Philip Larkin: Selected Poems
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Martin Amis has claimed that Larkin was simply the victim of political correctness — a man with the wrong ideas at the wrong place at the wrong time — but it is possible the poet was due for a temporary dip in his stock. When our writers are freshly dead, in other words, we want them deader, if only so that we can, decades later, resurrect them with that much greater glory. His words have never been easy to forget, if only because, as set texts in school for many English students, they were so firmly arrowed into our skulls.
It is this cluster of postwar generations that votes for Larkin in specious polls of the U.
Even those of us who have a more ambivalent relationship with his work find ourselves helplessly influenced, struggling to avoid quoting him incessantly. It is unfriendly in its size and frightening in its detail.
To give a sense of proportion: the four collections take up fewer than a hundred pages of the volume, with the other odds and ends filling twice as many. The poems are packed together rather than being given individual pages of their own, presumably because this would nudge the already monstrous volume to well over a thousand pages.
Reading Philip Larkin: Selected Poems
Larkin got a lot of mileage out of his supposed literary ignorance — he frequently suggested that his only poetic influences were Thomas Hardy and W. Yeats, and in his Paris Review interview claims not to know who Jorge Luis Borges is — but I never really believed that his word-hoard could have come from Hardy and Yeats alone. Complexity, on the other hand, is a slippery word. We certainly get a sense of a poet who thought hard about his verse. Larkin did not find his voice straight away.
The early poems show a young poet with a Romantic slant, more playful and less morbid than he would later become. Work consists of reducing a fucking great pile of Fuel Rationing forms… into a great fucking pile of Fuel Rationing forms in alphabetical order of streets and numbers according to the Rate Book, whose numbering goes NOT but Because, once upon a time, a rate collector used to walk up the street and down the other side. His poetry is always pulling off the trick of not quite alienating its audience.
Philip Larkin
On me your voice falls as they say love should, Like an enormous yes. My Crescent City Is where your speech alone is understood. And greeted as the natural noise of good, Scattering long-haired grief and scored pity. Vividness and generosity — a vividness carried by generosity — are also abundant in the longer poems. To file a notice of infringement with us, you must provide us with the items specified below. Please note that you will be liable for damages including costs and attorneys' fees if you materially misrepresent that the material is infringing your copyright.
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Thank you for notifying us. The page you are attempting to access contains content that is not intended for underage readers. Paperback, Pages. Our best-selling poetry introduction offers a detailed commentary on the poetry of Philip Larkin, exploring the political and cultural contexts which have shaped his contemporary reputation.
Part 2, Artistic Strategies, explores a range of methodologies and aesthetic influences by which Larkin was empowered to create poetry at once both accessible and profound. Add to Cart. Lulu Sales Rank:
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