Ebook , by Iris Murdoch

Ebook , by Iris Murdoch

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, by Iris Murdoch

, by Iris Murdoch


, by Iris Murdoch


Ebook , by Iris Murdoch

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, by Iris Murdoch

Product details

File Size: 913 KB

Print Length: 322 pages

Publisher: Penguin Classics (December 1, 2001)

Publication Date: December 1, 2001

Language: English

ASIN: B004DI7I32

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Amazon Best Sellers Rank:

#393,583 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

In December 2016, the book discussion group met at The LGBT Center in NYC to discuss this novel by a famous, but now rather ignored, British writer.While one member couldn't finish the novel because of the language and several readers commented on the very thorough descriptions of every vista, bush, and extraneous thought expressed, all of us liked the novel and some of us rather loved it.It's a bit old fashioned (perhaps in the best possible way) and British (originally published and a best seller in 1958). But the psychology and insight into human behavior remains realistic, and the discussion why characters are attracted (and repulsed) to religion and to each other rings true. In many ways the plot seems like an old Agatha Christie mystery with a group of unlikely characters drawn to a country house with a series of extraordinary events unfolding to reveal the characters' motivations. A number of the jokes and wacky characters are still funny and clever.The novel starts a bit slowly, perhaps why a few readers had a problem getting interested in it at the beginning. After I got to Chapter 7, however, which describes Michael's and Nick's school affair that took place many years before the current events of the novel, I was committed to the story, the characters began to be rounded out, and the story takes flight. But I was captivated from the first pages and was WOW-ed by the end of the first chapter when Dora arrives at the train station for Imber Court with a butterfly in her clasped hands.The spiritual setting is not a deterrent. I never felt preached to, even though "The Bell" treats us to two extensive sermons that advance the nature of the characters and resonate with the plot. Murdoch is very even-handed in her treatment of religion and the non-religious, even pointing out the forced silence and presumed loneliness of the cloistered nuns. It's probably good to mention that all the names are very British and meaningful. The officious James Tayper Pace is always referred to with all three names (say it out loud), Nick stands in for the devil "Old Nick," and most of the religious community has appropriate New Testament names, which serves to make Toby stand out as a real outsider.The novel itself is full of parallel characters and mirrored events: James Tayper Pace and Michael - each with their very different but paired sermons, the drunk Nick and his idealized identical twin sister Catherine, mismatched couples such as the Greenfields and the Staffords, the two mishandled affairs that Michael has, two suicides, and even the two bells (which are like characters). "The Bell" was written well before Gay Liberation, but Michael's and Nick's homosexuality is very open and non-judgmental. There's little coming-out trauma or questioning of the characters' gayness although period-appropriate homophobia is realistically presented. (In retrospect, James Tayper Pace is probably also gay but celibate, and Toby will turn out to be bisexual.)The ending is a bit of farce: lots of running around, unexpected appearances of characters, costumed towns people, missed connections, and lifesaving nuns. One of the saddest moments in the novel, however, is the howling of Murphy the dog before the long denouement.It's worth thinking about what the physical bells represent (something that wakes you up, the truth mired in muck?), as well as Nick's final "sermon" and act of destruction.I had a hard time imagining the physical layout of the Imber buildings around the lake, so I've created a map and attached it. If anybody has corrections or another proposal, send them and I'll update my map.

This is a book about religion and sex. The holy and the secular. Love and discord. Community and solitude. Hope and despair. This classic work by British novelist Iris Murdoch (1919-1999) is rightly considered one of the greatest English novels."The Bell" is the story of a lay community and their guests who live at Imber Abbey, all of who are well-meaning men and women, but each of whom is beset with personal problems. Attached to--but separated from--the lay community is an Anglican Benedictine convent, whose members vow to never leave the grounds. Enter the bell. The convent's tower once had a bell, and the legend of its disappearance is a central thematic part of the novel. The community has commissioned a new bell, which arrives and is "baptized." I shall reveal no more!"The Bell" has everything you want in a novel: an entertaining plot, wholly-developed characters that seem to pop off the page, poetic language (every word is important), and for the English majors in the crowd lots of imagery and symbolism to be analyzed and enjoyed.

Murdoch indulges her obsessional musings (not worthy of elevation to the appellation of "philosophy") about love and God with tiresomely repetitive observations about innocence, purity, idealism, and reality. The omniscient narrator jerks us around until, by the climax of the book, I simply didn't care at all and couldn't wait for the book to end. "The Bell" was published in 1958, and for its day was both painfully contemporary ("he worked like a black") and ahead of its time (in suggesting an extreme ideal of universal bisexuality). Murdoch conceivably considered herself in the living of her own life to be "advanced" in this regard. One very odd detail is Murdoch's use of the word "rebarbative". Did she have an editor? Can anyone read this book and not wonder at her using this distinctive and rather odd and precious word many, many times. Early in the book the narrator offers the observation that one of the characters learned this word at school and adopted it with particular fondness. Is her choice to have the omniscient narrator repeatedly use this word meant to indicate an identification with that particular character? Who knows? And who cares?

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