeds is to accept his worldview. Which allows you to be manipulated by him. Like his stutter, he uses sympathy as a weapon.

This sets him against most villains.

Most fiction dealing with evil and death and harm are actually very straightforward in their morality. The Judge in Blood Meridian, Anton Chigurh in No Country for Old Men, Lester Ballard in Child of God are all magnetic, but ultimately uncomplicated. For all the outrage and the clutching of pearls around horror, the vast majority of horror fiction lands on the side of the righteous. Good may not always conquer evil in such stories, but evil is openly, obviously, evil. Easy to point out in a lineup.

One will never mistake Freddy, Pennywise, or Slenderman for your average Joe. They are mutants. Freaks. Twisted on the outside as on the inside. Even iconic villains like Hannibal Lecter are pretty straightforward. They challenge us not because their actions are complicated, but their nature is. They are not intriguing or frightening because of their lack of morals, but because of their seductive charisma. It is easy to say'serial killers are bad', it is quite another thing to say'serial killers can be charming'. That's the actual scary part.

That something dangerous can be charming.

But here Iris Murdoch goes much, much further. She dissects our steadfast desire for moral absolutes. Opens them up like rotting fruit. Reveals the sick and easy and almost pathetically fragile hypocrisy in our sense of justice. How our lust for drama and gossip and rumour-mongering corrupts our civilized codes, our kindness, our humanity. She makes evil engaging, easy to underestimate, easy to dismiss, cavalier and breezy. Simple to be swept up in. Evil waltzes through our rules and our lives, cutting us to pieces in a dance that is equally whimsical and devastating. Not what we like to think evil is, but what it really is. Childish. Free. Unburdened. How we envy it. How we desire it. How evil people use our own lust for evil against us. Making us complicit in their schemes and then driving us collectively off a cliff.

And leaving us to burn in the wreckage.

This is one of the funniest and most disturbing books I've ever read. It's like if Jack Ketchum wrote Much Ado About Nothing.

Iris Murdoch puts a blade to your genitals and opens you from crotch to gullet. With a smile in her step and blowing a kiss to your still warm and trembling lips.

She's an absolute spider.

We love it though.

Just like she knew we would. 10/10

Iris, as always, is truly remarkable.

This book delves into the life of a middle-class family and explores how they interact and deal with one another. It has a touch of fancifulness, but that's precisely what makes fiction so engaging.

One aspect that I particularly adored was the portrayal of the gay couple (men). Iris managed to make them seem incredibly real, as if they were no different from heterosexual couples. Their relationship was depicted with such authenticity and depth that it was truly heartwarming.

The ending of the book was also really outstanding. It tied up all the loose ends in a satisfying way and left me with a sense of fulfillment. Overall, this is a great read that I would highly recommend to anyone looking for a captivating and thought-provoking story.

My Favourite Murdoch

Murdoch's works have always held a special allure for me. In one of his masterpieces, the weaknesses and hypocrisies of a group of well-to-do Londoners are dissected with painful precision.

She delves deep into the lives of these individuals, revealing their hidden flaws and the façades they so carefully construct. Through her vivid descriptions and incisive characterizations, we witness the moral decay and shallowness that lurk beneath the表面光鲜的 exterior of this privileged class.

The story unfolds like a slow-burning fuse, gradually exposing the true nature of these characters. Murdoch's writing is both powerful and poignant, making us question our own values and the society we live in. It is a reminder that beneath the veneer of wealth and status, there often lies a world of darkness and deception.

Her ability to dissect human nature with such accuracy is truly remarkable, and it is this aspect of her work that keeps me coming back for more.

When a story commences with a couple who appear to be the epitome of perfection, and when she inquires of her husband if it is a disgrace to be so happy and whether they should feel guilty about it... you are aware that they are fated. Her husband proclaims that happiness is not a disgrace but a grace. And he should have added, only he didn't and it's too bad for him, that this is precisely why one should be cautious enough to avoid falling from it. Now, the query is: Can we truly avoid such a thing? Once more, Iris Murdoch will position seemingly pleasant, ordinary individuals face to face with moral decisions that will cause them to view the world and themselves in a novel light. Only that the role of the author will be assumed by a cynical, Machiavellian character who will know how to detect and exploit the deepest fears and vulnerabilities of the rest of the cast.

