Well, it’s the end of the first month and I feel like we’ve had a good discussion on “Under the Net”. How did you get on? If you’ve blogged about it, please pop a link in the comments here, and you might want to contribute to the discussion under my review, or post thoughts here, it’s up to you. I will add any links to blog posts here as they still come in.
Bookish Beck has reviewed the book on her blog. She’s read four other Murdochs and placed it squarely in the middle in terms of favourites, which is fair enough! She also shared her sadly rebound library copy – but although I have four copies of my own of this one, I love seeing all the different ones you all have, so keep sending me images (you can do that via Twitter or email, see my contact form for the email address). Jo also added a great review on Goodreads and Brona over in Australia reviewed it on her blog, too! Buried in Print has done a joint review of this and “The Sandcastle” with great book cover images – read it here. Jacquiwine read it in November 2019 in the new cover and her review is here.
I had a couple of submissions of other copies people have – thank you! Thomas from Hogglestock sent me the photo of the lovely American first edition (what a glorious cover!) above, and Maria Peacock sent me a picture of her fabulous paperback – I love this! Does the picture really make a comedy man with a hat as well as the image of Jake and the stuff from the theatre, or have I made that up? I have a couple of paperbacks of early books to share later on in the series, but this is a cracker.
So, if you’ve read “Under the Net” and have yet to join in the discussion, please comment here or on my review and share your URL if you’ve reviewed it on your blog.
The Flight from the Enchanter
Moving on to December’s read, it’s time for “The Flight from the Enchanter”. This was another early one I read, and I’ve loved it ever since. Slightly shockingly, I only have ONE copy of this one. I have no idea where my original (to me) paperback has got to – I know I had it last time I read it in 2008, but where it’s gone is a mystery. I can’t afford any of the first editions on the market at the moment – this had a small print run and is I think the rarest one. But never mind, I treated myself to the Vintage reprint and what a lovely cover this is!
Here’s the blurb from the back – hope you can all read it …
… and here’s my terribly illuminating review from the last time I re-read it, in February 2008:
Second novel by IM and second in our Iris Murdoch a Month project! I enjoyed doing a closer re-reading of this intriguing novel. IM novels are not like anyone else’s – this is not a love story, not a satire, who knows what it really is, or the nature of the enchanter.
I’d forgotten one whole, very pivotal scene in the book – another reason these are all due for a re-read!
I wonder what that scene is …
So, are you joining me for this one? Have you read it before or is this your first time? I’m looking forward to hearing what everyone thinks of it!
Adventures in reading, running and working from home 
Nov 30, 2017 @ 22:06:06
My library copy is on my nightstand ready and waiting – looking forward to it! 🙂
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Dec 01, 2017 @ 09:41:52
Great news! I hope you enjoy it! Mine’s out from being photographed and ready to go, although in reality I ought to finish one of the two other (shock!) books I’m reading first …
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Dec 01, 2017 @ 10:05:07
surely not….!
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Dec 01, 2017 @ 00:15:24
I had finished Under the Net weeks ago and wrote about, but life got in my way and I didn’t learn anything about blogging. Nor does it look as if I will. I put my “review” (I prefer to call it a “book report”) on a Facebook Note but I don’t know if there’s a way to link that here. And, I have already finished The Flight from the Enchanter! I am excited to be reading all these novels at last. If I get time, I will try to condense my long Note down enough to post some of it on a comment here.
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Dec 01, 2017 @ 05:57:57
Oh, great, you can just paste it into a comment, I don’t mind if it’s a long one! And you’re all ahead now, you’ll be glad of that when we get to the great big ones!
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Dec 01, 2017 @ 10:49:31
Enchanter sounds intriguing and somehow not how I imagine Murdoch – will be interested to see what people make of it! 🙂
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Dec 01, 2017 @ 12:05:20
Well it introduces her first proper enchanter figure, and it’s where she really gets going in herself, I think.
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Dec 01, 2017 @ 11:32:07
I just have to finish the 2 books I’m halfway through, then I plan to get to these 2. I hope to have caught up by NY!
All my editions are the Vintage Classics – I see you collect IM editions like I collect Jane Austen 😊
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Dec 01, 2017 @ 12:00:12
I’m pretty good with everyone else except for IM – I bought these Vintage ones for the new introductions, as my original paperbacks bought 1986 onwards don’t have any. Look forward to you posting – just pop a link to the review whenever you post it and I’ll add it to the round-up posts!
