Next, Please by Philip Larkin Always too eager for the future, we Pick up bad habits of expectancy.

Something is always approaching; every day Till then we say, atching from a bluff the tiny, clear Sparkling armada of promises draw near. !ow slow they are" And how much time they waste, #efusing to make haste" $et still they leave us holding wretched stalks %f disappointment, for, though nothing balks &ach big approach, leaning with brasswork prinked, &ach rope distinct, 'lagged, and the figurehead wit golden tits Arching our way, it never anchors; it(s )o sooner present than it turns to past. #ight to the last e think each one will heave to and unload All good into our lives, all we are owed 'or waiting so devoutly and so long. *ut we are wrong+ %nly one ship is seeking us, a black, Sailed unfamiliar, towing at her back A huge and birdless silence. -n her wake )o waters breed or break.

.+ )ext, Please +. -n this poem .arkin is criticising the tendency of people to always look to the future while always neglecting the present. -n the first two lines he sets a critical tone, saying that we are (too eager( and pick up (bad habits(. !e takes on this persona and describes our wishes as (always approaching(; this implies that they never actually arrive. The poem is dominated by the image introduced in the second stan/a, that of our hopes as (a sparkling armada of promises( that approaches the (bluff( we all stand on. e ironically reflect on (how much time they waste( when it is us wasting our lives by not living in the present. These ships (never anchor(, leaving us (holding wretched stalks of disappointment(. .arkin chooses this metaphor because a stalk represents the potential of a flower, 0ust as we are left with only potential and no time to fulfil it. The poet says that (right to the last( we think that each ship will (heave to and unload1 all good into our lives(. This means that right up to our death, we do not learn from our mistakes. -n the last stan/a .arkin describes the only ship we have not been searching for, (a black sailed unfamiliar( that represents death. !e describes this ship as (towing at her back1 a huge and birdless silence( making it seem eerie and sinister. These 2ualities are particularly emphasised by the brevity of the last sentence (-n her wake1 )o waters breed or break.(

Philip Larkin 'rom ikipedia, the free encyclopedia

Photograph by 'ay 3odwin Born 4 August 5466 7oventry, arwickshire 8now in est 9idlands:, &ngland

Died Cause of death Nationality Alma mater Occupation

6 ;ecember 54<= 8aged >?: !ull, !umberside 8now in &ast #iding of $orkshire:, &ngland %esophageal cancer *ritish St @ohn(s 7ollege, %xford Poet, )ovelist, @a// critic, .ibrarian

Philip Arthur Larkin, 7!, 7*&, '#S. 84 August 5466 A 6 ;ecember 54<=:, was a *ritish poet, novelist and 0a// critic. !e spent his working life as a university librarian and was offered the Poet .aureateship following the death of @ohn *et0eman but declined the post. .arkin is commonly regarded as one of the greatest &nglish poets of the latter half of the twentieth century. !e first came to prominence with the publication in 54== of his second collection, The Less Deceived. This was followed by The Whitsun Weddings and High Windows in 54>B and 54CB, respectively. -n 6DD?, .arkin was chosen as Ethe nation(s best,loved poetE in a survey by the Poetry *ook Society,F5G and in 6DD< The Times named .arkin as the greatest *ritish post,war writer.F6G .arkin was born in the city of 7oventry, est 9idlands, &ngland. 'rom 54?D to 54BD, he was educated at Hing !enry I--- School in 7oventry and, in %ctober 54BD, in the midst of the Second orld ar, went up to St @ohn(s 7ollege, %xford, to read &nglish language and literature. !aving been re0ected for military service because of his poor eyesight, he was able, unlike many of his contemporaries, to follow the traditional full,length degree course, taking a first,class degree in 54B?. hilst at %xford, he met Hingsley Amis, who would become a lifelong friend and fre2uent correspondent. Shortly after graduating, he was appointed municipal librarian at ellington, Shropshire. -n 54B>, he became assistant librarian at Jniversity 7ollege, .eicester and, in 54=D, sub,librarian at Kueen(s Jniversity *elfast. -n 9arch 54==, .arkin was appointed librarian at the Jniversity of !ull, a position he retained until his death. Contents FhideG

5 .ife 5.5 5466A54=D+ Jpbringing, education L early career 5.6 54=DA54>4+ Personal, poetic L professional prime 5.? 54>4A54<=+ M*eyond the light stand failure and remorseN 6 7reative output o 6.5 @uvenilia o 6.6 9ature works o 6.? Poetic style
o o o

o 6.B Prose non,fiction ? .egacy o ?.5 #eception history o ?.6 7ritical opinion o ?.? 7areer as a librarian o ?.B Posthumous reputation o ?.= #ecordings o ?.> 'iction based on .arkin(s life B *ibliography o B.5 orks B.5.5 Poetry B.5.6 'iction B.5.? )on,fiction B.5.B 9iscellaneous o B.6 Secondary sources B.6.5 *iographies and memoirs B.6.6 7ritical works B.6.? ;ramatised interpretations = #eferences

