Since its publication in 1988, Philip Larkin's Collected Poems has become essential reading on any poetry bookshelf. This new edition returns to Larkin's own deliberate ordering of his poems, presenting, in their original sequence, his four published books: The North Ship, The Less Deceived, The Whitsun Weddings and High Windows. It also includes an appendix of poems that Larkin published in other places, from his juvenilia to his final years - some of which might have appeared in a late book, if he had lived. Preserving everything that he published in his lifetime, this new Collected Poems returns the reader to the book Larkin might have intended.
For the first time, Faber publish a selection from the poetry of Philip Larkin. Drawing on Larkin's four collections and on his uncollected poems. Chosen by Martin Amis. 'Many poets make us smile; how many poets make us laugh - or, in that curious phrase, "laugh out loud" (as if there's another way of doing it)? Who else uses an essentially conversational idiom to achieve such a variety of emotional effects? Who else takes us, and takes us so often, from sunlit levity to mellifluous gloom?... Larkin, often, is more than memorable: he is instantly unforgettable.' - Martin Amis
The complete poems of the most admired British poet of his generation This entirely new edition brings together all of Philip Larkin's poems. In addition to those that appear in Collected Poems (1988) and Early Poems and Juvenilia (2005), some unpublished pieces from Larkin's typescripts and workbooks are included, as well as verse--by turns scurrilous, satirical, affectionate, and sentimental--that had been tucked away in his letters. For the first time, Larkin's poems are given a comprehensive commentary. This draws critically upon, and substantially extends, the accumulated scholarship on Larkin, and covers closely relevant historical contexts, persons and places, allusions and echoes, and linguistic usage. Prominence is given to the poet's comments on his own work, which often outline the circumstances that gave rise to a poem or state that he was trying to achieve. Larkin often played down his literariness, but his poetry enrichingly alludes to and echoes the writings of many others. Archie Burnett's commentary establishes Larkin as a more complex and more literary poet than many readers have suspected.
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 1, Life and Times, traces Larkin's early years and follows his development, within his career as a university librarian, into one of the most important and popular voices in twentieth-century poetry. 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. Part 3, Reading Larkin, provides detailed critical commentary on many of the poems from his three major collections, The Less Deceived, The Whitsun Weddings and High Windows. Part 4, Reception, outlines the history of Larkin's reputation from the mid-1950s to the present, examining the debates to which his poetry has given rise. John Gilroy teaches at Anglia Ruskin University and for the University of Cambridge Institute of Continuing Education.
"The quality which [Andrew] Marvell had," T.S. Eliot remarked, "whether we call it wit or reason or even urbanity.is something precious and needed and apparently extinct." This selection does justice to every aspect of his poetry and demonstrates why he remains one of the best-loved poets in English. His life spans three ages: the reign of Charles I, the Commonwealth, and the Restoration. But however much his politics altered with history's altering seasons, his poetry is all of a piece, from the bold fairness of "An Horatian Ode Upon Cromwell's Return from Ireland" to the luminous visioni of nature in 'Upon Appleton House'. Philip Larkin admired Marvell's "hallucinatory images" and his "sudden sincerities that are as convincing in our age as his." As well as twenty-nine selected poems, this volume includes a concise introduction to Marvell and a brief guide to further reading.
James Booth reads Philip Larkin's mature poetry in terms of his ambiguous self-image as lonely, anti-social outsider, plighted to his art, and as nine-to-five librarian, sharing the common plight of humanity. Booth's focus is on Larkin's artistry with words, the 'verbal devices' through which this purest of lyric poets celebrates 'the experience. The beauty.' Featuring discussion for the first time of two recently discovered poems by Larkin, this original and exciting new study will be of interest to all students, scholars and enthusiasts of Larkin.
Empson has long been applauded for the dazzling intelligence and emotional passion of his poems. Praised in his lifetime by the likes of T.S. Eliot, Dylan Thomas and John Betjeman, his reputation contines to be high. His poems take a wide range of themes from metaphysics to melancholy, social climbing to political satire, and from love to loss.
Focusing on the significance of place, connection and relationship in three poets who are seldom considered in conjunction, Rory Waterman argues that Philip Larkin, R.S. Thomas and Charles Causley epitomize many of the emotional and societal shifts and mores of their age. Waterman looks at the foundations underpinning their poetry; the attempts of all three to forge a sense of belonging with or separateness from their readers; the poets’ varying responses to their geographical and cultural origins; the belonging and estrangement that inheres in relationships, including marriage; the forced estrangements of war; the antagonism between social belonging and a need for isolation; and, finally, the charged issues of faith and mortality in an increasingly secularized country.
A revelatory, intimate, and sympathetic study of Philip Larkin, an iconic poet and a much misunderstood man, offering fresh understanding of the interplay of his life and work. Philip Larkin (1922-1985) is one of the most beloved poets in English. Yet after his death a largely negative image of the man himself took hold; he has been portrayed as a racist, a misogynist and a narcissist. Now Larkin scholar James Booth, for seventeen years a colleague of the poet's at the University of Hull, offers a very different portrait. Drawn from years of research and a wide variety of Larkin's friends and correspondents, this is the most comprehensive portrait of the poet yet published. Booth traces the events that shaped Larkin in his formative years, from his early life when his his political instincts were neutralised by exposure to his father's controversial Nazi values. He studies how the academic environment and the competition he felt with colleagues such as Kingsley Amis informed not only Larkin's poetry, but also his little-known ambitions as a novelist. Through the places and people Larkin encountered over the course of his life, including Monica Jones, with whom he had a tumultuous but enduring relationship, Booth pieces together an image of a rather reserved and gentle man, whose personality-and poetry--have been misinterpreted by decades of academic study. Philip Larkin: Life, Art and Love reveals the man behind the words as he has never been seen before.