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Dec 01, 2017 @ 12:35:44
Very kind of you to feature my blog review. I like that theatre masks cover — it seems particularly appropriate.
I’m going to take a little break and return with A Severed Head in March. I’ll look forward to hearing everyone’s thoughts on the intervening books!
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Dec 04, 2017 @ 08:18:17
We’ll see you for A Severed Head, which is a great one. Thank you for taking part when you can!
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State of the TBR – December 2017 #amreading #books | Adventures in reading, writing and working from home
Dec 01, 2017 @ 20:56:36
Dec 03, 2017 @ 19:44:29
I don’t have a blog, so at Liz’s suggestion I am posting my rumination (hesitate to say “review”) about Under the Net as a comment here. I loved this novel both times I read it, but more the 2nd time.
Jake’s Odyssey
It’s the second time I’ve read this novel, but I didn’t remember how funny it is. There are scenes of near slapstick hilarity, giving an impression of the escapades of a more intellectual Laurel and Hardy. The fire escape scene, the theft of Mars, the “collapse of Rome,” and the escape from the hospital all left me in stitches. There were many briefer passages that drew out-loud laughter as well.
Another thing I like is the use of mythological allusion, whether direct or in some cases vague and filmy. This mythic element is an aspect of Murdoch’s writing that is especially attractive for me. Sometimes it breaks through as magic realism, which might be a semi-hallucinatory experience of a character, his or her dream-like romanticization of events, or the suggested comparison to some classical figure. In Under the Net, Jake’s nighttime pursuit of Anna under the trees at the Tuileries in Paris was one such scene. The figure of Anna gliding barefoot in the sacred grove, made visible in the darkness by her golden head and her white blouse, the setting framed by “Greek” statues, the soft romantic tension building to a crucial moment when her secret pursuing lover should reveal himself suddenly. But Murdoch almost always slams these scenes back down to the mundane pavement, as she does here, when the woman turns and is not Anna after all, and Jake can do nothing but flee. Or she leaves Jake’s small but beautiful mythic gestures unresolved and dangling, like the heroic leap from the back of the lorry, brandishing a crown and sounding thunder. Nothing seems to come of this.
In the beginning of the novel, Jake describes himself as having “shattered nerves” but will not say why. I never stopped wondering the reason for his shattered nerves and thought it possible he had been to war. The scene when Jake and Finn and Lefty Todd go swimming in the Thames in the middle of the night intrigued me, partly because Jake is the strongest swimmer and doesn’t fear the river, partly because they end up in one of the bombed-out areas of London that Jake has previously, and somewhat casually, described as he makes his way about the city. Jake’s hesitancy in other matters (love and work) and his dependence on others contrast with his athleticism, and a certain reckless physical courage. How did he become a judo expert? How is he such an excellent swimmer? At the movie studio, when the fracas breaks out at the union meeting in “Rome,” we learn that Jake is quite ready to jump into the thick of a fight. But, while I gave passing thought to whether Jake had a wartime background, it occurred to me that these things were as easily accounted for by his having been to university.
At any rate, if his willingness to fight seemed a bit surprising about a young man with “shattered nerves,” it was consistent with other scenes of action. Though intellectually and romantically indecisive, Jake doesn’t hesitate to plunge once he makes up his mind, and can be rather daring when caught up in the moment. His doubts about himself seem to be about those things that will leave more lasting marks or require more commitment. Has he got any real ability to create something that’s any good? Being afraid to fail at this, he’s afraid to find out, and he cannot settle into any orderly type of work on his own. He’s a persistent underachiever. It’s perhaps significant then that the turning point in his general lifestyle is in fact taking a job as an orderly. In this job, the simple but definite routine in which his work has a clear function and useful result, both calms him (one might say anesthetizes) and illuminates a new path for what his life could be like—not that he need suppress the often chaotic bouncing pursuits of creative, but shape and tend them so they could take root and flourish.
