Sunday Sessions: Philip Larkin Reading His Poetry PDF Book
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Northern Irish Poetry After the Peace Process
No "Replicas/ Atone": Northern Irish Poetry After the Peace Process McConnell, G. (2018). No "Replicas/ Atone": Northern Irish Poetry After the Peace Process. Boundary 2, 45(1), 201-229. https://doi.org/10.1215/01903659-4295551 Published in: Boundary 2 Document Version: Peer reviewed version Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights Copyright 2018 Duke University Press. This work is made available online in accordance with the publisher’s policies. Please refer to any applicable terms of use of the publisher. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:27. Sep. 2021 1 No ‘replicas/ atone’: Northern Irish Poetry after the Peace Process Gail McConnell She’s dead set against the dead hand of Belfast’s walls guarding jinkered cul-de-sacs, siderows, bottled sloganlands, and the multinational malls’ slicker demarcations, their Xanadu of brands entwining mind and income. -
THE NOVELS and the POETRY of PHILIP LARKIN by JOAN SHEILA MAYNE B . a . , U N I V E R S I T Y of H U L L , 1962 a THESIS SUBMITT
THE NOVELS AND THE POETRY OF PHILIP LARKIN by JOAN SHEILA MAYNE B.A., University of Hull, 1962 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF M .A. in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1968 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his represen• tatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of English The University of British Columbia Vancouver 8, Canada April 26, 1968 ii THESIS ABSTRACT Philip Larkin has been considered primarily in terms of his contribution to the Movement of the Fifties; this thesis considers Larkin as an artist in his own right. His novels, Jill and A Girl in Winter, and his first volume of poetry, The North Ship, have received very little critical attention. Larkin's last two volumes of poetry, The Less Deceived and The Whitsun Weddings, have been considered as two very similar works with little or no relation to his earlier work. This thesis is an attempt to demonstrate that there is a very clear line of development running through Larkin's work, in which the novels play as important a part as the poetry. -
Rhyme, Meter, and Closure in Philip Larkin's •Œan Arundel Tomb"
Studies in English, New Series Volume 6 Article 26 1988 Rhyme, Meter, and Closure in Philip Larkin's “An Arundel Tomb" Elizabeth Gargano-Blair Iowa City Follow this and additional works at: https://egrove.olemiss.edu/studies_eng_new Part of the Literature in English, British Isles Commons Recommended Citation Gargano-Blair, Elizabeth (1988) "Rhyme, Meter, and Closure in Philip Larkin's “An Arundel Tomb"," Studies in English, New Series: Vol. 6 , Article 26. Available at: https://egrove.olemiss.edu/studies_eng_new/vol6/iss1/26 This Article is brought to you for free and open access by the Studies in English at eGrove. It has been accepted for inclusion in Studies in English, New Series by an authorized editor of eGrove. For more information, please contact [email protected]. Gargano-Blair: Rhyme, Meter, and Closure in Philip Larkin's “An Arundel Tomb" RHYME, METER, AND CLOSURE IN PHILIP LARKIN’S “AN ARUNDEL TOMB” Elizabeth Gargano-Blair Iowa City In his 1965 preface to The North Ship, Philip Larkin names three major poets who influenced his “undergraduate” and “post-Oxford” work: W. H. Auden, Dylan Thomas, and W. B. Yeats. He goes on to describe Yeats as the most potent, and potentially destructive, of these influences: “I spent the next three years trying to write like Yeats, not because I liked his personality or understood his ideas but out of infatuation with his music (to use the word I think Vernon [Watkins] used). In fairness to myself it must be admitted that it is a particularly potent music, pervasive as garlic, and has ruined many a better talent.”1 At a time when many young poets were resisting this “dangerous” music, fearful of losing poetic sense in mere sound, one challenge was to find new approaches to the use of rhyme and meter. -
The North Ship Author Summary
