High Windows is a collection of poems by English poet Philip Larkin, was published in 1974 by Faber and Faber Limited. The available paperback version was first published in Britain in 1979; the collection is the last publication of new poetry by Larkin before his death in 1985, it contains some of his most famous poems, including the title piece, "High Windows", "Dublinesque", "This Be The Verse". The collection contains themes presented in his earlier collections, though the tone of the poems caused critics to suggest the book is darker and more "socially engaged" than his earlier volumes, it is on the AQA AS/A2 level English Literature syllabus. The volume contains 24 poems: Clive James, in As of this writing, describes High Windows as Larkin's bleakest volume of poetry, though he does admit that there are aspects of the poetry that contain the humour found in Larkin's earlier books of poetry. James suggests that Larkin has never liked the idea of a poet "Developing" and that Larkin himself remains the same throughout his career as a poet.
High Windows, in James's opinion, shows that Larkin strives, with the addition of each poem, to state more the same principles shown by his early works and concludes that "The total impression of High Windows is of despair made beautiful." The following is the blurb from the published book. "When Philip Larkin's High Windows first appeared, Kingsley Amis spoke for a large and loyal readership when he wrote:'Larkin's admirers need only be told that he is as good as here, if not better.' Like Betjeman and Hardy, Larkin is a poet who can move a large audience — to laughter and to tears — without betraying the highest artistic standards."
The North Ship
The North Ship is the debut collection of poems by Philip Larkin, published in 1945 by Reginald A. Caton's Fortune Press. Caton expected them to buy a certain number of copies themselves. A similar arrangement had been used in 1934 by Dylan Thomas for his first anthology; some of the poems were composed while Larkin was an undergraduate at the University of Oxford, but the bulk were written in the period 1943 to 1944 when he was running the public library in Wellington and writing his second novel A Girl in Winter. The volume was published again, by Faber and Faber Limited. In the 1945 version there are 31 items, numbered with Roman numerals; the last of these, "The North Ship" is a set of five poems tracking a ship's northward progress. Of the 30 single poems, only seven have titles. In the 1966 reissue an extra poem, "Waiting for breakfast, while she brushed her hair" was added at the end; this edition is still in print. The North Ship constitutes the first part of the 2003 edition of Larkin's Collected Poems.
The book contains 32 poems: Ellipsis indicates first line of an untitled poem List of poems by Philip Larkin – a complete list of all the known poems, both published and unpublished, their date of composition
A Girl in Winter
A Girl in Winter is a novel by Philip Larkin, first published in 1947 by Faber and Faber. It was published in the USA in 1962 by St Martin's Press; the main character in the novel is a library assistant. The action is condensed into a twelve-hour period in which she has to leave work to escort a colleague, taken ill; the incident results indirectly in her realisation that she no longer cares for Robin, an old love interest she had as a teenager. Larkin himself stated that he had intended to write further novels, but he published no more fiction after A Girl in Winter because of a shortage of material on which to draw for inspiration. John Osborne called it "the most underestimated work in the Larkin canon" and "a harbinger of greatness"; the book was adapted for radio and broadcast on BBC Radio Four in 2013, along with an adaptation of Larkin's first novel, Jill
The Less Deceived
The Less Deceived, first published in 1955, was Philip Larkin's first mature collection of poetry, having been preceded by the derivative North Ship from The Fortune Press and a printed collection, a small pamphlet titled XX Poems, which Larkin mailed to literary critics and authors. Larkin was unaware that postal rates had gone up, most recipients, when asked to pay the difference for delivery of a pamphlet by a little-known writer, turned them away. Despite this setback, 13 of the 20 poems, together with 16 new poems, were published to much acclaim in 1955 as The Less Deceived, selected as a book of the year by the Times Literary Supplement and went through several impressions. Put out by The Marvell Press, a small operation run by the enterprising and persistent George Hartley in Hessle, East Yorkshire, the book through the depth of its appeal, the formal skill of its verse, its consistent striking of Larkin's distinctive tone gained wide readership. By the end of 1955 The Less Deceived was recognized as one of the outstanding collections of the year.
The first poem in it, chronologically, to be written was "Going," of February 1946. It is about death, according to Andrew Motion, is the kind of poem for which Larkin "is so regarded as an unrelievedly pessimistic poet" Its concluding lines, "What is under my hands, / That I cannot feel? / What loads my hands down?", presage the helplessness, the dread of the atrophying of emotion, the despair, the magnetic terror of death in the poems that follow. These are Larkin's most persistent themes. Throughout the collection, the feeling of diminishment and loss is pervasive, whether in the visit of a cyclist to a church in the volume's best known poem, "Church Going," or in the alienation of the speaker looking at a photograph of a young lady, or in the man in "Toads" beaten by work into an imprisonment he wills, or in the "I" who "starts to be happy" when light strikes on the "foreheads" of houses. "Beneath it all," ends the poem "Wants," "desire of oblivion runs." This desire for death horrifies and allures.