> &xternal links

[edit Life [edit !"##$!"%&' (pbrin)in), education * early career Philip .arkin was born on 4 August 5466 in 7oventry, the only son and younger child of Sydney .arkin 85<<BA54B<:, who came from .ichfield, and his wife, &va &mily ;ay 85<<>A54CC: of &pping. !e lived with his family in #adford, 7oventry, until he was five years old.F?G 'rom 546C to 54B= the family home was 5 9anor #oad, a large three,story detached house near the city centre that would be demolished in the 54>Ds to make way for 7oventry(s inner ring [Link] !is sister 7atherine, known as Hitty, was about 5D years older than him.F=G !is father, a self,made man who had risen to be 7oventry 7ity Treasurer,F=G was a singular individual who combined a love of literature with an enthusiasm for )a/ism, and had attended two )uremberg rallies during the mid,(?Ds.F>G !e introduced his son to the works of &/ra Pound, T. S. &liot, @ames @oyce and above all ;. !. .[Link] !is mother was a nervous and passive woman, dominated by her husband.F<G .arkin(s childhood was at first unusual+ neither friends nor relatives ever visited the family home, and he was educated by his mother and elder sister until the age of eight.F4G ;espite this and the stammer he had already developed, when he 0oined 7oventryOs Hing !enry I--- @unior School he fitted in immediately and made close, long,standing friendships with @ames E@imE Sutton, 7olin 3unner and )oel E@oshE !ughes. Although home life was relatively cold, .arkin en0oyed support from his parents. 'or example, his deep passion for 0a// was supported by the purchase of a drum kit and a saxophone,

supplemented with a subscription for Down Beat, the first of .arkin(s many 0a// maga/ines. 'rom the 0unior school he progressed to Hing !enry I--- Senior School. Aged 5> he fared 2uite poorly when he sat his School 7ertificate exam. !owever, he was allowed to stay on at school, and two years later earned distinctions in &nglish and !istory, and passed the entrance exams for St @ohnOs 7ollege, %xford, to read &nglish.F5DG .arkin began at %xford Jniversity in %ctober 54BD, a year after the outbreak of orld ar --. The *rideshead #evisited image of university life had been put on hold, and most of the male students were studying for highly truncated degrees.F55G !owever, thanks to his poor eyesight, .arkin failed his military medical and was able to study for the full three years. Through his tutorial partner, )orman -les, he met Hingsley Amis, who remained a close friend throughout .arkin(s life and encouraged his taste for ridicule and irreverence. Amis, .arkin and other university friends formed a group they dubbed EThe SevenE, which met to discuss each other(s poetry, listen to 0a//, and drink enthusiastically. ;uring this time he had his first real social interaction with the opposite sex, but made no romantic headway.F56G -n 54B? he sat his finals, and, having dedicated much of his time to his own writing, was greatly surprised at being awarded a first,class degree.F5?G -n autumn 54B? .arkin was appointed librarian of the public library in ellington, Shropshire. -t was while working there that in the spring of 54BB he met his first girlfriend, #uth *owman, an academically ambitious 5>,year,old schoolgirl.F5BG -n autumn 54B=, #uth went to continue her studies at HingOs 7ollege, .ondon, and during his visits to her there the couple started sexual relations. *y @une 54B>, .arkin was halfway through 2ualifying for membership of the .ibrary Association and was appointed sub, librarian of Jniversity 7ollege, .eicester. -t was while visiting .arkin in .eicester and witnessing the Senior 7ommon #oom that Hingsley Amis found the inspiration to write Lucky Jim. Six weeks after his father(s death from cancer in 9arch 54B<, .arkin proposed to #uth, and that summer the couple spent their annual holiday touring !ardy country.F5=G [edit !"%&$!"+"' Personal, poetic * professional prime -n @une 54=D .arkin was appointed sub,librarian of KueenOs Jniversity, *elfast, a post he took up that September. Prior to his departure he and #uth split up. At some stage between his appointment to KueenOs and the calling off of the engagement, his relationship with 9onica @ones, a lecturer in &nglish at .eicester, became sexual. !e spent five years in *elfast, which appear to have been the most contented of his life. hile his relationship with 9onica @ones developed, he also had a sexually adventurous affair with Patsy Strang, who at the time was in an open marriage with one of his colleagues.F5>G At one stage she offered to leave her husband to marry .arkin. 'rom summer 54=5 onwards .arkin would holiday with 9onica in various locations around the *ritish -sles. hile in *elfast he also had a significant though sexually undeveloped friendship with inifred Arnott, the sub0ect of [Link] on a $oung .ady(s Photograph AlbumE. This came to a close when she married in 54=B. ;uring this period he also gave

