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An Unofficial Rose Paperback – Apr 24 2001

3.0 out of 5 stars 1 customer review

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Product Details

  • Paperback: 304 pages
  • Publisher: Vintage Classics; First THUS edition (April 24 2001)
  • Language: English
  • ISBN-10: 009928538X
  • ISBN-13: 978-0099285380
  • Product Dimensions: 13 x 2 x 19.9 cm
  • Shipping Weight: 200 g
  • Average Customer Review: 3.0 out of 5 stars 1 customer review
  • Amazon Bestsellers Rank: #840,770 in Books (See Top 100 in Books)
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Product Description

From Publishers Weekly

This 1986 Murdoch is a Shakespearean comedy of misaligned lovers, minus the spirits and potions. Here the characters are responsible for their own actions, and Murdoch delights in painting these young, middle-aged and elderly adventurers and the psychological processes that direct their actions. Hugh's wife, Fanny, dies after 40 years of marriage; his former lover, Emma, appears at the funeral. Hugh becomes wild to win her love again, while neighbor Mildred (with her gay husband Humphrey's blessing) has designs on Hugh. Hugh's son Randall, meanwhile, is madly in love with Emma's companion/secretary Lindsey who may or may not be having an affair with her employer while Randall's wife Ann yearns for Mildred's brother Felix, who, in turn, has always secretly adored her. But it is the scheming of Miranda, Randall and Ann's teenaged daughter, that ultimately determines the outcomes of their lives, for better and for worse. Cozenove has a deep and melodic reading voice and a charming British accent that work well with this material, though his renditions of Hugh and Emma are a bit too elderly and scratchy for the characters and the story.

Copyright 2001 Cahners Business Information, Inc.

--This text refers to an out of print or unavailable edition of this title.


"One feels a power of intellect quite exceptional in a novelist." --Sunday Times

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Top Customer Reviews

Format: Paperback
This was my fourth Murdoch, so I'm now becoming used to the Murdoch world and know what to expect. This has the usual interesting tangle of upper middle class relationships and the usual slightly claustrophobic theatrical air of a world that is not supposed to be strictly realistic. It has a timeless air about it and seems as if it is set much earlier in the twentieth century. Murdoch takes you on a detailed, in-depth exploration of her characters' thoughts, fears and attitudes in a way that becomes addictive. To write in this way demands authorial stamina and the sort of intense concentration that you can feel radiating up from the page.

In a Shakespearian style of relationship plot, it must help to be a British writer writing about the English. Anyone else would say exactly what they meant, but the characters in this book find that difficult. Or rather the fundamentally decent ones do. Ironically, the machiavellian schemers speak the brutal truth in a careless fashion while their victims feel dazed by receiving it. I know that Iris Murdoch was concerned with issues of good and evil and that is evident in this book. Her schemers are, of course, the most interesting ones and I couldn't help admiring them because the "good" ones were frustratingly naive. I think I was supposed to see them as having simplicity and indeed they have it in quantity. However, the scene between two quintessentially middle class would-be lovers after one manages to declare his passion is the most emotionally constipated surely in all of English literature. This scene was created intentionally by a clever writer and the tension level is amazing, but so terribly frustrating. But this is Iris Murdoch, who plays with her characters and her readers, in a way that you have to admire.
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Most Helpful Customer Reviews on (beta) HASH(0x9ca026cc) out of 5 stars 16 reviews
26 of 27 people found the following review helpful
HASH(0x9c76f7bc) out of 5 stars There is more to it than that. There always is with roses. Dec 4 2009
By J C E Hitchcock - Published on
Format: Paperback
Fanny Perronet was dead. The opening line of "An Unofficial Rose" echoes that of Dickens' "A Christmas Carol", and the novel itself deals with of events set in motion by Fanny's death. Her widower, Hugh, a retired civil servant, considers returning to Emma, his former mistress with whom he had an affair more than twenty years earlier. Hugh and Fanny's son Randall considers leaving his wife, Ann, for his own mistress, Lindsay, who is Emma's close friend and companion. Ann also has an admirer in the shape of Felix Meecham, an Army officer who has for many years been platonically in love with her. Felix's older sister Mildred, the unhappily married wife of Hugh's former colleague and neighbour Humphrey Finch, is in love with Hugh. Although the novel is relatively short, the plot is a complex one- too complex to be summarised here- but it revolves around Hugh's decision whether or not to sell a valuable painting.

