In the first part of this chapter, Rob Hardy will argue that, with Iris Murdoch’s declaration in ‘On “God” and “Good”” that there is no God, the division in her soul became public, a division emphasized by the contrast between the calm masculine Oxford philosophical voice of that paper and the anguished homeless feminine voices of her early novels, which emphasized Murdoch’s awareness that the death of God was as catastrophic for some souls as the death of a dearly loved one, producing rage and crippling sorrow plus a yearning to find the loved one so intense that almost any substitute could be found to take the loved one’s place, including a range of actions or beliefs meriting the description occult. The result was that in Murdoch’s fiction what is indicated by ‘occult’ developed to include a wide range of meanings during the period up to the first appearance of On “God” and “Good”’ in 1966, from the belief or half belief or hope or intuition held by some women characters that in practising magic or witchcraft or participating in the paranormal or reading tarot cards or, in violent acts of renunciation throwing away their most precious possessions, they might perhaps re-enter a world where God had once walked. In the second part of the chapter, Hardy will fast forward to Iris Murdoch’s last three novels in which, he will argue, the mainly unimpressive men of Murdoch’s early (and later) novels, whom women characters have had to concentrate their energies on resisting (or in a few cases saving) have been replaced by occult figures who are much more impressive: Marcus Vallar of The Message to the Planet (1989), Peter Mir of The Green Knight (1993) and Jackson of Jackson’s Dilemma (1995). Hardy will claim that these three figures belong to a potentially religious discourse whose future development which Murdoch had intuited before she died and which, to outsiders, seems profoundly occult (Hardy will mention some of the central modern texts incorporating this discourse). And in the third part of the chapter, Hardy will ask: So what? What do his claims about Murdoch’s fight against ‘the death of God’ in her fiction while endorsing his death in her philosophy really amount to? Hardy will attempt to answer this question.