Editing Philip Larkin (section)

==Creative output==
===Juvenilia and early works===
{{further|Brunette Coleman}}
{{Quote box |quoted=true
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 |quote=And kneel upon the stone,<br />For we have tried<br />All courages on these despairs,<br />And are required lastly to give up pride,<br />And the last difficult pride in being humble.
 |source=''from'' "Come then to prayers" (1946), ''[[Collected Poems – 1988 edition (Philip Larkin)|Collected Poems]]''
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From his mid-teens, Larkin "wrote ceaselessly", producing both poetry, initially modelled on Eliot and W. H. Auden, and fiction: he wrote five full-length novels, each of which he destroyed shortly after their completion.<ref>Bradford 2005, pp. 32–34.</ref> While he was at Oxford University, his first published poem, "Ultimatum", appeared in ''[[The Listener (magazine)|The Listener]]''. He developed a pseudonymous alter ego in this period for his prose: [[Brunette Coleman]]. Under this name he wrote two novellas, ''Trouble at Willow Gables'' and ''Michaelmas Term at St Brides'' (2002), as well as a supposed autobiography and an equally fictitious creative manifesto called "What we are writing for". Richard Bradford has written that these curious works show "three registers: cautious indifference, archly overwritten symbolism with a hint of Lawrence and prose that appears to disclose its writer's involuntary feelings of sexual excitement".<ref>Bradford 2005, p. 51.</ref>

After these works, Larkin began to write his first published novel ''[[Jill (novel)|Jill]]'' (1946). This was published by [[Reginald Caton|Reginald A. Caton]], a publisher of barely legal pornography, who also issued serious fiction as a cover for his core activities.<ref>Bradford 2005, p. 55.</ref> Around the time that ''Jill'' was being prepared for publication, Caton inquired of Larkin if he also wrote poetry. This resulted in the publication, three months before ''Jill'', of ''[[The North Ship]]'' (1945), a collection of poems written between 1942 and 1944 which showed the increasing influence of [[William Butler Yeats|Yeats]]. Immediately after completing ''Jill'', Larkin started work on the novel ''A Girl in Winter'' (1947), completing it in 1945. This was published by [[Faber and Faber]] and was well received, ''[[The Sunday Times]]'' calling it "an exquisite performance and nearly faultless".<ref>Bradford 2005, p. 77.</ref> Subsequently, he made at least three concerted attempts at writing a third novel, but none developed beyond a solid start.<ref>Bradford 2005, p. 75.</ref>

===Mature works===
[[File:William Butler Yeat by George Charles Beresford.jpg|upright|right|thumb|[[William Butler Yeats]], whose poetry was an influence on Larkin in the mid-1940s|alt=A posed black and white photograph of Yeats. He is wearing smart clothes and spectacles, while his hair looks a bit tousled]]
It was during Larkin's five years in [[Belfast]] that he reached maturity as a poet.<ref>Bradford 2005, p. 103.</ref> The bulk of his next published collection of poems, ''[[The Less Deceived]]'' (1955), was written there, though eight of the twenty-nine poems included were from the late 1940s. This period also saw Larkin make his final attempts at writing prose fiction, and he gave extensive help to Kingsley Amis with ''[[Lucky Jim]]'', which was Amis's first published novel. In October 1954 an article in ''[[The Spectator]]'' made the first use of the title [[The Movement (literature)|The Movement]] to describe the dominant trend in British post-war literature.<ref>Motion 1993, p. 242.</ref> Poems by Larkin were included in a 1953 [[International PEN|PEN]] Anthology that also featured poems by Amis and [[Robert Conquest]], and Larkin was seen to be a part of this grouping.<ref>Motion 1993, p. 243.</ref> In 1951, Larkin compiled a collection called ''XX Poems'' which he had privately printed in a run of just 100 copies. Many of the poems in it subsequently appeared in his next published volume.<ref name="PL Society"/> <!-- a better reference from Motion should be added here -->

In November 1955, ''The Less Deceived'', was published by the Marvell Press, an independent company in [[Hessle]] near Hull (dated October). At first the volume attracted little attention, but in December it was included in ''[[The Times]]''{{'}} list of ''Books of the Year''.<ref name="motion269">Motion 1993, p. 269.</ref> From this point, the book's reputation spread and sales blossomed throughout 1956 and 1957. During his first five years in Hull, the pressures of work slowed Larkin's output to an average of just two-and-a-half poems a year, but this period saw the writing of some of his best-known poems, such as "[[An Arundel Tomb]]", "[[The Whitsun Weddings]]" and "Here".<ref>{{cite book
 |first= Philip
 |last=Larkin
 |title=Collected Poems
 |year=1988
 |pages= 110–11, 114–5, 136–7}}
</ref>