Philip Larkin said on more than one occasion that his discovery of Thomas Hardy's poetry was a turning point in the writing of his own poetry: "I don't think Hardy, as a poet, is a poet for young people. I know it sounds ridiculous to say I wasn't young at twenty-five or twenty-six, but at least I was beginning to find out what life was about, that's what I found in Hardy. In other words, I'm saying that what I like about him is his temperament and the way he sees life. He's not a transcendental writer, he's not a Yeats, he's not an Eliot; when I came to Hardy it was with the sense of relief that I didn't have to try and jack myself up to a concept of poetry that lay outside my own life -- this is what I felt Yeats was trying to make me do. One could relapse back into one's own life and write from it. Hardy taught one to feel rather than to write -- of course one has to use one's own language and one's own jargon and one's own situations -- and he taught one as well to have confidence in what one felt.
I have come, I think, to admire him more than I did then."The poems in The Less Deceived are formalist. Like his admired Thomas Hardy, Larkin invents stanza forms of intricate patterns that become one with the content of the poems, his rigorous adherence to these patterns brings the sadness into sharp relief and gives the emotions their authority. The poet's refusal to publish any but the most realized poems marked him, from this book onward, as a literary artist of high accomplishment. With this book Larkin became, albeit unwittingly, a spokesman for his times. Written in a post–World War II England that only half acknowledged its lessening position as a global and economic power, The Less Deceived resonated because it brought forth with disarming candor England's buried sense of itself. Lines on a Young Lady's Photograph Album Wedding-Wind Places, Loved Ones Coming Reasons for Attendance Dry-Point Next, Please Going Wants Maiden Name Born Yesterday Whatever Happened? No Road Wires Church Going Age Myxomatosis Toads Poetry of Departures Triple Time Spring Deceptions I Remember, I Remember Absences Latest Face If, My Darling Skin Arrivals, Departures At Grass List of poems by Philip Larkin
Jill is a novel by English writer Philip Larkin, first published in 1946 by The Fortune Press, reprinted by Faber and Faber in 1964. It was written between 1943 and 1944, when Larkin was twenty-one years old and an undergraduate at St John's College, Oxford; the novel is set in wartime Oxford. Protagonist John Kemp is a young man from "Huddlesford" in Lancashire. With great sympathy it analyses his emotions at this first experience of privileged southern life. Awkward and inexperienced, Kemp is attracted by the reckless and dissipated life of his roommate Christopher Warner, a well-off southerner who has attended a minor public school, tellingly called "Lamprey College"; the eponymous Jill is Kemp's imaginary sister. Kemp discovers a real-life Jill called Gillian, the 15-year-old cousin of Warner's friend Elizabeth. Kemp becomes infatuated with Gillian, but his advances are thwarted by Elizabeth and rebuffed by Gillian. Larkin writes of his own experiences of Oxford during the war in the Introduction he added for the republication by Faber and Faber in 1964: Life in college was austere.
Its pre-war pattern had been dispersed, in some instances permanently … This was not the Oxford of Michael Fane and his fine bindings, or Charles Ryder and his plovers' eggs. It had a distinctive quality. A boy with the surname Bleaney makes a fleeting appearance in'Jill' as one of John Kemp's classmates at Huddlesford Grammar School. Larkin used this unusual surname in his well-known poem'Mr Bleaney', although there is nothing to indicate that it refers to the same person. Larkin himself was convinced that the novel was never more than a juvenile'indiscretion' and that the plot was weak and'immature', his first draft was censored by the printer's manager and Larkin wrote: "I am sick of the Fortune Press. They only publish dirty novels and any printer who does their work is extra suspicious." No manuscript version of the novel has survived. Bloomfield, in his 1979 bibliography, records that the original typescript was thrown away by the author; when the book was re-published by Faber and Faber, Larkin ensured that the censorship of some of the intended expletives was reversed.