ST. LAWRENCE HIGH SCHOOL A JESUIT CHRISTIAN MINORITY INSTITUTION CLASS - IX ENGLISH TEXT STUDY MATERIAL TOPICS: THE NORTH SHIP DATE:09.11.2020 THE NORTH SHIP AUTHOR On August 9, 1922, Philip Larkin was born in Coventry, England. He attended St. John's College, Oxford. His first book of poetry, The North Ship, was published in 1945 and, though not particularly strong on its own, is notable insofar as certain passages foreshadow the unique sensibility and maturity that characterizes his later work.With his second volume of poetry, The Less Deceived (1955), Larkin became the preeminent poet of his generation. Like Hardy, Larkin focused on intense personal emotion but strictly avoided sentimentality or self-pity.In 1964, he confirmed his reputation as a major poet with the publication of The Whitsun Weddings, and again in 1974 with High Windows: collections whose searing, often mocking, wit does not conceal the poet's dark vision and underlying obsession with universal themes of mortality, love, and human solitude. Deeply anti-social and a great lover and published critic of American jazz, Larkin never married and worked as a librarian in the provincial city of Hull, where he died on December 2, 1985. SUMMARY The poem opens with the poet’s own view where he saw that three ships got ready to sail over the sea. It was a pleasant weather to sail by as the wind rose in the morning sky. Each ship was fully ready to go on a journey. The poet saw, the first ship went towards the west sea and it was full of wind and waves and that is how it reached to a wealthy country. -
Larkin's Earlier Poetry: a Affirmation of War Circumstances Dr
Pramana Research Journal ISSN NO: 2249-2976 Larkin's Earlier Poetry: A Affirmation of War Circumstances Dr. Mohammad Arif Assistant Professor University Institute of Liberal Arts Chandigarh University [email protected] Abstract: A broad appraisal of Larkin’s work between 1938 and 1945 suggests that the poems which were selected for publication in The North Ship were those which were more cautious and withdrawn in their attitudes to the war circumstances and therefore least controversial and least polemical. The horrible circumstances of the second World War, turned Larkin into a war poet who captured the harsh realities of a time when everything seemed to fall apart. The conditions of the 1940s diverted the interest of the young Larkin to a war-affected society. Larkin felt the need of the time and made sincere attempts to brood over his country both physically and psychologically. He was deeply out of sympathy with England and his earlier work should be read in light of the poet as a “wartime refugee” who wrote about a society affected by the situation of the 1940s. Introduction Alarmed by the overwhelming nature of contemporary reality, Philip Larkin has confined himself to the erupting fallout of the post-war decline. Like other Movements poets who were concerned with tracing the “ historical and social circumstances of their time.” ( Swarbrick 71), Larkin’s poetry too, cannot be “ abstracted from the social and political history of those post-war years.” as Regan rightly observes ( PL 23). Essentially “a wry commentator” on the straitened circumstances of contemporary Britain.” (Regan 12). In fact, it might be argued that in the poetry of Philip Larkin, we not only see the image of T.S. -
At Death, You Break Up: Philip Larkin's Struggle with Mortality
Title "At death, you break up" : Philip Larkin's struggle with mortality Author(s) Harada, Keiko Citation Osaka Literary Review. 25 P.16-P.28 Issue Date 1986-12-20 Text Version publisher URL https://doi.org/10.18910/25542 DOI 10.18910/25542 rights Note Osaka University Knowledge Archive : OUKA https://ir.library.osaka-u.ac.jp/ Osaka University "At death , you break up" — Philip Larkin's struggle with mortality — Keiko Harada — "Do you think much about growing older? Is it something that worries you?" — "Yes, dreadfully. If you assume you're going to live to be seventy, seven decades, and think of each decade as a day of the week, starting with Sunday, then I'm on Friday afternoon now. Rather a shock, isn't it? If you ask why does it bother me, I can only say I dread endless extinction. 1) As if he had intended to build up his career along clear landmarks, Philip Larkin published his poetry volumes at the rate of one per decade: The North Ship in 1945, The Less Deceived in 1955, The Whitsun Weddings in 1964 and High Windows in 1974. The poet's sudden death on 2 December, 1985, at the age of sixty-three, unfortunately, left our hope for a final volume unfulfilled. Throughout these four volumes, Larkin has dedicated himself to writing about the 'unhappiness' of people caught up in time: "Deprivation is for me what daffodils were for Wordsworth"?) The recurring themes are 'memory', 'passage of time', 'old age' and 'death'. Larkin insistently dealt with them again and again. -
The Thought of High Windows
