Titlebook: Iris Murdoch; The Retrospective Fi Bran J. Nicol Book 2004Latest edition Bran J. Nicol 2004 fiction.novel.realism.British and Irish Literat

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The Ambivalence of Coming Home: , and ,,ilia which is at times more pronounced than that of his predecessors as he tries desperately to make sense of events going on around him and to unravel the ‘terrible mystery’ of why his first love left him. Yet for all their dissimilarity, I think there is something in both novels that is largely ab

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The Insistence of the Past, as a result of the uncertainties brought about by recent history, contemporary fiction was poised somewhere ‘between nostalgia and nightmare’, alternatively or simultaneously imagining a brutal apocalyptic future and ‘a vanished era’, most often that of the ‘Edwardian summer’..

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Narrative as Redemption: ,,r others (even though it trades in familiar scenarios and character-types) its sense of restraint renders it more like a ‘traditional’ version of realism than much of her early work. The novel also shows how naturally a preoccupation with the past functions as the motor in Murdoch’s fiction, driving

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,Author and Hero: Murdoch’s First-Person Retrospective Novels,eir nineteenth-century predecessors:.Murdoch’s insights here are valuable, not least because they offer an interesting counterpoint to some of the theories of classic realism advanced by the likes of MacCabe and Belsey, Barthes, and, especially, Mikhail Bakhtin. What is interesting is that she shoul

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Reading Past Truth: , and ,,wn strategies in her criticism, and among a number of contenders for Bradley’s own greatest fear is the fear of contingency she detects in Sartre. But another is surely identified by Rachel towards the end of . when she tells Bradley that all along he has been ‘somehow in the dark, not understanding

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The Writing Cure: , and ,,up would include works from the earlier part of her career like . and ., where an entire community of characters seems to be living out a collective fantasy, and the solipsism of the cast is paralleled by the melodrama of the plot and the claustrophobia of the setting. The obsessional novels often d

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