Diana felt that she had emerged at last into a vast place of loneliness. Danby and Lisa, with their solicitous concern about her and their submissive politeness, were as lost to her as if they were dead. And she was beginning to realise how little Miles really reflected about her, how little he tried in his imagination to body forth the real being of his wife. His imagination was engaged in other and more exotic battles. He had seemed very close to her when he had talked to her about Parvati, but it seemed to her now that she had simply been made use of. Miles had needed a crisis in his relations with the past, he had needed a certain ordeal, and she had helped him to achieve it. Now he had returned into himself more self-sufficiently than ever before. She thought of startling him into noticing her by telling him that she too was in love with Danby. But that would be merely to add absurdity to pain.
And now, she thought, I have done the most foolish thing of all, in becoming so attached to someone who is dying. Is this not the most pointless of all loves? Like loving death itself. The tending of Bruno had had at first simply a kind of consoling inevitability. It was something compulsory, a task, a duty, and it took her away from Kempsford Gardens where Miles sat smiling his entranced and private smile. It also brought her into a natural relationship with Danby. Later Danby’s proximity was a torment. But by then she had come to love Bruno, to love him with a blank unanxious hopeless love. He could give her nothing in return except pain. And it seemed to her as the days went by and Bruno became weaker and less rational, that she had come to participate in his death, that she was experiencing it too.
Diana felt herself growing older and one day when she looked in the glass she saw that she resembled somebody. She resembled Lisa as Lisa used to be. Then she began to notice that everything was looking different. The smarting bitterness was gone. Instead there was a more august and terrible pain than she had ever known before. As she sat day after day holding Bruno’s gaunt blotched hand in her own she puzzled over the pain and what it was and where it was, whether in her or in Bruno. And she saw the ivy leaves and the puckered door knob, and the tear in the pocket of Bruno’s old dressing gown with a clarity and a closeness which she had never experienced before. The familiar roads between Kempsford Gardens and Stadium Street seemed like those of an unknown city, so many were the new things which she now began to notice in them: potted plants in windows, irregular stains upon walls, moist green moss between paving stones. Even little piles of dust and screwed up paper drifted into corners seemed to claim and deserve her attention. And the faces of passersby glowed with an uncanny clarity, as if her specious present had been lengthened out to allow of contemplation within the space of a second. Diana wondered what it meant. She wondered if Bruno was experiencing it too. She would have liked to ask him, only he seemed so far away now, wrapped in a puzzlement and a contemplation of his own. So they sat together hand in hand and thought their own thoughts.
The pain increased until Diana did not even know whether it was pain any more, and she wondered if she would be utterly changed by it or whether she would return into her ordinary being and forget what it had been like in those last days with Bruno. She felt that if she could only remember it she would be changed. But in what way? And what was there to remember? What was there that seemed so important, something that she could understand now and which she so much feared to lose? She could not wish to suffer like this throughout the rest of her life.
She tried to think about herself but there seemed to be nothing there. Things can’t matter very much, she thought, because one isn’t anything. Yet one loves people, this matters. Perhaps this great pain was just her profitless love for Bruno. One isn’t anything, and yet one loves people. How could that be? Her resentment against Miles, against Lisa, against Danby had utterly gone away. They will flourish and you will watch them kindly as if you were watching children. Who had said that to her? Perhaps no one had said it except some spirit in her own thoughts. Relax. Let them walk on you. Love them. Let love like a huge vault open out overhead. The helplessness of human stuff in the grip of death was something which Diana felt now in her own body. She lived the reality of death and felt herself made nothing by it and denuded of desire. Yet love still existed and it was the only thing that existed.
The old spotted hand that was holding on to hers relaxed gently at last.
A Biography of Iris Murdoch
Iris Murdoch (1919–1999) was one of the most influential British writers of the twentieth century. She wrote twenty-six novels over forty years, as well as plays, poetry, and works of philosophy. Heavily influenced by existentialist and moral philosophy, Murdoch’s novels were also notable for their rich characters, intellectual depth, and handling of controversial topics such as adultery and incest.