This is one of the darkest tales I have read by Iris Murdoch, and in terms of characters, I didn't think highly of any of them, with the exception of Tallis. However, I wish he would just halt for a moment to give his place a thorough cleaning. At times, certain situations seemed a bit implausible, especially the stealing of the letters, but overall the events seemed to be in accordance with the idea that Murdoch was attempting to illustrate. There could be a Julius out there for all I know, although I hope to remain distant from him for as long as I live. And as always, Murdoch makes us think, posing questions rather than offering answers regarding our human nature, goodness, evil, truth, and most significantly... love—because love, with all its limitations, fears, anxieties, and excesses, could very well be our consolation.

Embarrassingly,

I saw another review or currently reading post on Goodreads and noticed my rating was only 3 stars. This was something I did when I first joined the platform. It was definitely a typo, perhaps a result of a quick-finger rating. I immediately realized my mistake and corrected it.

Goodreads is a great place for book lovers to share their thoughts and ratings. However, sometimes we might make mistakes in our ratings without realizing it. In this case, I'm glad I noticed the incorrect rating and was able to fix it.

It's important to be accurate and honest in our ratings, as they can influence other people's decisions to read a particular book. I will be more careful in the future when rating books on Goodreads to ensure that my ratings are a true reflection of my thoughts and opinions. CB

Dark Academia and Gossip Girl: A Fascinating Blend

Dark Academia has emerged as a captivating aesthetic, with its focus on intellectual pursuits, old-world charm, and a touch of mystery. It combines elements of literature, art, and history to create an atmosphere that is both alluring and thought-provoking. On the other hand, Gossip Girl is a beloved and iconic TV series that follows the glamorous and drama-filled lives of the wealthy elite in New York City. The show is known for its stylish fashion, scandalous storylines, and witty dialogue. When we merge these two concepts, we get a unique and exciting combination. Imagine the characters from Gossip Girl engaging in intellectual discussions and exploring the world of Dark Academia. They could be attending exclusive literary events, visiting art galleries, or studying ancient history. The fashion would be a mix of classic and modern, with a hint of darkness and sophistication. This blend of Dark Academia and Gossip Girl would create a new and exciting narrative that would appeal to fans of both. It would offer a fresh perspective on the glamorous world of the rich and famous, while also delving into the depths of intellectual and cultural pursuits.

This novel feels way meaner than any of Murdoch's other novels I've read so far.

I am still REELING!!!!!! The story is filled with complex characters and unexpected twists that keep you on the edge of your seat.

But as always, I loved it. Thank you, Iris.

The author's writing style is engaging and immersive, making it easy to get lost in the story.

Despite the meanness, there are also moments of beauty and tenderness that make the novel truly unforgettable.

I can't wait to read more of Iris Murdoch's work.

Relationships: It's Complicated!

Tallis loves Morgan, but Morgan loves Julius. Julius woos Simon, yet Simon loves Axel. Hilda loves Rupert, while Rupert covets Morgan. Julius wants Hilda, but Hilda loves Peter. Peter loves Morgan, and Morgan loves Rupert. Leonard loves nobody as he's an old grinch, the exception to the rule of musical chairs in Murdoch's study of love, morality, and fidelity. If the tune sounds familiar, it's because I spent half an hour on Google trying to identify a song from the 80's. Turns out it's by a band named Chilly:

Joey wants Penny but Penny loves Bo
Bo isn't ready 'cos he's havin' fun -
Playin' with many is better than none.
Johnny loves Jenny but Jenny loves Joe

I used to love Iris Murdoch. But after the rather ponderous and depressing Dream of Bruno, I took a break that lasted two decades. Now I'm back, and I'm glad to report that her books can be not only deep, philosophical, and provocative but also a lot of fun. Rambunctious accurately describes the madcap permutations in the affections of the close-knit group of friends and relatives at the center of this story. To borrow a title from my next review, the book could aptly be named: The Disorderly Lovers, a comedy of manners set in England, where appearances, stiff-upper-lips, and repressed sexuality trump sincerity and trust:

You are preserving your dignity by refusing to show your feelings. But there are moments when love ought to be undignified, extravagant, even violent. Rupert says this to Tallis about the latter's failure to convince runaway wife Morgan to come back to him.