The book was published in the USA, first by St. Martin's Press in 1965 and in 1976, by The Overlook Press, a small American publisher with a reputation for stylish limited editions. Jill was published in paperback by Faber and Faber, ISBN 0-571-22582-9 in 2005. Trouble at Willow Gables and Other Fiction 1943-1953 A Girl in Winter and Faber, London Philip Larkin: Required Writing and Faber, London Collected Poems – 1988 edition, introd. by Anthony Thwaite, The Marvell Press-Faber and Faber. Calstock: Peterloo Poets Philip Larkin: A Writer's Life, Andrew Motion The Devil at Oxford: Philip Larkin's Jill by Nina Chasteen
An Arundel Tomb
"An Arundel Tomb" is a c. 1956 poem by Philip Larkin published in 1964 in his collection The Whitsun Weddings. It describes the poet's emotional response to seeing a pair of recumbent medieval tomb effigies, with their hands joined, in Chichester Cathedral; the poem comprises 7 verses of 6 lines each, each with rhyme scheme ABBCAC. The effigies in Chichester Cathedral are now identified as those of Richard FitzAlan, 10th Earl of Arundel and his second wife, Eleanor of Lancaster; the couple were buried in the chapter house of Lewes Priory, their monument may have been fashioned by the master mason Henry Yevele: documentary evidence survives relating to the shipping of two "marble" tombs for them in January 1375 from Poole Harbour to London at Yevele's behest. Having first been erected at Lewes Priory, the effigies were moved to Chichester following the priory's dissolution in 1537; the earliest certain record of their presence in the cathedral dates from 1635. The male figure is in armour, bears a lion rampant on his coat armour, a lion's head couped as a crest on the helm beneath his head.
The female figure wears a veil, wimple, a long gown and a mantle, all characteristic dress of the 14th century. In a feature common to many English tombs of this period, he has a lion at his feet, while she has a dog: the lion may indicate valour and nobility, the dog loyalty, he has his right hand ungloved, her right hand rests upon his. The hand-joining pose is unusual, but by no means unparalleled in England in this period. Three near-contemporary examples were the alabaster effigies of Thomas de Beauchamp, 11th Earl of Warwick and Katherine Mortimer in St Mary's Church, Warwick. There were close connections between these patrons – Eleanor and Blanche of Lancaster, for example, were aunt and niece – and it is that all were aware of one another's burial choices, it is possible that all four monuments were the products of Yevele's workshop: Gaunt's monument was Yevele's work, the Arundel monument may well have been, the Stapleton brass was in a style associated with him. Example of the pose, which may have been inspired by the Arundel monument, include two commemorating two of the Earl and Countess's grandchildren: a brass to Sir William Arundel and his wife Agnes in Rochester Cathedral.
Although many modern observers have – like Larkin – read the linking of hands as a sign of romantic love and affection, it seems more that the gesture was intended to suggest the formal and legal bonds of matrimony. By the 19th century, the Arundel effigies had become badly mutilated, separated from one another, being placed against the north wall of the northern outer aisle of the Cathedral, with the woman at the feet of the man. In 1843 Edward Richardson was commissioned to restore them, it was Richardson, responsible not for reuniting them side by side, but for carving the present joined hands, the original hands having been lost. His research was conscientious, the evidence would suggest that his restoration was reasonably faithful to the original; the monument bears no inscription, it is that Larkin's reference to "the Latin names around the base" was inspired by a card label placed by the cathedral authorities. Larkin is believed to have visited Chichester Cathedral in 1955. In an audio recording of the poem, he stated that the effigies were unlike any he had seen before, that he found them "extremely affecting".
Larkin draws inspiration from this scene to muse on time and the nature of earthly love. The poem begins: and concludes: The poem was one of the three read at Larkin's memorial service, its final line is among the most quoted of all of Larkin's work. When cited out of context, it may be taken as "sentimental" endorsement of "love enduring beyond the grave", while the poem as a whole is much more sceptical, dedicated to challenging the simple romantic notion if in the end it is conceded to have "an inevitable ring of truth – if only because we want so much to hear it"; the final lines of the poem are inscribed on the memorial stone to Larkin, unveiled on 2 December 2016 at Poets' Corner in Westminster Abbey. Larkin told his friend Anthony Thwaite that he never cared for the poem, because he had muddled up his hands and gauntlets, because the monument itself was a Victorian restoration. List of poems by Philip Larkin Foster, Paul. An Arundel Tomb. Otter Memorial Paper. 1. Chichester: Bishop Otter College Trustees.