The Thought of High Windows Lynne Kositsky Kids Can Press Text © 2004 Lynne Kositsky Cover photograph © 2004 Lorraine Parow All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, without the prior written permission of Kids Can Press Ltd. or, in case of photocopying or other reprographic copying, a license from The Canadian Copyright Licensing Agency (Access Copyright). For an Access Copyright license, visit www.accesscopyright.ca or call toll free to 1-800-893-5777. This is a work of fiction and any resemblance of characters to persons living or For Roger: dead is purely coincidental. Kids Can Press acknowledges the financial support of the Government of My dearest Elephant, Ontario, through the Ontario Media Development Corporation’s Ontario Book Initiative; the Ontario Arts Council; the Canada Council for the Arts; and the My far-away yet close companion, Government of Canada, through the BPIDP, for our publishing activity. My little brother, Published in Canada by Published in the U.S. by My always friend. Kids Can Press Ltd. Kids Can Press Ltd. 29 Birch Avenue 2250 Military Road Toronto, ON M4V 1E2 Tonawanda, NY 14150 www.kidscanpress.com Edited by Charis Wahl Designed by Julia Naimska Excerpt from “High Windows” from COLLECTED POEMS by Philip Larkin. Copyright © 1988, 1989 by the Estate of Philip Larkin. Reprinted by permission of Farrar, Straus and Giroux, LLC. Printed and bound in Canada CM 04 0 9 8 7 6 5 4 3 2 1 CM PA 04 0 9 8 7 6 5 4 3 2 1 National Library of Canada Cataloguing in Publication Data Kositsky, Lynne, 1947– The thought of high windows / Lynne Kositsky. -
1. Philip Larkin
Notes References to material held in the Philip Larkin Archive lodged in the Brynmor Jones Library, University of Hull (BJL), are given as file numbers preceded by 'DPL'. 1. PHILIP LARKIN 1. Harry Chambers, 'Meeting Philip Larkin', in Larkin at Sixty, ed. Anthony Thwaite (London: Faber and Faber, 1982) p. 62. 2. John Haffenden, Viewpoints: Poets in Conversation (London, Faber and Faber, 1981) p. 127. 3. Christopher Ricks, Beckett's Dying Words (Oxford: Oxford University Press, 1993). 4. D. J. Enright, 'Down Cemetery Road: the Poetry of Philip Larkin', in Conspirators and Poets (London: Chatto & Windus, 1966) p. 142. 5. Hugo Roeffaers, 'Schriven tegen de Verbeelding', Streven, vol. 47 (December 1979) pp. 209-22. 6. Andrew Motion, Philip Larkin: A Writer's Life (London: Faber and Faber, 1993). 7. Philip Larkin, Required Writing (London: Faber and Faber, 1983) p. 48. 8. See Selected Letters of Philip Larkin 1940-1985, ed. Anthony Thwaite (London: Faber and Faber, 1992) pp. 648-9. 9. DPL 2 (in BJL). 10. DPL 5 (in BJL). 11. Kingsley Amis, Memoirs (London: Hutchinson, 1991) p. 52. 12. Philip Larkin, Introduction to Jill (London: The Fortune Press, 1946; rev. edn. Faber and Faber, 1975) p. 12. 13. Donald Davie, Thomas Hardy and British Poetry (London: Routledge & Kegan Paul, 1973) p. 64. 14. Required Writing, p. 297. 15. Blake Morrison, 'In the grip of darkness', The Times Literary Supplement, 14-20 October 1988, p. 1152. 16. Lisa Jardine, 'Saxon violence', Guardian, 8 December 1992. 17. Bryan Appleyard, 'The dreary laureate of our provincialism', Independent, 18 March 1993. 18. Ian Hamilton, 'Self's the man', The Times Literary Supplement, 2 April 1993, p. -
We Met at the End of the Party’
APPENDIX: ‘Be my Valentine this Monday’ and ‘We met at the end of the party’ These poems came to light in 2002, as a result of a complicated sequence of events. Following Monica Jones’s death on 15 February 2001, the staff of the Brynmor Jones Library, Hull, cleared 105 Newland Avenue of Larkin’s remaining books and manuscripts. The Philip Larkin Society then purchased the remaining non-literary items: furniture, pictures and ornaments. These were removed in late 2001 and early 2002, and are now on long-term loan to the Hull Museums Service and the East Riding Museum Service. Both searches missed a small dark red ‘©ollins Ideal 468’ hard-backed manu- script notebook which had slipped behind the drawers of a bedside cabinet. This cabinet was removed by the house-clearer with the final debris, and subse- quently fell into the hands of a local man, Chris Jackson, who contacted the Larkin Society. I confirmed the authenticity of the book in a brief meeting with Mr Jackson in the Goose and Granite public house in Hull on 17.vii.2002. The notebook seems initially to have been intended for ‘Required Writing’, which Larkin wished to keep separate from the drafts in his workbooks proper. The first eleven sides are occupied by pencil drafts of ‘Bridge for the Living’, dated between 30 May 1975 and 27 July 1975. These are followed by notes on Thomas Hardy and other topics. Seven months later, however, Larkin used the book again, this time for more personal writing. The central pages were left blank but on the final five sides he wrote pencil drafts, dated between 7 February 1976 and 21 February 1976, of ‘Morning at last: there in the snow’, ‘Be my Valentine this Monday’ and ‘We met at the end of the party’. -
Book REVIEW S