In 1963, Faber and Faber reissued ''Jill'', with the addition of a long introduction by Larkin that included much information about his time at [[University of Oxford|Oxford University]] and his friendship with Kingsley Amis. This acted as a prelude to the publication the following year of ''[[The Whitsun Weddings]]'', the volume which cemented his reputation; a Fellowship of the [[Royal Society of Literature]] was granted to Larkin almost immediately. In the years that followed, Larkin wrote several of his most best-known poems, followed in the 1970s by a series of longer and more sober poems, including "The Building" and "The Old Fools".<ref>{{cite book
 |first= Philip
 |last=Larkin
 |title=Collected Poems
 |year=1988
 |pages= 191–3, 196–7, 208–9}}
</ref> 

All of these appeared in Larkin's final collection, ''[[High Windows]]'', which was published in June 1974. Its more direct use of language meant that it did not meet with uniform praise; nonetheless it sold over twenty thousand copies in its first year alone. For some critics it represents a falling-off from his previous two books,<ref>Swarbrick 1995, pp. 122–23.</ref> yet it contains a number of his much-loved pieces, including "[[This Be The Verse]]" and "The Explosion", as well as the [[High Windows (poem)|title poem]]. "Annus Mirabilis" (Year of Wonder), also from that volume, contains the frequently quoted observation that sexual intercourse began in 1963, which the narrator claims was "rather late for me". Bradford, prompted by comments in Maeve Brennan's memoir, suggests that the poem commemorates Larkin's relationship with Brennan moving from the romantic to the sexual.<ref>Bradford 2005, p. 212.</ref>

Later in 1974 he started work on his final major published poem, "Aubade". It was completed in 1977 and published in 23 December issue of ''[[The Times Literary Supplement]]''.<ref>Motion 1993, p. 468.</ref> After "Aubade" Larkin wrote only one poem that has attracted close critical attention, the posthumously published and intensely personal "Love Again".<ref>Bradford 2005, pp. 249–251.</ref>

===Poetic style===
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 |quote=I work all day, and get half-drunk at night.<br />Waking at four to soundless dark, I stare.<br />In time the curtain-edges will grow light.<br />Till then I see what's really always there:<br />Unresting death, a whole day nearer now,<br />Making all thought impossible but how<br />And where and when I shall myself die.
 |source=''from'' "Aubade" (1977), ''[[Collected Poems – 2003 edition (Philip Larkin)|Collected Poems]]''
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Larkin's poetry has been characterized as combining "an ordinary, colloquial style", "clarity", a "quiet, reflective tone", "ironic understatement" and a "direct" engagement with "commonplace experiences",<ref>Moran 2002, p. 151.</ref> while [[Jean Hartley]] summed his style up as a "piquant mixture of lyricism and discontent".<ref name="poetryarchive1">{{cite web
 |url=http://www.poetryarchive.org/poetryarchive/singlePoet.do?poetId=7076
 |title=Philip Larkin (1922–1985)
 |publisher=Poetryarchive.org
 |year=2008
 |access-date=6 May 2009
|archive-url=https://web.archive.org/web/20090507171728/http://www.poetryarchive.org/poetryarchive/singlePoet.do?poetId=7076
 |archive-date=7 May 2009
|url-status=dead
 }}</ref>

Larkin's earliest work showed the influence of Eliot, Auden and Yeats, and the development of his mature poetic identity in the early 1950s coincided with the growing influence on him of [[Thomas Hardy]].<ref name="bradford70"/> The "mature" Larkin style, first evident in ''The Less Deceived'', is "that of the detached, sometimes lugubrious, sometimes tender observer", who, in Hartley's phrase, looks at "ordinary people doing ordinary things". He disparaged poems that relied on "shared classical and literary allusions – what he called ''the myth-kitty'', and the poems are never cluttered with elaborate imagery."<ref>[[Jean Sprackland]], speaking on ''The Whitsun Weddings'' BBC Radio Four, 1 December 2013 [http://www.bbc.co.uk/programmes/b03jyp1k] {{Webarchive|url=https://web.archive.org/web/20131210021049/http://www.bbc.co.uk/programmes/b03jyp1k|date=10 December 2013}}</ref> Larkin's mature poetic persona is notable for its "plainness and scepticism". Other recurrent features of his mature work are sudden openings and "highly-structured but flexible verse forms".<ref name="poetryarchive1"/>