I called this “Jake’s Odyssey” because I think this novel follows that Homeric model. (I’m not a classics scholar, or indeed any kind of literary scholar, so I write these things with humility and temerity. But it does seem to me that Murdoch draws often from the Three Matters, which are the wellspring of much storytelling. And I hasten to add that I don’t mean to say she is reproducing any particular ancient myth or tale, only dipping into them.) Jake is on a journey to get home. To get his own home, to stop floating from one temporary stopping point to another. Of course, this “home” he seeks is more than a rented room of his own—though this is the actual and symbolic attainment in the end—it’s also a home within himself, in his own skin. He needs to discover knowledge of himself, of what he believes, of what he can do, and should do, and will do. All the other people in the novel, Jake’s friends, his various lovers, and his antagonists, convey vaguely familiar mythic images as he pursues his haphazard journey. A few examples. Mrs. Tinckham presides as a Wise Woman—and is described as being turned into “an aged Circe” when Anna’s voice is heard singing over the radio, transforming everything into more majestic versions of themselves, but did we need the name to know her? Anna herself is a sort of inverted Penelope. Jake returns to her at the beginning of the story not at the end, but then she disappears. He spends the rest of the book thinking how to find her again, but it turns out she is “faithless,” and not for him. Mars immediately becomes Jake’s friend, which reminded me how Odysseus’s dog Argos recognizes him after his long absence.
As Jake’s odyssey proceeds, he encounters one after another alarming or imposing figure in episodic sequence who teach or reveal something to him. Often he enters the relationship reluctantly but once committed he grits his teeth and plunges. Sacred Sammy engages him in a game of chance, which is a sort of duel with Fortune or Fate. There are few things more mythic than tempting Fortune. Do not all epic heroes challenge and defy the gods? Jake wins, then loses his winnings, but ultimately “wins” again when he finds money in Hugo’s abandoned safe, then spends it all to keep Mars. In terms of “fortune” Jake ends quite where he started, yet perhaps with a clearer “fate.” Lefty Todd draws out his political ideas. Jake tries to avoid this topic but finds he cannot. He isn’t sure about political action but we discover he’ll fight because one idea at least is better than another. Even so, the scenes of “socialist possibility” are presented as farcical with the banner heaving up and then down, first on one side, then on the other. And Lefty, not Hugo the wealthy fireworks magnate and film producer, turns out to be the owner of the expensive black automobile. Fireworks should be mentioned. Rocket displays feature twice in the novel, near the beginning, when Hugo’s skills are described, and near the end when Jake is in Paris, and finds Anna, on Bastille Day. These explosions signify the two momentous characters in Jake’s life who prove to be other than what he believed.
But this brings me to Hugo. Hugo the Bear is as central to Jake’s odyssey as Anna, the elusive (and false) Penelope. Hugo looms large in Jake’s myth. Hugo seems in some ways to be something more primitive, like a totem. Yet, Jake’s entire relationship with Hugo has been built on a model of classical tutelage. Their mysteriously profound friendship is created out of their Socratic method of conversation—continually replying to one another’s questions with the next question. Jake’s novel The Silencer, based on this friendship of ideas and causing him so much anxiety and misapprehension, is written as a kind of Platonic dialog. But for all this highbrow philosophical element, Hugo is presented physically in the book almost like an animal companion. He is large and bulky and shambling and bear-like. He cannot move quietly. He is a hulk. Jake’s ready companionship and unquestioning loyalty to Mars, the real animal friend, presents a curious contrast to the fraught friendship with Hugo.
Perhaps Hugo’s largeness reflects all that Jake has invested in or projected onto him, which in the end diminishes so abruptly. Hugo shrinks, if not physically then symbolically, from a god-like mentor, a spirit guide, to an ordinary man. One who, like Jake, is revealed to have been wandering—searching for his own right path and proper home. (Here again, isn’t it curious how Mars has found his home with Jake, a home that he didn’t even know he needed.) Jake has magnified Hugo, but Hugo all along has been guided by Jake. This paradox is resolved when they journey together through the underworld, and Jake is the guide.