Hingsley Amis extensive advice while the latter was writing Lucky Jim.F5CG Amis repaid the debt by dedicating the finished book to .arkin.F5<G -n 54== .arkin was appointed .ibrarian at the Jniversity of !ull, a post he would hold until his death.F54G 'or his first year he lodged in bedsits. Then in 54=>, at the age of ?B, he for the first time rented a self,contained dwelling, the top,floor flat of ?6 Pearson Park, a three,story red,brick house, overlooking the park, that had previously been the American 7onsulate.F6DG This vantage point was later commemorated in the poem E!igh indowsE. F65G -n the post,war years !ull Jniversity underwent enormous expansion, as was typical in *ritish universities during that period. 'or the first 5= years of his time there, .arkin was deeply involved in all aspects of the creation of a new and thoroughly modern library. This was built in two stages, and from 54>C named *rynmor @ones .ibrary. 'rom 54=C until his death his secretary was *etty 9ackereth. All access to him by his colleagues was through her, and she came to know as much about .arkin(s compartmentalised life as anyone.F66G -n 'ebruary 54>5 .arkin(s friendship with his colleague 9aeve *rennan became romantic, despite her strong #oman 7atholic beliefs.F6?G -n spring 54>? *rennan persuaded him to attend a S7# dance with her, despite his preference for smaller gatherings. This seems to have been a pivotal occasion in their relationship, and he memorialised it in his longest 8and unfinished: poem EThe ;anceE.F6BG Also at her prompting and around this time .arkin learnt to drive and bought a car. 9eanwhile 9onica @ones, whose parents had died in 2uick succession in autumn 54=4, bought a holiday cottage in !aydon *ridge, near !exham,F6=G which she and .arkin visited regularly.F6>G !is notable poem EShow SaturdayE is a description of the 54C? *ellingham show in the )orth Tyne valley.F6CG -n 54>B, in the wake of the publication of The Whitsun Weddings, .arkin was the sub0ect of an episode of the arts programme Monitor. 7omprising a series of interviews with @ohn *et0eman in and around !ull, it was largely responsible for the creation of .arkin(s public persona. [edit !"+"$!",%' -Beyond the li)ht stand failure and remorse. .arkin(s role in the creation of !ull Jniversity(s new *rynmor @ones .ibrary was important and demanding. )ot long after the second, much larger phase of construction was completed in 54>4,F6<G he was able to redirect his energies. -n %ctober 54CD he started work on compiling a new anthology, The Oxford Book of Twentieth- entury !ng"ish #erse. !e had been awarded a Iisiting 'ellowship at All Souls( 7ollege, %xford for two academic terms, which allowed him to consult %xford(s *odleian .ibrary, a copyright library. .arkin was a ma0or contributor to the re,evaluation of the poetry of Thomas !ardy, which in comparison to his work as a novelist had been ignored; in .arkin(s EidiosyncraticE and EcontroversialE anthology,F64GF?DG the poet most generously represented was !ardy. The most favourable responses were those of . !.