BooK REVIEW S Holy Days of Obligation. By Susan Zettell. Winnipeg: Nuage Edi tions, 1998. 160 pages. $14.95 paper. Given a tomato still warm out of the garden, you instinctively bring it to your nose and take a deep breath. The essence of fresh tomato, the memo1y of eve1y perfect tomato eaten, the smell of summer. In Ho~y Days of Obligation, Susan Zettell brings memory to instant life with writing that connects to all the senses. The fift een stories in Holy Days of Obligation move forward and back in time. as mem01y makes one connection, then another in a family histo1y: the after-rain smell of worms in the backyard brings back a fishing trip; the steaming wool of ironed trousers evokes the winter mem01y of nine pairs of sodden mittens drying over the furnace vents. And the perfect tomato sand wich is insisted on by a dying man who won't give up the memory of appe tite. Bertie is the oldest child, big sister, responsible for helping with eight younger siblings. Nine children- the pattern of names sung into the suppertime dusk: ·'Bertie-Catherine-Margaret-Robert-David-Ronnie-Michael-Sancly-Simon." The siblings appear here and there in Zettell's stories as distinct personalities, but more often as part of a sticky. noisy, earful or houseful of too many bodies. Frank and Elizabeth are always "our father," "our mother," never just Bertie·s. The young Bertie watches and remembers. if she doesn't always understand at the time: "I feel as if I'm more eyes and ears than anything else . -
Yorkshire Poetry, 1954-2019: Language, Identity, Crisis
YORKSHIRE POETRY, 1954-2019: LANGUAGE, IDENTITY, CRISIS Kyra Leigh Piperides Jaques, BA (Hons) and MA, (Hull) PhD University of York English & Related Literature October 2019 This work was supported by the Arts & Humanities Research Council (grant number AH/L503848/1) through the White Rose College of the Arts & Humanities. ABSTRACT This thesis explores the writing of a large selection of twentieth- and twenty-first- century East and West Yorkshire poets, making a case for Yorkshire as a poetic place. The study begins with Philip Larkin and Ted Hughes, and concludes with Simon Armitage, Sean O’Brien and Matt Abbott’s contemporary responses to the EU Referendum. Aside from arguing the significance of Yorkshire poetry within the British literary landscape, it presents poetry as a central form for the region’s writers to represent their place, with a particular focus on Yorkshire’s languages, its identities and its crises. Among its original points of analysis, this thesis redefines the narrative position of Larkin and scrutinizes the linguistic choices of Hughes; at the same time, it identifies and explains the roots and parameters of a fascinating new subgenre that is emerging in contemporary West Yorkshire poetry. This study situates its poems in place whilst identifying the distinct physical and social geographies that exist, in different ways, throughout East and West Yorkshire poetry. Of course, it interrogates the overarching themes that unite the two regions too, with emphasis on the political and historic events that affected the region and its poets, alongside the recurring insistence of social class throughout many of the poems studied here. -
Annualreport-10-11.Pdf
1 August 2010 – 31 July 2011 A n n u a l r e p o r t Contents A message from the Chancellor | 1 A message from the Chair of Council | 2 A message from the Vice-Chancellor | 3 A new strategic plan | 4 Anchor institution | 6 International engagement | 8 Enterprise and links with industry | 10 Overview of research developments | 11 Interdisciplinary themes Connected communities | 12 Creative economy | 13 Energy and the environment | 14 Ethics and social justice | 16 Global economy and security | 17 Health and wellbeing | 18 International maritime | 19 Learning and teaching | 20 Student experience | 22 The Hull Graduate | 23 Appointments | 24 Achievements | 26 Multi-campus strategy | 27 Distinguished visitors | 28 Accounts overview | 32 Student profile | 36 Institutional profile | 38 Front-cover image: For further information or to order Produced by Philip Larkin by Martin additional copies of this publication, please Claire Mulley Jennings, at Paragon contact Media and PR Manager Interchange. Anthony Allen University of Hull Head of Marketing and Communications Hull, HU6 7RX, UK +44 (0)1482 466674 www.hull.ac.uk [email protected] This publication can be viewed online at www.hull.ac.uk/annualreport_2010 and is available in alternative formats on request. A messge from the Chncellor As I reflect on nother yer, I recll the University of Hull’s long nd distinguished history of providing first-clss eduction nd rewrding life experiences to students from ll over the world. Ech yer s Chncellor when I confer degrees t grdution, it gives me gret plesure to ply smll prt in the ceremonies which re the culmintion of yers of cdemic study nd commitment.