Of the three Iris Murdoch novels I've read, The Unicorn stands out for its fast-paced nature.

Right from the start, as the heroine arrives on a train, the reader is immediately drawn in, feeling as if they too are on that train, hurtling towards an unknown but inevitable end.

In this novel, Murdoch takes the tropes of the Gothic novel and turns them on their head in a deliciously subversive way.

It's not a simple story; rather, it has multiple layers. Elements of fairy tales, legends, tragedy, and comedy blend together to create a strange and wonderful concoction.

Marian Taylor answers an advertisement to be a governess at Gaze Castle, a manor house by the remote seaside. However, upon arrival, she discovers that there are no children to teach. Instead, she is to be a companion to the lady of the house, Hannah Crean-Smith.

Soon, Marian realizes that Hannah is a prisoner at Gaze Castle and becomes determined to do something about it.

She feels a strong desire to set Hannah free, to break down the eerie magical surroundings and let in the fresh air, even if it means facing dreadful consequences.

But the strange cast of characters in this desolate landscape makes Marian's mission anything but easy. She discovers that everyone there seems to have a weird secret.

The plot of The Unicorn is full of surprises, with unexpected twists and turns, false starts, and false endings.

And yet, by the end, all the events seem fated, as if they were always meant to unfold in that particular way.

This makes the story both intriguing and compelling. The characters are like figures in a tapestry, bound to play out their assigned roles.

But the novel also poses the question of whether they are truly bound by a predestined outcome or if they have the free will to determine their own destinies.

A central theme of the work is the idea of being trapped by suffering, both one's own and that of others, and being unable or unwilling to escape.

I think the use of the third-person point of view to follow the two characters who are outsiders in this enchanted scene is extremely effective.

The setting of the novel has its own set of rules, and Murdoch's novels often take place in a kind of bubble, in specific locations with unique characters.

The stories feel self-contained and cut off from the outside world, existing in their own strange realm.

The characters seem to be in a dream, trapped by an enchantment or spell. There are also unifying themes and elements across her work.

Iris Murdoch is a master of description, and in The Unicorn, she beautifully evokes the seaside and the landscape.

The atmosphere is palpable, and Gaze Castle feels like a living, breathing character.

It's as if all the energies and emotions of the characters in this drama have come to life.

There are power struggles, hierarchies, and feudal throwbacks among the characters, who are often in thrall to each other.

The story is full of characters vying for control or being controlled by others.

In keeping with the title, a sense of the medieval permeates the entire novel.

Despite being published in 1963, it has an old-fashioned and timeless feel.

Amidst all the dark and mysterious goings-on, there is also wittiness and humor, especially in the letters that the outsiders send to the outside world.

In a meta move, the characters are aware that they are part of an unfolding story.

Like all of Murdoch's novels, The Unicorn is rich with allusion, philosophy, questions of faith and existence, and religious symbolism.

It is overflowing with stimulating ideas, and all the events seem to glow with a mythic light.

This psychosexual tale is both sexy and scary, often at the same time, making it a literary treat.

What a truly peculiar book this is!

Every single time I found myself thinking that it was on the verge of becoming dull and that I had already guessed what was about to unfold, Iris Murdoch would suddenly slam me with something strange and completely unexpected.

If you have ever had the experience of reading a Gothic novel that was set in the British countryside and wished that there was more going on at the surface level, rather than just in the depths of everyone's psyches, then this book is most definitely for you.

It offers a unique blend of mystery and intrigue that keeps you on the edge of your seat, constantly surprised by the twists and turns that Murdoch throws your way.

You'll find yourself completely immersed in the story, unable to put the book down until you've reached the very end.

Melodrama of Gothic Proportions

With each and every word, sentence, and paragraph, you are irresistibly enticed into a truly profound, dark, and Gothic tragedy. The companion, Marion, steps into an eerie house with the intention of teaching French to its mistress. However, what she discovers is an ancient household that seems to be trapped and imprisoned by an indiscretion committed by its mistress with the boy next door. This is an age-old tale, filled with characters that are drawn with a sense of charcoal-like darkness. It is a story that has the power to grip you and keep you engaged from start to finish. It is truly a great read, one that you will not want to miss. So, sit back, relax, and allow yourself to be drawn into this captivating and mysterious world of Gothic proportions. Enjoy!

The atmosphere was both atmospheric and eerie, creating an environment that left me feeling deeply disoriented.

Perhaps this was the intended point, to evoke such a sense of unease and confusion. However, it was definitely not my cup of tea.

I found myself struggling to connect with the experience, unable to fully embrace the strange and otherworldly qualities that seemed to pervade every aspect of it.

While I can appreciate the artistry and creativity that went into creating this particular atmosphere, it simply didn't resonate with me on a personal level.

Maybe for others, this kind of disorientation and eeriness is exactly what they seek, but for me, it was a bit too much to handle.