I'm getting ahead of the story. I should get back and properly introduce the actors before commenting on their foibles. Briefly, the novel starts with Rupert, a high-ranking government official, and his stay-at-home wife Hilda celebrating their 20th anniversary. It's a hot summer day in London, and the couple gossips about their guests as they sample liberally from the drinks cabinet. We learn that Hilda's sister Morgan is expected to return from the US, where she had an affair with Julius, a former school colleague of Rupert. Their son Peter is living with Morgan's abandoned husband Tallis, while Rupert's brother Simon is expected to join them with his'significant other' Axel, another mate from Rupert and Julius' school days. At this point, I recommend a spreadsheet and some colored markers to keep track of who is involved with whom.

To make it easier, I'd say the novel is a cross between two literary classics: A Midsummer Night Dream by Shakespeare and Les Liaisons Dangereuses by Pierre Choderlos de Laclos. I'm not qualified to comment in detail on the connections, as I'm only familiar with the movie versions. But I see Rupert and Hilda as Oberon and Titania, around whom the others gravitate, Morgan as the Marquise de Merteuil, and Julius as the disruptive, malicious Puck/Vicomte de Valmont.

This artificiality/theatricality is the one major complaint I have about the novel. To touch on as many aspects of the subject as possible, Murdoch uses a sandbox approach, with the characters acting as puppets. All the characters are upper class, highly educated, and introspective, able to analyze and express their emotions. What saves them is the detail of Murdoch's analysis and the real pain they experience. I had some issues with Peter and Simon, who are a bit too stereotypical in their roles.

Peter: - Peter, do drink something not just water. It would do you good.
- What sort of good? You people all drink in order to escape from reality. I happen to like reality. I'm staying with it, not taking off for the land of make-believe.

Peter, again: - I'm afraid nowadays it's you young people who are cynical and we middle-aged ones who are idealistic.
- We aren't cynical. And you aren't idealistic. You're just a lot of self-centred habit-ridden hedonists.

Simon: Simon was greedy for the surface texture of his life whose substance he luxuriously munched second after second as if it were a fruit with a thin soft furry exterior and a firm sweet fleshy inside. [...] Simon loved times of day, eating, drinking, looking, touching. All his experiences were ceremonies. He liked the slow savouring of moments of pleasure and he engineered his life to contain as many of these as possible. It sometimes seemed to him that all his enjoyments were similar in kind though not in degree, whether he was stroking a cat or a Chippendale chair or drinking a dry martini or looking at a picture by Titian or getting into bed with Alex.

Murdoch's most reliable characters for presenting her position on the major themes are Rupert and Julius. Rupert is writing a philosophical book about the power of love and positive thinking. Julius thinks Rupert is conceited and misguided and sets out to prove that his own cynical approach to love is closer to reality.

Rupert: Love is the last and secret name of all the virtues.

Julius: - All human beings fly from consciousness. Drink, Love, Art are methods of flight. Philosophy is another one, perhaps the subtlest of them all. Even subtler than theology.
- One can attempt to be truthful, Julius. The attempt has meaning.
- About these things, no. The Venerable Bede observed that human life was like a sparrow that flies through a lighted hall, in one door and out the other. What can that poor sparrow know? Nothing. These attempted truths are tissues of illusion. Theories.

Julius, again: Human beings are roughly constructed entities full of indeterminacies and vagueness and empty spaces. Driven along by their own private needs they latch blindly onto each other, then pull away, then latch again. Their little sadisms and their little masochisms are surface phenomena. Anyone will do to play their roles. They never really see each other at all. There is no relationship, dear Morgan, which cannot quite easily be broken and there is none the breaking of which is a matter of any genuine seriousness. Human beings are essentially finders of substitutes.