Auden and @ohn *et0eman, while the most hostile was that of ;onald ;avie, who accused .arkin of Epositive cynicismE and of encouraging Ethe perverse triumph of philistinism, the cult of the amateur ... FandG the weakest kind of &nglishryE. After an initial period of anxiety about the anthology(s reception, .arkin en0oyed the clamour.F?5G -n 54C5 .arkin began corresponding with his schoolfriend 7olin 3unner, who had led a picares2ue life. -n the period 54C? to 54CB .arkin was made an !onorary 'ellow of St @ohn(s 7ollege, %xford and awarded honorary degrees by arwick, St Andrews and Sussex universities. -n @anuary 54CB !ull Jniversity informed .arkin that they were going to dispose of the building on Pearson Park in which he lived. Shortly afterwards he bought a detached two,storey 54=Ds house in a thoroughly suburban street called )ewland Park , commenting E- can(t say it(s the kind of dwelling that is elo2uent of the nobility of the human spiritE , and moved in.F?6G Shortly after splitting up with 9aeve *rennan in August 54C?, .arkin attended . !. Auden(s memorial service at 7hrist 7hurch, %xford, with 9onica as his official partner. F??G !owever, in 9arch 54C= the relationship with 9aeve restarted, and three weeks after this he initiated a secret affair with his secretary *etty 9ackereth, writing the long, undiscovered poem E e met at the end of the partyE for her.F?BG ;espite the logistical difficulties in having three relationships simultaneously, the situation continued until 9arch 54C<. 'rom that moment on he and 9onica were a monogamous couple.F?=G 'ive years later, in 54<?, 9onica was hospitalised owing to shingles. The severity of her symptoms, including its effects on her eyes, distressed .arkin. #egular care became necessary with the general decline in her health+ within a month she moved into his )ewland Park home and remained there for the rest of her life.F?>G -n 'ebruary 54<6 .arkin turned sixty. This was marked most significantly by a collection of essays entitled Larkin at $ixty, edited by Anthony Thwaite and published by 'aber and 'aber.F?CG There were also two television programmes+ an episode of the $outh Bank $how presented by 9elvyn *ragg in which .arkin made off,camera contributions, and a half, hour special on the **7 that was devised and presented by the .abour Shadow 7abinet 9inister #oy !attersley.F?<G At the memorial service for @ohn *et0eman, who died in @uly 54<B, .arkin was asked if he would accept the post of Poet .aureate. !e declined, not least because he felt he had long since ceased to be in a meaningful sense a writer of poetry. F?4G The following year .arkin began to suffer from oesophageal cancer. %n 55 @une 54<= he underwent surgery, but his cancer was found to have spread and was inoperable. %n 6< )ovember he collapsed and was readmitted to hospital. !e died four days later, on 6 ;ecember 54<=, at the age of >?, and was buried at the 7ottingham 9unicipal 7emetery near ![Link] !is gravestone reads simply EPhilip .arkin 5466A54<= riterE.FB5G %n his deathbed .arkin had re2uested explicitly that his diaries be destroyed. This re2uest was granted by 9onica @ones and *etty 9ackereth; the latter shredded the diaries page by page and then had them burnt.FB6G %n the sub0ect of his other private papers and unpublished writings his will was found to be contradictory. .egal advice from a K.7.

left the issue in the lap of his literary executors, who decided the papers should not be [Link]?G hen she died on 5= 'ebruary 6DD5, 9onica, who had been the ma0or beneficiary of .arkin(s will, in turn left about one million pounds in total to St Paul(s 7athedral, !exham Abbey and ;urham [Link] [edit Creati/e output [edit 0u/enilia 'rom his mid,teens .arkin Ewrote ceaselesslyE, producing both poetry, modelled on &liot and . !. Auden, and fiction. !e wrote five full,length novels, all of which he destroyed shortly after completion. hile he was at %xford Jniversity he published a poem for the first time+ EJltimatumE in The Listener. Around this time he developed an pseudonymous alter ego for his prose, *runette 7oleman. Jnder this name he wrote two novellas Trou%"e at Wi""ow &a%"es and Michae"mas Term at $t Brides, as well as a supposed autobiography and an e2ually fictional creative manifesto called E hat we are writing forE. #ichard *radford has written that these curious works show Ethree registers+ cautious indifference, archly overwritten symbolism with a hint of .awrence and prose that appears to disclose its writerOs involuntary feelings of sexual [Link]=G After these works .arkin started his first published novel Ji"". This was published by #eginald A. 7aton, a publisher of barely legal pornography, who also issued serious fiction as a cover for his core [Link]>G Around the time that Ji"" was being prepared for publication, 7aton asked .arkin if he wrote poetry as well. This resulted in The 'orth $hi(, a collection of poems written between 54B6 and 54BB which showed the increasing influence of $eats, being published three months before Ji"". -mmediately after completing Ji"", .arkin started work on the novel ) &ir" in Winter, completing it in 54B=. -t was published in 54BC by 'aber and 'aber and was well received, The $unday Times calling it Ean ex2uisite performance and nearly [Link] Subse2uently he made at least three extended attempts at writing a third novel, but none went further than a solid [Link]<G [edit 1ature 2orks -t was during .arkinOs five years in *elfast that he reached maturity as a poet.FB4G The bulk of his next published collection of poems The Less Deceived was written here, though eight of the twenty,nine poems included were from the late 54BDs. -t was during this time that he made his final attempts at novel writing, and also gave extensive help to Hingsley Amis with the latterOs first published novel Lucky Jim. -n %ctober 54=B an article in The $(ectator made the first use of the title The 9ovement to describe the dominant trend in *ritish post,war literature.F=DG Iarious poems of his were included in a 54=? P&) Anthology that also included poems by Amis and #obert 7on2uest, and .arkin was seen to be a part of this grouping.F=5G