[[File:Thomashardy restored.jpg|upright|right|thumb|The poetry of [[Thomas Hardy]] was the influence that helped Larkin reach his mature style.|alt=A black and white photograph of Hardy from his late middle age. He is wearing smart, formal clothes, such as a stiff collar and tie. He has a well-tended handlebar moustache]]
Terence Hawkes has argued that while most of the poems in ''The North Ship'' are "metaphoric in nature, heavily indebted to Yeats's symbolist lyrics", the subsequent development of Larkin's mature style is "not ... a movement from Yeats to Hardy, but rather a surrounding of the Yeatsian moment (the metaphor) within a Hardyesque frame". In Hawkes's view, "Larkin's poetry ... revolves around two losses": the "loss of modernism", which manifests itself as "the desire to find a moment of epiphany", and "the loss of England, or rather the loss of the British Empire, which requires England to define itself in its own terms when previously it could define 'Englishness' in opposition to something else."<ref>Hawkes 1995, p. 285.</ref>

In 1972, Larkin wrote the oft-quoted "Going, Going", a poem which expresses a romantic [[fatalism]] in its view of England that was typical of his later years. In it he prophesies a complete destruction of the countryside, and expresses an idealised sense of national togetherness and identity: "And that will be England gone&nbsp;... it will linger on in galleries; but all that remains for us will be concrete and tyres". The poem ends with the blunt statement, "I just think it will happen, soon."<ref>{{cite book
 |first=Philip
 |last=Larkin
 |title=Collected Poems
 |year=1988
 |page=190}}
</ref>

Larkin's style is bound up with his recurring themes and subjects, which include death and fatalism, as in his final major poem "Aubade".<ref>Motion 1993, pp. 468–9.</ref> Poet [[Andrew Motion]] observes of Larkin's poems: "their rage or contempt is always checked by the ... energy of their language and the satisfactions of their articulate formal control". Motion contrasts two aspects of his poetic personality—on the one hand, an enthusiasm for "symbolist moments" and "freely imaginative narratives", and on the other a "remorseless factuality" and "crudity of language". Motion defines this as a "life-enhancing struggle between opposites", and concludes that his poetry is typically "ambivalent": "His three mature collections have developed attitudes and styles of ... imaginative daring: in their prolonged debates with despair, they testify to wide sympathies, contain passages of frequently transcendent beauty, and demonstrate a poetic inclusiveness which is of immense consequence for his literary heirs."<ref>{{cite book
 |first=Andrew
 |last=Motion
 |title= Philip Larkin and Symbolism
 |editor-first=Stephen
 |editor-last=Regan
 |year=1997
 |pages= 32, 49–50, 52–53
 |publisher=[[Palgrave Macmillan]]
 |isbn=978-0-333-60483-0}}
</ref>

===Prose non-fiction===
Larkin was a critic of [[modernism]] in contemporary art and literature. His scepticism is at its most nuanced and illuminating in ''Required Writing'', a collection of his book reviews and essays,<ref>James 1983.</ref> and at its most inflamed and polemical in his introduction to his collected jazz reviews, ''All What Jazz'', drawn from the 126 record-review columns he wrote for ''[[The Daily Telegraph]]'' between 1961 and 1971, which contains an attack on modern jazz that widens into a wholesale critique of modernism in the arts.<ref>{{cite journal
 |last1=Leggett 
 |first1=B.J 
 |title=Larkin's Blues: Jazz and Modernism 
 |journal=Twentieth Century Literature 
 |issue=Summer, 1996 
 |url=http://findarticles.com/p/articles/mi_m0403/is_n2_v42/ai_19259725/pg_4?tag=artBody;col1
 |archive-url=https://archive.today/20120712233210/http://findarticles.com/p/articles/mi_m0403/is_n2_v42/ai_19259725/pg_4?tag=artBody;col1
 |url-status=dead
 |archive-date=12 July 2012
|publisher=Hofstra University 
}}
</ref> Larkin (not unwillingly) acquired a reputation as an enemy of modernism, but recent critical assessments of Larkin's writings have identified them as possessing some modernist characteristics.<ref>Corcoran 2007, p. 147.</ref>