Iris Murdoch’s wartime art revealed: self-portrait and surrealist works go on display
Rediscovered paintings by Iris Murdoch, including her only known self-portrait, offer a rare glimpse into the novelist’s surrealist phase during WWII. On display from Friday.
The day begins with a quiet revelation: the literary world’s most celebrated philosopher-novelist was also a painter of striking, if hidden, ambition. Iris Murdoch’s newly unearthed artworks—long confined to a secret attic room—go on public display today, offering an unexpected window into her creative life during the Second World War. Among the pieces is the only self-portrait she is known to have painted, alongside surrealist landscapes and sketches of female nudes that challenge the public’s perception of her as a purely cerebral writer.
A novelist’s brush with surrealism
The 11 artworks, created while Murdoch was a student at Oxford in the early 1940s, reveal an artist deeply engaged with the avant-garde movements of her time. Curators describe the self-portrait as a rare departure from her later, more restrained public persona—one that captures a young woman grappling with the chaos of war through bold, experimental strokes. The surrealist landscapes, meanwhile, suggest an early fascination with the subconscious, a theme that would later permeate her novels.
What makes this discovery particularly compelling is its timing. Murdoch, who died in 1999, remains one of Britain’s most studied literary figures, yet her visual art has been largely overlooked. The exhibition, hosted by the Iris Murdoch Archive at Kingston University, coincides with renewed interest in the intersections of literature and visual culture—a conversation amplified by recent retrospectives of writers like Sylvia Plath and Virginia Woolf, who also dabbled in painting.
Farage’s victory: a hollow triumph?
Elsewhere, the political landscape offers a stark contrast to Murdoch’s introspective artistry. Nigel Farage’s by-election win in Clacton, confirmed yesterday, has been met with a muted response—both from his own party and the broader electorate. While Farage secured 22,239 votes, the lack of enthusiasm among Reform UK’s ranks suggests the victory may be more symbolic than transformative.
The result, though predictable, raises questions about the party’s long-term viability. Farage’s campaign was dogged by persistent scrutiny over Reform UK’s finances, with critics accusing the party of opaque funding practices. His victory speech, typically fiery, struck a subdued tone, hinting at the challenges ahead. For a man who has spent decades shaping British politics from the fringes, the win feels less like a triumph and more like a reminder of the limits of populist appeal in a fractured political climate.
Farmers adapt as drought reshapes the UK’s rural economy
As Murdoch’s wartime art reminds us of resilience in the face of upheaval, Britain’s farmers are confronting their own existential challenge: climate change. With heatwaves and erratic rainfall becoming the new norm, food producers are turning to innovative—sometimes radical—solutions to safeguard their livelihoods.
From drought-resistant crops to the reintroduction of beavers to manage water flow, farmers are experimenting with tactics that would have been unthinkable a generation ago. The shift is not just ecological but economic: as traditional farming methods become less viable, producers are diversifying into agroforestry, water storage systems, and even tourism. The Guardian’s report highlights how these adaptations are quietly redefining rural Britain, blending ancient techniques with cutting-edge science.
Yet the transition is not without friction. Some farmers express frustration at the lack of government support, while others worry about the long-term sustainability of these measures. What is clear, however, is that the countryside is no longer a static backdrop to urban life but a frontline in the battle against climate change.
The invertebrate vote: why bugs matter more than ever
In a lighter vein, The Guardian’s annual “Invertebrate of the Year” contest has captured the public’s imagination, offering a whimsical yet urgent reminder of the biodiversity crisis. With 1.3 million known invertebrate species worldwide, the competition invites readers to vote for their favourite—from crush-worthy cephalopods to industrious dung beetles.
The contest, now in its third year, has evolved into more than just a quirky poll. It reflects growing public awareness of the ecological roles played by insects, molluscs, and other spineless creatures, many of which are under threat from habitat loss and climate change. Last year’s winner, the European honeybee, became a symbol of broader environmental concerns, and this year’s shortlist—featuring species like the peacock butterfly and the giant African land snail—serves as a playful entry point into conversations about conservation.
What to watch: Lydia West’s offbeat murder mystery
For those seeking escapism, tonight’s television lineup offers a darkly comedic twist on the campus murder genre. Lydia West, known for her roles in Years and Years and It’s a Sin, stars in He Had It Coming, an Australian dramedy that follows a grungy art student and her influencer friend as they navigate the fallout of a statue-toppling prank gone wrong.
The show, airing on BBC Three, arrives at a moment when British audiences are increasingly drawn to offbeat, character-driven narratives. West’s performance—a mix of vulnerability and sharp wit—has already drawn comparisons to Phoebe Waller-Bridge’s Fleabag, though the series’ tone leans more toward satire than solipsism. With its blend of millennial angst and murder-mystery tropes, He Had It Coming is poised to become a cult favourite.
Today’s stories weave a tapestry of resilience—whether in the rediscovery of Murdoch’s art, the quiet adaptation of farmers, or the political theatre of Farage’s victory. What unites them is a sense of reinvention: the past re-emerging, the present adapting, and the future being quietly, stubbornly reimagined.