The Hospital as Underworld was already suggested in having identified this interlude as a turning point, a break in Jake’s hectic and disorganized pattern of living that suggests to him the possibility of a new pattern—one offering the stability and self-sufficiency of a job, the calming effect of useful manual work, yet leaving enough freedom and time to write. (Murdoch even uses the term once, but I could not re-locate the passage to quote it.) No one slays his dragon or recovers his gold without making his way through an Underworld. The hospital, with its labyrinth of corridors, forbidden rooms, silences, the required penance of repetitive tasks, hovering inquisitors who threaten punishments, and sad suffering denizens oozing through their bandages, describes a kind of fairy-tale hell that Jake finds oddly welcoming. He adapts easily to its fascinations. But then, he doesn’t stay there very long. After the usual hectic Jake-ish scheming, this Underworld interlude reaches its climax in the nighttime raid to visit Hugo—which culminates in their mutually revelatory final dialog and then the escape and Hugo’s diminution. Jake’s reemergence from the unlatched window and flight across the lawn is a rebirth. He follows Hugo slowly, allowing himself to be eluded. Hugo “shrinks” visually as Jake follows him at a distance. Their last words to each other are lame.
It’s as if Jake had poured all the power of his own creativity into his magnified image of Hugo where it resided dormant for the years of separation. With that image deflated, Jake allows himself to cohere and to become potent again (or for the first time, we cannot know). The manuscripts Jake has lugged around as a burdensome monument to his own fears—manifested as laziness—become instead a trove of potentialities. He had his treasure all along. His odyssey hasn’t ended, but perhaps now instead of being tossed about by waves, he will chart a course.
There are so many things in Under the Net I didn’t even try to deal with here. Finn is one. The title is another. The birds in the empty flat.
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Dec 04, 2017 @ 08:17:52
Thank you so much for your long and perceptive response to the book, and for taking the time to put it all down here. What a lovely resource this will all be for future readers, too! I really like your application of the lens of myth to the book and think that works really well – lots to think about here!
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Dec 04, 2017 @ 06:28:33
I do marvel at how Iris was quite ahead of her time.She mentions the universe and being in touch with the divine.I particularly loved this line early on in the book.”…I needed the soothing peace of Mrs Tinckham’s shop,with the purring cat and the whispering wireless and Mrs Tinckham like an earth goddess surrounded by incense”.iris was in her mid 30’s and this was written in 1954.
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Dec 04, 2017 @ 08:18:51
I love that quote, too.
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Dec 15, 2017 @ 17:05:04
Hi Liz, I heard about your Readalong via Bookish Beck and Goodreads and thought it a perfect opportunity to finally read Murdoch. I’m late to the party and a slow reader but I finished Under The Net last week and liked it so much I am currently reading Enchanter. I can’t say I’ll keep up with the pace but hope to dip in throughout next year. Thanks for giving me the impetus to read this iconic author.
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Dec 15, 2017 @ 17:09:32
Hello Joan, lovely to have you along and hope you enjoy it. No pressure – it’s just a fun readalong and I won’t be penalising anyone for not reading particular ones!! So glad you enjoyed Under the Net. Was it as you expected?
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Dec 15, 2017 @ 17:21:38
Much easier to read than I expected as well as funnier and I was surprised how much I ended up liking Jake who, on first meeting, I thought might be a self-absorbed cad! I also loved reading about 1950’s London and Paris which she describes so wonderfully.
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Dec 15, 2017 @ 18:00:18
Lovely! People often say that she’s easier than expected. The locations are great, aren’t they – and most of her books are soaked in London.
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Dec 20, 2017 @ 00:25:24
Here’s my thoughts about The Flight from the Enchanter. (I hope this isn’t trying to post twice, I’m still not used to making comments on blogs.)
This is Murdoch’s second novel, and thus the second installment of the read-along project to complete all 26 of her novels (one per month) that I am participating in. I had not read this book before. I found it a little bit challenging at first, not difficult to like, but there are a lot of characters, Murdoch introduces them all quite quickly, and I had a hard time getting them straight. (In fact, by the end of the novel I was still a little confused about exactly who a couple of these people are.) Here are some scattered thoughts about The Flight from the Enchanter.
The central thing with this novel is that everybody is fascinated with Mischa Fox. Mischa Fox, the Enchanter, remains mysterious. That is, you don’t get to know a lot about him or why he has this effect on so many people. Some of the characters, like Nina, an immigrant dressmaker, seem terrorized by him; others, like his male friends, a combination of adoring and resentful. The two main women, Rosa and Annette, find him compelling and are drawn to him. Annette, the ingenue, wants to be consumed by him, but Rosa, who has been in love with him, yet separated from him, for years, is exactly afraid of this.