ISBN 0-948765-29-1. Tummers, Harry. "The medieval effigial tombs in Chichester Cathedral". Church Monuments. 3: 3–41. Tummers, H. A.. "Church monuments". In Hobbs, Mary. Chichester Cathedral: an historical survey. Chichester: Phillimore. Pp. 203–224
Larkin 25 was an arts festival and cultural event in Kingston upon Hull, organised to mark the 25th anniversary of the death of the poet and University of Hull librarian, Philip Larkin. The festival was launched at Hull Truck Theatre on 14 June 2010 and concluded on 2 December 2010, the twenty-fifth anniversary of the poet's death, with the unveiling of a statue in his likeness at Hull Paragon Interchange. Larkin was born in Coventry and lived in Hull while he was head librarian at the Brynmor Jones Library from 1955 until his death in 1985. Larkin was a jazz critic for The Daily Telegraph between 1961 and 1971, he lived for much of this time in a flat in Pearson Park in Hull near the University, in a house at Newland Park. The Larkin 25 festival coincided with Hull's annual literature festival,'Humber Mouth', included walking tours and photography exhibitions, musical events and an exhibition of Larkin memorabilia. A compilation of Larkin's favourite jazz recordings titled "Larkin's Jazz" was released in conjunction with the festival.
In June, Sir Tom Courtenay visited the University of Hull to perform a one-man play, Larkin Revisited, repeated the performance at Hull Truck Theatre in November 2010. A Hull city bus was named "Philip Larkin" by Sir Andrew Motion in honour of the poet. On 7 October 2010, "Poetry on the Buses" was launched in Hull and East Yorkshire to coincide with National Poetry Day. Forty of Larkin's poems were displayed on East Yorkshire Motor Services vehicles until the end of the festival in December 2010; the centrepiece of the festival was a public art display and trail, "Larkin with Toads", launched in the city centre on Saturday 17 July. It consisted of 40 fibre-glass toad sculptures, each painted with a unique design created by artists and local people inspired by Larkin's poems about working life and Toads Revisited. Examples of the designs included a "Larkin toad", a "Punk toad", a "Tiger Toad" and a "Typographical toad" adorned with Larkin's poetry; the toads were auctioned for charity at the end of the event, though there were calls to make them a permanent feature.
Most of the sculptures have been removed and transported to their new owners but some remained in situ after the sale. On 26 September 2010 it was reported that the toads had been auctioned for £60,000 though some had hoped their popularity could have made them a permanent feature; the Larkin toad trail covered many locations in the city centre, such as Hull Paragon Interchange, Hull Truck Theatre, the Museums Quarter and The Deep. There were toads in Princes Quay and Prospect shopping centres. Other toads were located in outlying areas, such as The Avenues and the university, with some beyond Hull's boundaries in areas of the East Riding of Yorkshire familiar to Larkin, including one in Beverley. By late July 2010 the Hull Daily Mail reported that over 30,000 guides had been distributed and a marketing company was employed to manage the high level of public interest. During the festival some Larkin toads were stolen. A'punk toad' near Hull Truck Theatre had its mohican hair ripped off, an'astronaut toad' outside the railway station was damaged.
The organisers made the toads more resilient to vandalism. The Magenta Toad was stolen from Melton, it was found dumped by the A63 and recovered for repair. A report after the event has suggested that the toad trail brought about £1 million in to the local economy. On the 25th anniversary of his Larkin's death, Thursday 2 December 2010, the festival concluded with the unveiling of a life-size bronze statue at Hull Paragon Interchange by the Lord Mayor. Funding for the £100,000 statue was raised during the festival; the unveiling was accompanied by Nathaniel Seaman's Fanfare for Larkin, specially composed to mark the occasion. Martin Jennings produced the sculpture using photographs from the University of Hull's Larkin Research Centre and researched his poems and biography to "get a sense of the man." He worked on the maquette for the finished casting at his studio in Oxfordshire. Professor James Booth of the Philip Larkin Society described the statue as, "magnificent, refined the Larkin I'm familiar with."
The statue was gifted to the people of Hull by the Philip Larkin Society. On 2 December 2011, a year since the original unveiling ceremony, five additional slate roundels containing inscriptions of Larkin's poems were installed in the floor space around the statue; the sculpture has become a popular subject for photography at the Interchange. In December 2012 a memorial bench was installed around a pillar near the statue; the Daily Telegraph opined that the reclusive Larkin would be unimpressed by the event and Stephen McClarence in The Times observed that "the city is celebrating this year's 25th anniversary of his death in fine style." Plans for the sculpture trail were criticised because of concerns about expenditure during the late-2000s recession but the event went ahead. Artists were invited to design a sponsorship invited; when the toads were displayed the Hull Daily Mail reported that opinion had shifted in favour of the sculptures and an online poll recorded a majority of readers favouring the event.
In December 2010 the Hull Daily Mail described the exhibition as "hugely successful". Thwaite, Anthony. "Toad trip 25 years on". New Statesman. Retrieved 3 August 2010. Larkin 25 Festival – official website BBC Humberside slideshow of Larkin with Toad trail Larkin 25 on Flickr.com'Larkin with Toads' Education information Larkin with Toads design gallery Map of Larkin with Toads city trail Interactive map showing location of the toads, with a picture of each