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
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 In addition to those that appear in Collected Poems (1988) and Early Poems and Juvenilia (2005), some unpublished pieces from Larkin's typescripts and workbooks are included, as well as verse—by turns scurrilous, satirical, affectionate, and sentimental—that had been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 poems, which often outline the circumstances that gave rise to a poem or state what 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 him as a more complex and more literary poet than many readers have suspected.
Philip Larkin met Monica Jones at University College Leicester in autumn 1946, when they were both twenty-four; he was the newly-appointed assistant librarian and she was an English lecturer. In 1950 Larkin moved to Belfast, and thence to Hull, while Monica remained in Leicester, becoming by turns his correspondent, lover and closest confidante, in a relationship which lasted over forty years until the poet's death in 1985. This remarkable unpublished correspondence only came to light after Monica Jones's death in 2001, and consists of nearly two thousand letters, postcards and telegrams, which chronicle - day by day, sometimes hour by hour - every aspect of Larkin's life and the convolutions of their relationship.
Philip Larkin's Required Writing, a selection from his miscellaneous prose from 1953-82, was highly praised and enjoyed when it appeared in 1983. Further Requirements gathers together many other interviews, broadcasts, statements and reviews. Some of them date from the period after he had chosen the contents of Required Writing; others come from obscure publications, including some early pieces. This second edition of Further Requirements includes two more essays by Larkin: 'Operation Manuscript' and his Introduction to Earth Memories by Llewelyn Powys.
Publisher: Macmillan International Higher Education
Category: Literary Criticism
Philip Larkin's poems brought him fame: he became an English institution in his own lifetime. However, since his death in 1985, and the subsequent publication of his letters, controversy has raged around his character and life. Part I of this essential introduction to Larkin's work: - takes a fresh look at the poems - leads the reader into close analysis of many of Larkin's masterful lyrics, demonstrating how to approach these enigmatic works - features chapters on the variety of voices in the poems, on social dilemmas and rituals, Larkin's depiction of society, and the poet's role - builds familiarity with Larkin's technique and the major concerns around which his poetry revolves - contains suggestions for further study at the end of each chapter. Part II provides the key background information students of Larkin need, including: - an account of the poet's life - discussion of his place in a cultural context, stretching from Modernism, through the postwar 'Movement' years and into the 1980s - historical background, from the rise of fascism in the 1930s to the height of the Cold War - a sample of major critical views of Larkin's work - suggestions for further reading. Providing students with the critical and analytical skills with which to approach the poems, this stimulating book helps readers to enjoy and explore Larkin's work, and to develop their own opinions with confidence.
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.
Philip Larkin's second collection, The Less Deceived was published by The Marvell Press in 1955, and now appears for the first time in Faber covers. The eye can hardly pick them out From the cold shade they shelter in, Till wind distresses tail and mane; Then one crops grass, and moves about - The other seeming to look on - And stands anonymous again. from 'At Grass'