The title, derived from Rupert Brooke's poem "The Old Vicarage, Grantchester", refers on a literal level to the fact that Randall and Ann run a successful rose-growing business. There is, however, more to it than that. There always is with roses in English literature. A daffodil or a chrysanthemum, a red campion or a viper's bugloss, can be just a flower; a rose has to have a symbolic meaning. It can be a symbol of love, of truth, of beauty, of transience, of Englishness. By an "unofficial" rose Brooke meant a wild rose of the hedgerows which he contrasts with the "official" cultivated flowers of the Berlin garden in which he is sitting, demonstrating his preference for the natural over the artificial.

In the context of Murdoch's novel, Brooke's unofficial rose becomes a complex symbol. All the five elements mentioned above play a part in the book. All the major characters, who are linked by an intricate network of inter-relationships, are in search of love, and some of them are in search of truth and beauty as well. Hugh, for example, is an art connoisseur, and Randall's one obsession, apart from his love for Lindsay, has been his quest to breed the perfect rose. The element of transience is also emphasised; several of the characters (Hugh, Emma, Mildred) are elderly, and are confronted with what may be their last chance of achieving love and happiness.

The unofficial/official distinction perhaps mirrors the division between those characters who act instinctively or spontaneously and those who are more reflective or calculating. Ann, instinctively loyal to her husband despite his infidelity and the younger generation, in the shape of Hugh's teenaged grandchildren Penn and Miranda, fall into the first category. Into the second can be placed characters such as Hugh, who carefully works through all the possible implications of the sale of the painting, and the mercenary Lindsay, who refuses to commit herself to Randall until his financial position has been secured through that sale.

The element of Englishness is not emphasised as strongly in the novel than it is in Brooke's poem, one of the finest evocations of homesickness in English literature. Nevertheless, this is, despite the fact that the author was born in Ireland, in many ways a very English novel, not only in its setting (the Kent countryside on the edge of Romney Marsh) but also in its reserve and delicacy; although it is concerned with strong emotions, these are for the most part expressed quietly, with few violent or dramatic events.

Besides that of the rose, another important image in the book is that of the soldier; Murdoch's choice of Felix's profession was not an accident. Felix states that one should "take life as a job. Just like the Army. Go where it sends one and take whatever comes next". Anthony Nuttall points out in his introduction that this metaphor is borrowed from Plato's "Phaedo", which describes the stoical way in which Socrates met death. In the novel this dutiful stoicism is exemplified not only by Felix, who refuses to declare his love for Ann until after her husband has abandoned her, but also by Ann herself, who accepts her husband's infidelity uncomplainingly. We also see something of this attitude in Emma, who is herself facing death as she is terminally ill.

The novel has been criticised as dealing with too narrow a social spectrum; all the major characters are drawn from the wealthy upper middle classes. (Indeed, with their servants and Tintorettos, they would in some countries be regarded as upper class, but the British have always been reluctant to use this term of anyone not possessed of an aristocratic title). Nevertheless, any novel dealing with personal relationships among a small group of people, especially when many of the characters are related by blood, is likely to be equally narrow in its social compass. If the author attempts to widen the social mix, the result is likely to be a very different kind of work, one dealing with class relationships rather than personal ones.

