Dame Iris Murdoch Biography

original name in full Jean Iris Murdoch , married name Mrs. John O. Bayley (1919 - 1999)
(born July 15, 1919, Dublin, Irelanddied February 8, 1999, Oxford, Oxfordshire, England) British novelist and philosopher noted for her psychological novels that contain philosophical and comic elements. After an early childhood spent in London, Murdoch went to Badminton School, Bristol, and from 1938 to 1942 studied at Somerville College, Oxford. Between 1942 and 1944 she worked in the British Treasury and then for two years as an administrative officer with the United Nations Relief and Rehabilitation Administration. In 1948 she was elected a fellow of St. Anne's College, Oxford. Murdoch's first published work was a critical study, Sartre, Romantic Rationalist (1953). This was followed by two novels, Under the Net (1954) and The Flight from the Enchanter (1956), that were admired for their intelligence, wit, and high seriousness. These qualities, along with a rich comic sense and a gift for analyzing the tensions and complexities in sophisticated sexual relationships, continued to distinguish her work. With what is perhaps her finest book, The Bell (1958), Murdoch began to attain wide recognition as a novelist. She went on to a highly prolific career with such novels as A Severed Head (1961), The Red and the Green (1965), The Nice and the Good (1968), The Black Prince (1973), Henry and Cato (1976), The Sea, the Sea (1978, Booker Prize), The Philosopher's Pupil (1983), The Good Apprentice (1985), The Book and the Brotherhood (1987), The Message to the Planet (1989), and The Green Knight (1993). Murdoch's last novel, Jackson's Dilemma (1995), was not well received; some critics attributed the novel's flaws to the Alzheimer's disease with which she had been diagnosed in 1994. Murdoch's husband, the novelist John Bayley, chronicled her struggle with the disease in his memoir, Elegy for Iris (1999). Murdoch's novels typically have convoluted plots in which innumerable characters representing different philosophical positions undergo kaleidoscopic changes in their relations with each other. Realistic observations of 20th-century life among middle-class professionals are interwoven with extraordinary incidents that partake of the macabre, the grotesque, and the wildly comic. The novels illustrate Murdoch's conviction that although human beings think they are free to exercise rational control over their lives and behaviour, they are actually at the mercy of the unconscious mind, the determining effects of society at large, and other, more inhuman, forces. In addition to producing novels, Murdoch wrote plays, verse, and works of philosophy and literary criticism.

By Bran Nicol | Jan 1, 2008

Iris Jean Murdoch (1919 -- 1999) was one of the most distinctive writers in postWorld War II British fiction. In a career of over four decades, she produced twenty-six novels, five plays, numerous philosophical books and essays, two Platonic dialogues, a book of poems, a libretto, and a short story. She was a self-styled champion of the great nineteenth-century tradition of the realist novel, the loose, baggy monster, as one of her key influences, Henry James, called it, teeming with characters in a complex plot. Yet her own fiction was a fusion of philosophical discourse, melodrama, and gothic fantasyrealist in its concern with character and description but ultimately rather uninterested in dissecting the social reality of the late twentieth century. Murdoch's fiction typically juxtaposes the playful and the serious. Her plots are compulsively readable, full of bizarre twists and coincidences that disrupt the apparent stability of her upper-class cast of characters. These peopleacademics, writers, civil servantsare convincingly portrayed but hardly true to life. The more of Murdoch's fiction one reads, the more one recognizes her gallery of archetypes: the self-obsessed antihero, the charismatic enchanter who rules over others like a puppet master, the neurotic disciple, the man struggling to be ethically authentic, the altruistic housewife. But this mixture enables her to address, with a depth and directness rare in postwar British fiction, weighty philosophical issues, such as the nature of love, goodness, spirituality, power, and death.