-n )ovember 54== The Less Deceived was published by The 9arvell Press, an independent start,up company operating out of !essle 0ust beyond the west border of !ull. At first the volume attracted little attention, but in ;ecember it was included in The Times* list of %ooks of the year.F=6G 'rom this point the book(s reputation spread and sales blossomed throughout 54=> and 54=C. ;uring his first five years in !ull the pressures of work slowed .arkin(s output to an average of 0ust two,and,a,half poems a year, but it was during this period that he wrote EAn Arundel TombE, EThe hitsun eddingsE and E!ereE.F=?G -n 54>? 'aber and 'aber reissued Ji"", including a long introduction by .arkin that included much information about his time at %xford Jniversity and his friendship with Hingsley Amis. This acted as prelude to the release the following year of The Whitsun Weddings which confirmed his reputation, and almost immediately after its publication he was granted a 'ellowship of the #oyal Society of .iterature. -n the years that followed .arkin wrote several of his most famous and iconic poems, such as EAnnus 9irabilisE, E!igh indowsE and EThis *e The IerseE. -n the 54CDs .arkin wrote a series of longer and more sober poems+ EThe *uildingE, EThe %ld 'oolsE and EAubadeE.F=BG .arkin(s final collection High Windows was published in @une 54CB. -ts 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. 'or some critics it represents a falling,off from his previous two books,F==G yet it contains a number of his much,loved pieces, including EThis *e The IerseE and EThe &xplosionE, as well as the title poem. EAnnus 9irabilisE 8$ear of onder:, also from that volume, contains the fre2uently 2uoted observation that sexual intercourse began in 54>?, which he claimed was Erather late for meE, despite his having first had sexual relations in 54B=. *radford, prompted by comments in 9aeve *rennan(s memoir, suggests that the poem commemorates .arkin(s relationship with *rennan moving from the romantic to the sexual.F=>G .ater in 54CB he started work on his final ma0or published poem EAubadeE. -t was completed in 54CC and published in the 6? ;ecember issue of the Times .iterary Supplement.F=CG Subse2uent to EAubadeE .arkin wrote only one poem to have attracted intense critical attention, the unpublished and intensely personal [Link] AgainE.F=<G [edit Poetic style Although .arkin(s earliest work shows in turn the influences of &liot, Auden and $eats, the development of his mature poetic identity in the early 54=Ds coincided with the growing influence on him of Thomas !ardy.F5=G !e is well,known for his use of collo2uial language in his poetry, partly balanced by a similarly anti2ue word choice. ith fine use of en0ambement and rhyme, his poetry is highly structured, but never rigid. ;eath and fatalism were recurring themes and sub0ects of his poetry, his final ma0or poem EAubadeE being an example of this.F=4G

-n 54C6 he wrote the oft,2uoted E3oing, 3oingE, a poem which expresses the romantic fatalism in his view of &ngland which was typical of his later years. -n it, he prophesies a complete destruction of the countryside, and expresses an idealised sense of national togetherness and identity+ EAnd that will be &ngland gone ... it will linger on in galleries; but all that remains for us will be concrete and tyresE. The poem ends with the blunt statement, E- 0ust think it will happen, [Link]>DG [edit Prose non3fiction .arkin was by contrast a notable critic of modernism in contemporary art and literature. !is scepticism is at its most nuanced and illuminating in +e,uired Writing, a collection of his book reviews and essays, and at its most inflamed and polemical in his introduction to his collected 0a// reviews, )"" What Ja--, drawn from the 56> record,review columns he wrote for the Dai"y Te"egra(h between 54>5 and 54C5, which contains an attack on modern 0a// that widens into a wholesale criti2ue of modernism in the arts.F>5G )evertheless, recent critical assessments of .arkin(s writings have identified them as possessing some modernist characteristics.F>6G [edit Le)acy [edit 4eception history hen first published in 54B=, The 'orth $hi( received 0ust one review, in the oventry !vening Te"egra(h, which concluded E9r .arkin has an inner vision that must be sought for with care. !is recondite imagery is couched in phrases that make up in a kind of wistful hinted beauty what they lack in lucidy. 9r .arkin(s readers must at present be confined to a small circle. Perhaps his work will gain wider appeal as his genius becomes more maturePEF>?G A few years later though, the poet and critic 7harles 9adge came across the book and wrote to .arkin with his compliments.F>BG hen the collection was reissued in 54>> it was presented as a work of 0uvenilia, and the reviews were gentle and respectful; the most forthright praise came from &li/abeth @ennings in the $(ectator+ Efew will 2uestion the instrinsic value of The 'orth $hi( or the importance of its being reprinted now. -t is good to know that .arkin could write so well when still so [Link]>=G The Less Deceived was first noticed by The Times, who included it in its List of Books of ./00. -n its wake many other reviews followed; Emost of them concentrated ... on the book(s emotional impact and its sophisticated, witty [Link]=6G The $(ectator felt the collection was Ein the running for the best published in this country since the warE; 3. S. 'raser, referring to .arkin(s perceived association with The 9ovement felt that .arkin exemplified Eeverything that is good in this (new movement( and none of its faultsE.F>>G The TL$ called him Ea poet of 2uite exceptional importanceE,F>>G and in @une 54=> the Times !ducationa" $u(("ement was fulsome+ EAs native as a hitstable oyster, as sharp an expression of contemporary thought and experience as anything written in our time, as immediate in its appeal as the lyric poetry of an earlier day, it may well be regarded by posterity as a poetic monument that marks the triumph over the formless mystifications of the last twenty years. ith .arkin poetry is on its way back to the middlebrow