Yet there are other enchanters in the novel. The Polish brothers Jan and Stefan have also enchanted Rosa. This family of refugees has already flown from war and danger but the two sons could not escape their ominous Baba Yaga of a mother, who is like a fairytale witch lurking just around the corner. When the electric fixture in her alcove shorts with a blue flash and a crackling pop, it is as if magic has been worked out of sight. The brothers’ ambivalent treatment of their mother shows how they await their own moment of flight and escape, which eventually comes and the brothers disappear from the story.
In fact, everyone in the book is escaping in some way or another. Within the first pages it can hardly be ignored that Annette and Rosa were running everywhere, literally in flight. Poor Nina escapes in the most tragic of ways. Rainborough escapes twice in a woman’s automobile.
In the beginning of the novel I noticed some small (and delightful) allusions to Under the Net and at least one to a novel yet to come. I wondered how much more of this kind of thing Murdoch does in her writing that I am not yet familiar enough to catch. All of these examples were in chapters 3–5:
• “The space flung itself out like a fisherman’s net and hung poised in an expanse of significant points.” This is the description of Peter Saward’s perception of a room as Rosa walks about in it. I felt it reflected back on the title of Under the Net.
• “Her hair began to come down and she could hear the hairpins one after another pattering onto the pavement behind her.” [I was reminded how in Under the Net Jake sends Finn to walk around looking for a hairpin to get him out of Sadie’s locked apartment because “even in these days one doesn’t have to walk far in the streets of London before coming on a hairpin.”]
• Rosa’s interlude as a factory worker reminded me of Jake’s as a hospital orderly — the description of the repetitive work as hypnotic, soothing, or mind-numbing, depending how you want to look at it. The hospital comes in again as a larger symbol, which I’ll mention later.
• “A cloud of tiredness and depression came down and covered her like a bell.” I thought this was an allusion ahead, to a future novel, The Bell. It seems Murdoch likes to “cover” her characters, trap or envelop them in some way. (But she also likes to set them free.)
“The hospital” from Under the Net, or at least the symbol of it, reappears in this book. It is next to Rainborough’s house, and expansion of a technology wing has claimed his garden wall and part of his garden. The imminent destruction of this wall and greenery weighs on Rainborough throughout, and parallels all the oppressive batting about and indecisiveness he endures with women and the idea of marriage. I couldn’t quite be sympathetic to him after his abortive assault on the young Annette (current events being what they are). But he isn’t brutal, he’s just an idiot, an unhappy idiot who has never learned to understand his own feelings, let alone someone else’s. He seems to put himself on course by the end of the book.
Here I’ll mention Annette, who begins the novel in flight from her stuffy school and ends in flight from all the people into whose midst her heedless parents have flung her, and again plucked her away from. Annette is tiresome as only vain young people can be. I wondered sometimes what Annette was supposed to “be” in this novel. There is some amount of doubling in the book, with events (for example, a burnt hand and a burnt forehead; Rainborough escaping twice in women’s cars) and characters (the Polish brothers; their old silent mother and the talkative Mrs Wingfield—both enchantresses of a kind), so Annette could be Rosa’s younger “double.” Like Rosa, she falls for Mischa Fox. Then I noticed that her name is “a net.”
I could be imagining this, but it’s not the only fun with names in the book. The brother and sister Hunter and Rosa Keepe have inherited the feminist periodical called Artemis. Having been charged to keep it, only one of them (Hunter) has really worked at this. He is frustrated and out of money but doesn’t want to sell it to Calvin Blick (who is working for Mischa Fox). It’s funny that the keeper of Artemis is named Hunter. Rosa decides to convince one of the shareholders to support the journal financially and chooses Mrs. Wingfield, who happens to live across the street (she has never noticed this). Mrs. Wingfield turns out to be a combination of Mad Hatter and Fairy Godmother.
