The Good Apprentice | Book Review | 1985 | Iris Murdoch

ABOUT THE AUTHOR

Dame Iris Murdoch, an acclaimed Anglo-Irish novelist, philosopher, and playwright, remains a profound voice in twentieth-century literature. Murdoch is celebrated for her seamless blending of philosophy and fiction with unparalleled mastery. Born on July 15, 1919, in Dublin, Ireland, she grew up in London. Murdoch studied classics at Somerville College, Oxford, where her intellectual brilliance truly emerged. Later, she furthered her studies in philosophy at Newnham College, Cambridge, under Ludwig Wittgenstein.

Murdoch’s literary works stand out for their philosophical depth. Her writings are heavily influenced by existentialism, Platonism, and moral philosophy. Her novels often delve into ethical dilemmas and the interplay of free will, selflessness, and the pursuit of the “good.” Murdoch’s characters grapple with morality, love, obsession, and redemption.

Her prolific body of work includes 26 novels, such as Under the Net (1954), The Sea, The Sea (1978)—which won the Booker Prize—and The Bell (1958). She also authored philosophical texts, notably The Sovereignty of Good (1970) and plays like A Severed Head.

Iris Murdoch received numerous accolades, including honorary degrees from prestigious institutions like Durham University, the University of Bath, the University of Cambridge, and Kingston University. In 1982, she was elected a Foreign Honorary Member of the American Academy of Arts and Sciences, a testament to her global impact. In addition, she was appointed Commander of the Order of the British Empire (CBE) in 1976 and later elevated to Dame Commander (DBE) in 1987.

SYNOPSIS (MAY CONTAIN SPOILERS)

The Good Apprentice unfolds as an intricate exploration of humanity’s quest for goodness, fraught with missteps, self-discovery, and redemption. At its heart are Edward Baltram and Stuart Cuno, two men drawn into this ethical labyrinth, though by very different paths.

Edward’s journey, marred by guilt and despair, contrasts starkly with Stuart’s overzealous, almost parodic quest for purity. Yet, their intertwined lives reveal nuanced perspectives on love, selflessness, and the nature of goodness.

Edward Baltram, wracked by guilt over his friend Mark Wilsden’s tragic death, is the novel’s emotional core. In an ill-conceived attempt to bring joy to Mark, Edward gives him a hallucinogenic drug. While Edward is away, indulging in a brief and tumultuous affair with Sarah Plowmain, Mark falls to his death from Edward’s window. This moment shatters Edward’s world, thrusting him into a prolonged period of self-recrimination and anguish.

Edward’s road to recovery is not one he walks alone. Thomas McCaskerville, his quiet and gentle psychiatrist, orchestrates a pivotal reunion with Jesse Baltram, Edward’s estranged and enigmatic father. Jesse, once a celebrated artist, now leads a diminished life at Seegard. Jesse lives with his wife, Mother May, and their daughters, Bettina and Ilona. Though bedridden and on the edge of madness, Jesse exerts an almost mystical influence on those around him. His words to Edward, sparse but profound, begin to untangle the web of guilt and grief enveloping his son.

Seegard itself becomes a crucible of transformation. Amid its austere routine, Edward begins to perceive life beyond his own pain. Encounters with Ilona and Bettina add layers of complexity to his healing. Yet, Edward’s ultimate step toward redemption must be his own.

WHAT WE LIKED ABOUT THE GOOD APPRENTICE

The Good Apprentice is not just a book—it’s an experience that stays with you. It gnaws at the edges of your thoughts like an unanswered question about life. What struck us the most was how Murdoch takes this big, almost abstract idea of “the good” and makes it feel personal. Her characters don’t sit around talking about morality in some distant, theoretical way. They wrestle with it in the chaos of their messy, flawed lives.

Murdoch’s prose is intricate yet accessible, rich in philosophy but never alienating. She captures the nuances of human relationships with a sharpness that cuts deep, while her descriptions of settings and emotions feel almost tactile. It’s a style that feels alive, grounded in the mundane, yet soaring into the universal.

The author’s unflinching honesty is also quite touching. She doesn’t offer tidy resolutions or perfect characters. Instead, she gives us people—flawed, broken, and striving. Her portrayal of guilt, redemption, and the persistent search for meaning resonates because it mirrors real life: complicated, hopeful, endlessly failing, yet striving.

WHAT COULD HAVE BEEN BETTER ABOUT THE GOOD APPRENTICE

While The Good Apprentice is an undeniably thought-provoking book, it can sometimes be overwhelming. The sheer number of characters and their complex relationships may leave readers feeling lost.

The novel’s philosophical depth feels abstract and heavy at times, making it difficult to fully engage with the characters’ emotional journeys. The intricacy of the narrative occasionally hinders the flow, making it harder to connect with the story’s core themes. As a book, the sheer bulkiness of The Good Apprentice, with its many moving parts, makes it challenging to grasp the larger picture, leaving readers with a sense of confusion rather than clarity.

QUOTES

Truthful remorse leads to the fruitful death of the self, not to its survival as a successful liar. Recognise lies and reject them at every point.

Everything about him was normal except that he was mad.

It was as if this were something beyond personality, a cosmic chemical change wherein he was a pure force and she was a pure substance.

CONCLUSION