[Link]>CG #eviewing the book in America the poet #obert .owell wrote, E)o post,war poetry has so caught the moment, and caught it without straining after its ephemera. -t(s a hesitant, groping mumble, resolutely experienced, resolutely perfect in its artistic [Link]><G !owever, in time, there was a reaction+ ;avid right wrote in !ncounter that The Less Deceived suffered from the Epalsy of playing safeE;F>>G in April 54=C 7harles Tomlinson wrote a piece for the 0ournal !ssays in riticism, EThe 9iddlebrow 9useE, attacking The 9ovement(s poets for their Emiddle,cum,lowbrowismE, Esuburban mental ratioE and [Link] had a Etenderly nursed sense of defeatE.F>4G -n 54>6 A. Alvare/, the compiler of an anthology entitled The 'ew 1oetry, famously accused .arkin of Egentility, neo,3eorgian pastoralism, and a failure to deal with the violent extremes of contemporary lifeE.F><G hen The Whitsun Weddings was released Alvare/ continued his attacks in a review in The O%server, complaining of the Edrab circumspectionE of .arkin(s EcommonplaceE sub0ect,matter. !owever, praise outweighed criticism. @ohn *et0eman felt .arkin had Eclosed the gap between poetry and the public which the experiments and obscurity of the last fifty years have done so much to widen.E -n the 'ew 2ork +eview of Books 7hristopher #icks wrote of the Erefinement of self,consciousness, usually flawless in its executionE and .arkin(s summoning up of Ethe world of all of us, the place where, in the end, we find our happiness, or not at all.E !e felt .arkin to be Ethe best poet &ngland now has.EFCDGFC5G %f the reception of High Windows #ichard *radford writes Ethe reviews were generally favourable, with the notable exception of #obert )ye in The Times, but each reflected the difficulty of writing a =DDA5,DDD,word piece on a collection which, while short, compelled fascination and confusion. The admiration for the volume was genuine for most reviewers, but one also senses anxiety in their prose, particularly on how to describe the individual genius at work in poems such as EAnnus 9irabilisE, EThe &xplosionE and EThe *uildingE and at the same time explain why each is so radically different. )ye overcomes this problem by treating the differences as ineffective masks for a consistently nasty presence.EFC6G To celebrate .arkin(s >Dth birthday in 54<6, 'aber and 'aber published Larkin at $ixty, edited and introduced by Anthony Thwaite.F?CG -n amongst portraits by friends and colleagues such as Hingsley Amis, )oel !ughes and 7harles 9onteith and dedicatory poems by @ohn *et0eman, Peter Porter and 3avin &wart, the various strands of .arkin(s output were analysed by critics and fellow poets+ Andrew 9otion, 7hristopher #icks and Seamus !eaney looked at the poems, Alan *rown0ohn wrote on the novels and ;onald 9itchell and 7live @ames looked at his 0a// criticism.F?CG [edit Critical opinion -n 54<D )eil Powell could write that E-t is probably fair to say that Philip .arkin is less highly regarded in academic circles than either Thom 3unn or ;onald ;[Link]?G *ut