I prefer more straightforward and familiar experiences that don't leave me feeling so lost and adrift.

Nonetheless, I can still respect the effort and vision that went into creating this atmospheric and eerie setting, even if it wasn't to my taste.

If claustrophobic Gothic lit is your cup of tea, then rush to the nearest book dealer without delay!

If not, you might still be drawn in by the lush details for which Murdoch is renowned.

I must still rate The Sea, The Sea more highly based on my perception that it was more skillfully written. The initial two parts were spine-tinglingly suspenseful, a real page-turner that kept me on the edge of my seat.

Regrettably, the final part felt extremely rushed and contrived, as if Murdoch simply wanted to bring the story to a close or was preoccupied by something else.

This may not be the first Murdoch novel I would recommend to those new to her work, but it is most definitely worth reading if you are already a fan.

Her unique style and ability to create vivid atmospheres are on display throughout, despite the slight let-down in the conclusion.

Overall, it is a captivating read that will leave you with much to think about and discuss.

Based on the books I've read so far and from the things I know about Iris, I'd say this is a semi-Murdochian novel in the classical way of interpretation.

We have the vast net of characters and emotions. There are complex relationships and a wide range of feelings that the characters experience. We also have the brutal psychological force, which brings the events forwards. This force drives the story and makes things happen. But here the subtle is less, and the ostensive is more. What I mean is that the dark forces are not so entangled and buried within the heads of the protagonists. Instead, there is a certain quite obvious Christian 'fairy-tailness'. If I may say so (you won't understand this unless you've read the novel).

The latter is extremely interesting, because as usual, Iris combines the physical and metaphysical brilliantly. She seamlessly weaves together the real and the spiritual. Moreover, there is an extremely successful convergence between fairy-tale and myth and reality. Only Iris can achieve such a splendid synthesis of these two antithetical spheres of the human universe. However, there is not so much scandal in terms of morality and values, which is typical for Iris and which I so strongly love. And some of the main characters are not so determined, but are quite lost and uncertain.

At this point (I finished the book yesterday), it is difficult for me to understand the exact logic behind the relations of some of the characters, which left me a little bit confused. The omnipotence and multifacetedness of women and men is present. But usually with Iris, I can tell and know exactly how things are right away in the process of reading. In 'The Unicorn', there is a fierce exchange of falling in and out of love, which is difficult to be assimilated only intuitively.

Also, there is much action, especially in the last one-third of the novel. Usually, Iris' drama is not so intense (meaning there are not many deaths of the flesh, at least in the books I know). However, I liked it. It has its logic and it was also quite saddening and actually really impressive, having in mind the context of the main philosophical idea.

Yet subtlety there is, and it is in the landscape and its overwhelming catastrophic magnificence. I dare say this is one of the best synergies between the overall teleology of the novel and the topography of happening.

In general, I liked the novel very much, but not as much as "The philosophers pupil" or "A Fairly Honourable Defeat".

A deeper and very accurate analysis of the novel: https://www.thefreelibrary.com/The+Cr...

The only reason why I don't give it 5 stars is because Effingham Cooper annoyed the hell out of me.

He was constantly getting in the way and causing unnecessary trouble. His actions were so irritating that they really detracted from the overall experience.

I found myself constantly having to deal with his antics and it became quite a chore.

Despite the fact that there were other aspects of the thing that I liked, Effingham Cooper's behavior was just too much to overlook.

If it weren't for him, I would have had no hesitation in giving it a full 5 stars. But as it stands, his presence really soured my opinion.

I hope that in the future, he will learn to behave more appropriately and not cause so much annoyance to others.

At times, it was truly genius. The story had elements that were captivating and original, making you sit on the edge of your seat.

However, at other times, it became rather boring. The pacing dragged, and you found yourself losing interest.

Despite its flaws, I would still love to see it as a good film adaptation. With the right director and a talented cast, it has the potential to be a great movie.

The unique plot and interesting characters could be brought to life in a whole new way on the big screen.

I can envision the beautiful cinematography and the powerful performances that could make this film a memorable one.

Hopefully, someone will recognize its potential and turn it into a film that does justice to the original story.

“The Unicorn” is the original title of “L’UNICORNO”. The novel was published in 1963 and is set in the same period. The plot is rather complex, not difficult to follow but rich and ramified, making readers eager to know what happens next and how it ends. The three main characters are two women, one younger than the other, and a man in his forties. Around them are several other characters who are by no means secondary.

The younger woman is Marian, in her thirties and fresh from a romantic disappointment. She accepts a job as a governess that takes her to a desolate moor in the north of England (presumably the west coast of Scotland, but some claim it is the even wilder northwest of Ireland). This part of the planet is not only desolate but also marshy.