Born in Dublin, Ireland, Murdoch moved to London with her parents as a child. She attended Somerville College in Oxford where she studied classics, ancient history, and philosophy. While at Oxford, she was a member of the Communist Party of Great Britain (which she later left, disillusioned) and, in the 1940s, worked in Austrian and Belgian relief camps for the United Nations. After completing her postgraduate degree at Newnham College in Cambridge, she became a Fellow of St. Anne’s College, Oxford, where she lectured in philosophy for fifteen years.
In 1954, she published her first novel, Under the Net, about a struggling young writer in London, which the American Modern Library would later select as one of the one hundred best English-language novels of the twentieth century and Time magazine would list as among the twenty-five best novels since 1923. Two years after completing Under the Net, Murdoch married John Bayley, an English scholar at the University of Oxford and an author. In a 1994 interview, Murdoch described her relationship with Bayley as “the most important thing in my life.” Bayley’s memoir about their relationship, Elegy for Iris, was made into the major motion picture Iris, starring Judi Dench and Kate Winslet, in 2001.
For three decades, Murdoch published a new book almost every year, including historical fiction such as The Red and the Green, about the Easter Rebellion in 1916, and the philosophical play Acastos: Two Platonic Dialogues. She was awarded the 1978 Booker Prize for The Sea, The Sea, won the Royal Society Literary Award in 1987, and was made a Dame of the British Empire in 1987 by Queen Elizabeth.
Her final years were clouded by a long struggle with Alzheimer’s before her passing in 1999.
Murdoch as an infant with her mother, Irene, in 1919. Irene was a trained opera singer, though she gave it up after Iris was born. Murdoch’s father, John, worked as a civil servant once the family moved to London.
Murdoch in 1923, at age three or four. She was an only child and remembered her childhood as “a perfect trinity of love.” Her father encouraged her to read at a young age and her favorite authors included Lewis Carroll and Robert Louis Stevenson.
The London house in which Murdoch grew up, seen here in 1926.
Murdoch in 1935. She was studying philosophy, classics, and ancient history at Oxford at the time of this photo.
Murdoch with an unidentified friend in 1946. At this time Murdoch was studying philosophy at Cambridge, where she enrolled after working for the United Nations to help Europeans displaced by the Second World War.
John Bayley, Murdoch’s husband, in the 1960s. The two were married in 1956 after meeting at Oxford.
Murdoch and Bayley at an unknown date. One of the couple’s shared passions was swimming, which they did together whenever the opportunity presented itself.
Bayley and Murdoch on vacation in Orvieto, Italy, in September 1988, with family friend Audi Villers, whom Bayley married after Murdoch’s death.
Bayley and Murdoch in Delft, Holland, in 1996. Murdoch was diagnosed with Alzheimer’s in the mid-1990s.
Bayley’s writing desk, which originally belonged to J.R.R. Tolkien. Murdoch’s scrapbook can be seen atop the desk.
Iris’s writing desk. Bayley’s book, An Elegy for Iris, published in 1999, is a loving tribute to their long marriage and
recounts the last years of Iris’s life.
Murdoch and Bayley’s home in Steeple Aston, near Oxford, where the couple lived until Murdoch’s death. Bayley had an indoor pool built at the house for Murdoch to go swimming—one of her favorite hobbies—whenever she chose.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this ebook onscreen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of the publisher.
This is a work of fiction. Names, characters, places, and incidents either are the product of the author’s imagination or are used fictitiously. Any resemblance to actual persons, living or dead, businesses, companies, events, or locales is entirely coincidental.
copyright © 1969 by Iris Murdoch
ISBN: 978-1-4532-0079-7
This edition published in 2010 by Open Road Integrated Media
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New York, NY 10014
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Iris Murdoch, Bruno's Dream
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