more recently .arkin(s standing has increased. EPhilip .arkin is an excellent example of the plain style in modern times,E writes Ti0ana [Link] #obert Sheppard asserts that E-t is by general consent that the work of Philip .arkin is taken to be exemplaryE. FC=G [Link] is the most widely celebrated and arguably the finest poet of the 9ovement,E states Heith Tuma, and his poetry is Emore various than its reputation for dour pessimism and anecdotes of a disappointed middle class [Link]>G Stephen 7ooper(s book 1hi"i( Larkin3 $u%versive Writer suggests the changing temper of .arkin studies. 7ooper argues that EThe interplay of signs and motifs in the early work orchestrates a subversion of conventional attitudes towards class, gender, authority and sexual [Link] 7ooper identifies .arkin as a progressive writer, and perceives in the letters a Eplea for alternative constructs of masculinity, femininity and social and political [Link]<G 7ooper draws on the entire canon of .arkin(s works, as well as on unpublished correspondence, to counter the oft,repeated caricature of .arkin as a racist, misogynist reactionary. -nstead he identifies in .arkin what he calls a Esubversive imaginationE.FC4G !e highlights in particular [Link](s ob0ections to the hypocrisies of conventional sexual politics that hamper the lives of both sexes in e2ual measureE.F<DG -n similar vein to 7ooper, Stephen #egan notes in an essay entitled EPhilip .arkin+ a late modern poetE that .arkin fre2uently embraces devices associated with the experimental practices of 9odernism, such as Elinguistic strangeness, self,conscious literariness, radical self,2uestioning, sudden shifts of voice and register, complex viewpoints and perspectives, and symbolist intensityE.F<5G A further indication of a new direction in the critical valuation of .arkin is S. H. 7hatter0ee(s statement that [Link] is no longer 0ust a name but an institution, a modern *ritish national cultural monumentE.F<6G 7hatter0ee(s view of .arkin is grounded in a detailed analysis of his poetic style. !e notes a development from .arkin(s early works to his later ones, which sees his style change from Everbal opulence through a recognition of the self,ironising and self,negating potentiality of language to a linguistic domain where the conventionally held conceptual incompatibles , which are traditional binary oppositions between absolutes and relatives, between asbtracts and concretes, between fallings and risings and between singleness and multiplicity , are found to be the last stumbling,block for an artist aspiring to rise above the impasse of worldlinessE.F<?G This contrasts with an older view that .arkin(s style barely changed over the course of his poetic career. 7hatter0ee identifies this view as being typified by *ernard *ergon/i(s comment that [Link](s poetry did not ... develop between 54== and 54CBE.F<BG !owever, for 7hatter0ee, .arkin(s poetry responds strongly to changing Eeconomic, socio,political, literary and cultural factorsE.F<=G 7hatter0ee argues that E-t is under the defeatist veneer of his poetry that the positive side of .arkin(s vision of life is hiddenE.F<>G This positivity, suggests 7hatter0ee, is most apparent in his later works. %ver the course of .arkin(s poetic career, EThe most notable attitudinal development lay in the /one of his view of life, which from being almost

irredeemably bleak and pessimistic in The 'orth $hi(, became more and more positive with the passage of timeE.F<CG The view that .arkin is not a nihilist or pessimist, but actually displays optimism in his works, is certainly not universally endorsed, but 7hatter0ee(s lengthy study suggests the degree to which .arkin is now transcending old stereotypes. #epresentative of these stereotypes is *ryan Appleyard(s 0udgement 82uoted by 9aeve *rennan: that of the writers who Ehave adopted a personal pose of extreme pessimism and loathing of the world ... none has done so with 2uite such a grinding focus on littleness and triviality as .arkin the manE.F<<G #ecent criticism of .arkin demonstrates a more complex set of values at work in his poetry and across the totality of his writings.F<4G The debate about .arkin is summed up by 9atthew @ohnson, who observes that in most evaluations of .arkin Eone is not really discussing the man, but actually reading a coded and implicit discussion of the supposed values of (&nglishness( that he is held to representE.F4DG 7hanging attitudes to &nglishness are reflected in changing attitudes to .arkin, and the more sustained intellectual interest in the &nglish national character, as embodied in the works of Peter 9andler for instance, pinpoints one key reason why there is an increased scholarly interest in .arkin.F45G A summative view similar to those of @ohnson and #egan is that of #obert 7rawford, who argues that E-n various ways, .arkin(s work depends on, and develops from, 9odernism.E 'urthermore, he Edemonstrates 0ust how slippery the word (&nglish( isE.F46G [edit Career as a librarian Two of .arkin(s colleagues at !ull Jniversity felt that his work as a librarian was in itself worthy of note. ;ouglas ;unn wrote [Link] became a profession through the examples set by notable librarians. Philip .arkin was such a librarianE, and *rian ;yson called him Ea great figure in post,war *ritish librarianshipE. !aving started out by running ellington Public .ibrary single,handed, .arkin soon developed an assurance beyond the norm. !is boss at *elfast Jniversity, 3raneek, said that he had Ecome increasingly to rely on .arkin(s 0udgement ... - have delegated to him rather larger areas of responsibility than normally falls to the lot of a sub,librarian ... !e has the ability to assess a problem, arrive at a decision and act upon it without delay, which is not too common among academic administrators.E hen .arkin took up his appointment in !ull the plans for a larger university libraryQthe first to be built since the warQwere already far advanced. .arkin made a great effort in 0ust a few months to come to terms with these plans before they were placed before the Jniversity 3rants 7ommittee; he suggested a number of emendations, some ma0or and structural, all of which were taken on board. The library was completed in 54>4; ten years later .arkin took the e2ually ground, breaking decision to computerise the entire library stock. #ichard 3oodman has written that Ewith this step, !ull became the first library in &urope to install a 3&A7 system Fautomated online circulation systemG.E -n a general tone 3oodman also wrote Eit is as an administrator boss, committee man and arbitrator that .arkin revealed one of his strongest suits as a librarian. !e treated his staff decently, and he motivated them. !e did