When Marian arrives, she discovers that she will not be taking care of children but of an adult woman, Hannah, the mistress of the house, who has been secluded in the castle for seven years by her husband as punishment for her infidelity. It turns out that the husband, Peter, has systematically and repeatedly cheated on her in turn, even with a man, Gerald, the castle keeper and effectively Hannah’s jailer.

In the second part of the novel, the male protagonist, Effingham, arrives to visit an old teacher who happens to be the father of Pip, Hannah’s former lover. It doesn’t take long for Effingham to fall in love with Hannah and decide to free her, teaming up with Marian who also intends to give freedom to the recluse. However, the unexpected happens as Hannah has no intention of escaping or being liberated.

The plot becomes more complex with other characters emerging, but there is no need to tell more. What holds Hannah back? Is it resignation, a sense of guilt, or has she been contaminated by her husband’s abuse? And who is truly acting disinterestedly in trying to liberate her? Where does good reside in this situation?

There are incidents here and there, deaths and injuries, cars going off the road, people falling into ravines, getting lost in the marsh (which also has carnivorous plants), gunshots… The geography and setting (the castle, Violet, the imprisoned…) recall gothic literature. But I also sense an echo of Du Maurier and think that Hitchcock could have made a film out of it. The husband Peter somehow evokes Bluebeard. The romantic lingers. But the whole thing could also be a midsummer night’s dream shaken up in a pop-rock key.

Summer is drawing to a close, and I believed it was an ideal moment for delving into a gothic tale satire set within the eerie landscape of Ireland, with its ancient cliffs, the vast sea, the mysterious bog, the vibrant fuchsias, and the rather peculiar carnivorous plants.

This novel, as it turns out, is a psychological drama that confronts us with profound themes such as the nature of love and goodness, the concepts of beauty, guilt, and morals. There are numerous mythological and literary conventions at play: a unicorn, a captive princess, a tormentor, a madwoman in the attic, Maid Marian, and perhaps others that I might have overlooked. They are indeed abundant, to the extent that there is a risk of them becoming slightly superficial. However, I find it truly appealing that Iris Murdoch does not wish to simply duplicate these conventions. Instead, the author toys with them and attempts to subvert romance tropes and other literary formulas.

While I appreciate the complex relationships among the characters, some of their portrayals were rather eccentric and almost bordered on being cartoonish. At times, it was challenging to understand their actions and motives. The characters seem to spend their time declaring love for one another, sobbing, and indulging in whisky. Yes, there is a touch of unbearable melodrama, but fortunately, there were also some comic scenes that salvaged this novel. In the end, it is difficult to determine where one's loyalties lie, as it seems that everyone is imprisoned within a fantasy of love.

Ordinarily, I have an aversion to lengthy descriptions of the landscape. However, in this case, the amount feels just right, and they are masterfully interwoven with the psychological landscape itself. There is a continuous eerie feeling that pervades throughout the novel, along with an absorbing quality that I truly relished.

It is arduous to rate this book. I wish we had a different rating system here. Despite some mixed emotions, I find the author's voice quite captivating and will undoubtedly explore her other novels.

3.5/5

Mira, que m’agrada molt el que fa Iris Murdoch. Ella és una escritora molt talentosa i la seva història és interessant. Però, la novel·la se m’ha fet llarga.

Hi ha alguna cosa en els personatges i en la trama, que no m’ha acabat de funcionar. És difícil de descriure, però és com si faltés alguna cosa perquè la història fos perfecta.

Malgrat que l’ambientació i l’atmosfera que crea són potents, me n’he anar despenjant a mesura que avançava. També he trobat que hi ha hagut algun punt en què la història s’ha aturat i no s’ha pogut seguir amb tanta facilitat.

Però, tot i això, encara que no hagi estat la novel·la més perfecta que he llegit, encara m’ha agradat perquè és una història que fa pensar i que té una mica de tot.

In a gloomy and decadent mansion on the edge of the cliffs, buffeted by the winds, a group of eccentric characters safeguard a beautiful and mysterious lady, mysteriously secluded. Everything is imbued with symbolism and rather recherche philosophical reflections. However, the vividness of the author's style seizes you and enwraps you until the end. It is recommended for lovers of British novels set in mansions and of philosophical considerations.

The mansion stands as a silent witness to the strange happenings within its walls. The characters, each with their own quirks and secrets, add to the air of mystery. The beautiful lady, hidden away, becomes the focal point of curiosity and speculation. The symbolism scattered throughout the story invites the reader to delve deeper into the author's mind and uncover the hidden meanings.

The philosophical reflections, though perhaps a bit recherche, offer food for thought and add an extra layer of depth to the narrative. The author's style, with its vivid descriptions and engaging prose, keeps the reader hooked from beginning to end. Whether you are a fan of British mansion novels or simply enjoy a good philosophical exploration, this book is sure to satisfy.