And so, Julius proceeds to put his theories into practice by sabotaging the relationships he sees as conceited and insincere. He uses Simon's insecurity, Axel's reticence, Morgan's self-centeredness, Rupert's idealism, Peter's teenage rebelliousness, Hilda's complacency. The comedy that entertained me at the beginning gains tragic dimensions as the victims seem unable to escape his machinations. Jealousy rears its ugly head, and reason flies out the window.

Julius: Mix up pity and vanity and novelty in an emotional person and you at once produce something very much like being in love.

Murdoch defines the chaos as a'muddle', the opposite of order and clarity, something Englishmen find abhorrent. Life is a mess, and good intentions aren't enough. I've been quoting the characters, and now it's time to shine the spotlight on Axel:

Eating reveals the characteristic grossness of the human race and also the in-built failure of its satisfaction. We arrive eager, we stuff ourselves and we go away depressed and disappointed and probably feeling a bit queasy into the bargain. It's an image of the decu in human existence. A greedy start and a stupefied finish. Waiters, who are constantly observing this cycle, must be the most disillusioned of men.

Pretentious drivel or astute observation? As an overweight person, I can't refute this. There's a lot more to discover in the book than just troubled relationships and self-deceiving individuals. I could talk about age and disillusionment through Leonard's eyes, but I don't want to end on a bleak note. I've seen several interpretations of the 'defeat' in the title. But Murdoch chooses to close the novel with the only couple to emerge stronger and closer from the ordeal:

Of course our love is selfish. Almost all human love is bloody selfish. If one has anything to hang onto at all one clings to it relentlessly. We've tried to face it and to suffer it. To take refuge in love is an instinct and not a disreputable one.

3.5 stars

I'm truly at a loss when it comes to expressing my thoughts about this book.

On one hand, I have this inclination to say that it was interesting. There were certain elements within its pages that managed to capture my attention for a brief moment.

However, on the other hand, I find myself questioning whether I would truly mean it if I were to assert that it was interesting.

The story had its moments, but it also seemed to lack a certain depth or something that would have made it truly engaging from start to finish.

Perhaps it was the pacing or the development of the characters that didn't quite hit the mark for me.

Overall, while I can't say that I disliked the book, I also can't wholeheartedly recommend it as being an outstanding read. It's a bit of a middle-of-the-road experience that leaves me with a somewhat ambiguous feeling.

I guess only time will tell if this book will grow on me or if it will simply fade into the background of my reading memories.

Truly, this is one of her greatest works, full of profound wisdom and a radiant light. In Hampstead, the battle between good and evil unfolds. After all, the bourgeoisie, just like the red-blooded working man or woman, have their own feelings and moral struggles. It is honest and sincere. The background gay romance is melancholy, evoking a sense of sadness that is a little bit heartbreaking. It delves deep into the human psyche, exploring the complex emotions and dilemmas that people face. The story is not only about the external conflicts but also about the internal turmoil within each character. It makes us think about the nature of good and evil, love and loss, and the choices we make in life. Overall, it is a remarkable piece of work that leaves a lasting impression on the reader.

Soapy presents himself in a dignified manner, with a touch of vague philosophy.

Julian is indeed evil, yet for some reason, I don't find myself hating him. My prior discomforts still linger, but I have the sense that this book is perhaps an allegory of various kinds of philosophy rather than necessarily a real story about real people.

It's been a fun read, and I devoured it quickly.

The way the characters are portrayed and the themes that emerge make it an engaging and thought-provoking piece of literature.

Even though it may not be a straightforward account of actual events and individuals, it manages to capture certain aspects of human nature and philosophical ideas in an interesting and unique way.

Overall, I'm enjoying this book and looking forward to seeing where the story takes me next.

I was extremely happy to come across this edition. It has the gayest cover, which is perfect for Murdoch's gayest novel.

This novel is just as magnificent as I had been told. It is truly a remarkable piece of work.

Like all great novels, it offers so much more than one might initially assume. It is richer in its themes, deeper in its characterizations, and different in its overall approach.

As I delved into the story, I was captivated by the vivid descriptions and the complex relationships between the characters.

The author's writing style is engaging and immersive, making it difficult to put the book down.

This edition of the novel is a must-have for any fan of Murdoch's work or for anyone who appreciates a well-written and thought-provoking novel.