I loved the shareholders altogether. Perhaps it’s because I’m an older lady myself. The young people’s dismissive treatment of these senior women was a costly error because it helped to paralyze them. Hunter and Rosa seemed to expect their elders to have carried on endlessly while they stood still wondering what to do. They complain that the shareholders haven’t paid attention or kept a hand in the business of Artemis. But from the shareholders’ view, they’ve done their part and it’s the younger people’s turn to make decisions and act. In the end, Mrs. Wingfield is “winged” indeed. She’s a messenger, a valkyrie, who strides about and accomplishes something with both money and advice. Though a trickster in her speech and behavior, she becomes a wise savior to the Keepes and to Artemis.
Rosa, who has resisted Mischa Fox, her “enchanter,” for so long, finally runs to him. It appears her long flight may have ended. But even when they are in the same place, they don’t seem to hurry to be in each other’s presence. Like Jake “chasing” Anna in the Tuileries, there is plenty of time. Rosa, however, has given in. She has followed Mischa to his villa in Italy. On the evening of her arrival, they have done nothing with any conviction. It’s the next morning and she is watching Mischa from the house, a small figure down on the beach. Calvin urges her away, she listens to him, becomes fearful, and leaves. Now, who has “flown” from the other? It seems most obvious that (once again) Rosa takes flight from Mischa the enchanter. But wasn’t Mischa the one who left the house? The one who “took flight” down to the beach? Was he forcing her to follow? Or making his own escape?
Rosa goes back to Peter Saward, the quiet scholarly man who throughout has remained in the background, preoccupied with an academic puzzle that cannot be solved. We find he has given it up. A new discovery has turned all his years of labor pointless. (In this, he resembles many fairy tale heroines who have been given endless and hopeless-seeming tasks like sorting seeds.) But rather than feeling angry or devastated, he is relieved and freed. Does Rosa really love Peter Saward? I don’t know. But in the final scenes Rosa’s hair lies like a net drying on Peter’s knees. Peter Saward is under Rosa’s net.
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Dec 20, 2017 @ 06:31:28
This is an amazing piece of work, thank you so much! I’m sorry I haven’t got my review up yet so you had to post it here and I’ll be sure to direct people to it when I post my review. Thank you for taking the time to put this down.
I love all the links between the novels but I hadn’t realised the hospital could be the same one – of course! Hair in itself is a theme, and long hair drooping all over the place, but I can see how they could have used one of these hairpins. Twins or siblings is another one, and of course stones, which Annette collects.
Thank you again, this was amazing to read!
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Dec 21, 2017 @ 02:47:13
Hi Liz, I’d be happy to copy this again onto your review post later if that’s helpful. I just wanted to get it up in case the holidays kept me too busy for a while. I am enjoying writing my “book reports.” If nothing else it makes you realize these novels are simply stacked with things to think about. I was astonished to see a cover blurb on one of her books (can’t recall which one) describe it as a “soap opera.” They are so much more!
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Dec 21, 2017 @ 08:19:32
There’s so much in there that that would be very useful if you don’t mind doing that! I am seeing so many little things as I go through; it’s also wonderful re-reading them. Some of the blurbs are hilarious in their attempts to lure readers in!
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Dec 28, 2017 @ 22:35:24
This was a first read and was intriguing and enjoyable although the seemingly intentional unresolved mystery and questionable meaning(s) left me a bit irritated. I think long ago I always assumed there was deep symbolic and intended meaning in her works which would reward further study. Now I am guessing that they will all prove to be equally impervious and unyielding. So as well as the usual, necessary ‘suspension of disbelief’, I am going to need to try to appreciate multiple possible interpretations. Perhaps she was playing with the post-modern emphasis on ‘reader-projected’ meaning ?? OK but I am still a bit sad if this is so.
I did have fun drawing up an interaction, star chart for the strength and nature of the bonds and relationships between all the characters. I am going to do onw for each of the novels. By connecting in dyads, cliques and isolates as well as ‘stars’ / Enchanters it is possible to see at a glance who is involved with whom and to add question marked connections or jagged lines for one way negative ones etc/
Incidentally I have personally lived through a ‘Mischa’ – type involvement from Rosa’s position …… kinda ! I was interested to see similarities and differences.
That’s all this time.
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Dec 29, 2017 @ 06:21:10
Thank you for your notes! Have you got the Vintage Classics version where the introduction basically says the same about unresolved meanings? So you’re not alone.
I don’t think I ever drew a diagram for this one, but I remember scribbling layouts of relationships in the backs of some of the later ones, and will try to remember to dig those out as we go along.
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