The book was written in the early sixties, and Murdoch probably deals with sexual matters less frankly than a modern writer would. She implies that there may be a lesbian relationship between Emma and Lindsay, although this is never made explicit. She is, however, more explicit about Humphrey's homosexuality- the reason why his marriage to Mildred is a hollow one- even though male homosexuality was still illegal at the time she was writing. Unlike some sixties writers, however, Murdoch was less concerned with sexual relationships than with emotional states of mind, and her skill in conveying these is masterly. "An Unofficial Rose" well demonstrates why she is regarded as one of the leading British novelists of the late twentieth century.
10 of 10 people found the following review helpful
HASH(0x9c76f834) out of 5 stars Love the One You Ain't With... Dec 8 2014
By M. Buzalka - Published on
Format: Paperback
One of Iris Murdoch's least known novels, An Unofficial Rose (1962) deals with unrequited love as just about every character is infatuated with someone who does not reciprocate that feeling. There is a wife who remains in love with the husband who abandons her while she in turn is pined after by a neighbor, who in turn is pined after by a young teen girl, who is pined after by a slightly older teen boy, who is pined after by a semi-closeted gay man, whose wife pines after the philandering husband's father, who pines after his long-ago love, who pines after the young woman the philandering husband runs away with. Well, you get the picture. Even the one character who seemingly gets what he wants doesn't because his beloved has more base motives for acceding to him. This all sounds intriguing but, frankly, it left me a bit cold. It's just a little too mechanical. Murdoch's prose is always worth reading but this shouldn't be the first choice. It's a fairly minor entry in a celebrated body of work.
2 of 2 people found the following review helpful
HASH(0x9c76fc90) out of 5 stars Dysfunctional family saga April 7 2014
By Laurie A. Brown - Published on
Format: Paperback
‘An Unofficial Rose’ is a family story- a very dysfunctional family. The matriarch has just died, and the day of her funeral starts the book. With Fanny dead, Hugh Peronett is now free to rekindle an old relationship with Emma. His son, Randall, wants to be free of his wife, Ann, so that he can pursue Emma’s companion, Lindsey. Hugh’s grandson by his absent daughter, Penn, is visiting for the summer, and he pursues Randall and Ann’s daughter, Miranda-and he is in turn pursued by another character. Meanwhile, members of another family also pursue various members of the Peronett family. Everyone wants someone else and there is not one simple relationship in the whole thing. This is a very flawed cast of characters; only Ann and Penn seem to be unafflicted with the urge to manipulate people that the others seem to have so strongly.
The book, written in 1962, is of course a product of its time. Ann is encouraged by the priest to stay married to Randall, even though he has deserted her for another woman, because marriage is forever and she can help Randall-even if he never comes back- by forgiving him and praying for him. A straight woman and a gay man stay together in an open marriage of convenience. It’s all right to have Randall, when asked by Lindsey what he would do if she changed her mind about having sex with him that night, say “I shall probably beat you and certainly rape you” and she accepts that rather than run screaming into the night.

In the end, the identity of the prime manipulator is a surprise. While there are some clues throughout the book, it’s still not what you expect; it must have been a bit shocking in 1962.
2 of 2 people found the following review helpful
HASH(0x9c772048) out of 5 stars Iris is my favorite, so I might be partial Nov. 2 2014
By Anna Galasso - Published on
Format: Kindle Edition Verified Purchase
Iris is my favorite, so I might be partial, but I love almost everything that she has written. All her characters are so multidimensional and vivid and the plot though always s secondary to the depth and beauty of her narration of human character is always so unobtrusively naturally weaved into the book. Love it.
HASH(0x9c7720c0) out of 5 stars Admirable but ultimately dull. June 3 2015
By Elisabeth Price - Published on
Format: Kindle Edition Verified Purchase
I'd never been able to finish any of Iris Murdoch's novels when I was a young student. Her husband's account of her last years with Alzheimer's disease and its film version led me to try again and I started with this book. I'm afraid her work, wrought as it is in exquisite detail, still doesn't really attract me or hold my attention more than for brief moments at a time. She weaves a very complex tapestry of the complex situations of her characters, and describes their overt and covert actions to try to fulfill their emotional needs whilst also meeting their moral obligations. This should be fascinating, especially when drawn in beautiful prose with structural competence, but they fail to engage me and reading becomes a chore. This time around I did finish the book, but only because I have learned speed reading techniques since I tried to tackle her novels when young. Controversial subjects come up in subliminal discussions about sexuality and moral obligations to society and family The problems are not resolved, and life seems to go on in a never-ending moral fog where there is no right or wrong. The author wrote at a time when introspection was fashionable and people were letting go some former ideals of self-sacrifice, unselfishness and moral obligation. But they seem to get no pleasure from their reactive moral freedom and to get stuck in unattractive introspective selfishness,

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