this with a combination of efficiency, high standards, humour and compassion. Those who have left written accounts of their time at !ull have said he was an excellent librarian and a very caring boss.E -n his article in Larkin at $ixty *arry *loomfield noted that .arkin Epioneered new techni2ues and introduced methods which have been copied in other academic libraries in the Jnited Hingdom.E ;uring his thirty years as .ibrarian the stock sextrupled, and the budget expanded from RB,=DD to RBB<,=DD.F4?G [edit Posthumous reputation .arkin(s posthumous reputation was deeply affected by the publication in 5446 of Anthony Thwaite(s edition of his letters and, the following year, his official biography, 1hi"i( Larkin3 ) Writer*s Life by Andrew 9otion. These revealed his obsession with pornography, his racism, his increasing shift to the political right wing, and his habitual expressions of venom and spleen. -n 544D, even before the publication of these two books, Tom Paulin wrote that .arkin(s Eobscenity is informed by pre0udices that are not by any means as ordinary, commonplace, or acceptable as the poetic language in which they are so plainly spelled out.EF4BG The letters and 9otion(s biography fueled further assessments of this kind, such as .isa @ardine(s comment in The &uardian that EThe *ritishness of .arkin(s poetry carries a baggage of attitudes which the $e"ected Letters now make explicitE.F<<G %n the other hand, the revelations have been dismissed by the author and critic 9artin Amis, who argues that the letters in particular show nothing more than a tendency for .arkin to tailor his words according to the recipient, rather than representing .arkin(s true opinions. This idea is developed in #ichard *radford(s biography+ he compares the style .arkin used in his correspondence with the author *arbara Pym with that he adopted with his old schoolfriend 7olin 3unner.F4=GF4>G ;espite controversy about his personal life and opinions, .arkin remains one of *ritain(s most popular poets. Three of his poems, EThis *e The IerseE, EThe hitsun eddingsE and EAn Arundel TombE, featured in the 'ation*s To( .44 1oems as voted for by viewers of the **7(s Bookworm in 544=.F4CG 9edia interest in .arkin has increased in the twenty, first century. .arkin(s The Whitsun Weddings collection is one of the available poetry texts in the AKA &nglish .iterature A .evel syllabus,F4<G whilst High Windows is offered by the %7# board.F44G The .arkin Society was formed in 544=, ten years after the poet(s death, with Anthony Thwaite, one of .arkin(s literary executors, as its president.F5DDG A booklet containing .arkin(s most famous work was included with The &uardian newspaper of 5B 9arch 6DD<, to which Andrew 9otion contributed the foreword.F5D5G [edit 4ecordin)s -n 54>B, .arkin was interviewed by Sir @ohn *et0eman for the **7 programme Monitor3 1hi"i( Larkin meets John Bet5eman.F5D6G The film, together with the original rushes is stored at the .arkin archive at the Jniversity of !ull,F5D?G and was most recently broadcast on **7 'our.F5DBG

-n 54<6 as part of celebrations for .arkin(s sixtieth birthday he was the sub0ect of The $outh Bank $how.F5D=G .arkin did not appear on camera although 9elvyn *ragg, in his introduction to the programme, stressed the poet had given his full cooperation. The programme featured contributions from Hingsley Amis, Andrew 9otion and Alan *ennett. *ennett also read several of .arkin(s works on an edition of 1oetry in Motion, broadcast by 7hannel B in 544D.F5D>G After lying undiscovered in a !ornsea garage for over two decades, an unprecedented collection of .arkin audio tapes was found in 6DD>. The recordings were made by the poet in the early 54<Ds, and extracts can be heard during a Sky )ews report.F5DCG !is poetry,speaking voice was very different from his normal voice, which he described as Ehalfway between the of drawl of .eicester and the la/iness of *irmingham.E A programme examining the discovery in more depth, The Larkin Ta(es, was broadcast on **7 #adio B in 9arch 6DD<.F5D<G [edit 5iction based on Larkin6s life -n 5444, %liver 'ord ;avies starred in *en *rown(s play Larkin With Women at the Stephen @oseph Theatre, Scarborough, reprising his role at the %range Tree Theatre, .ondon in 6DD>. The play was published by .arkin(s usual publishers, 'aber and 'aber. Three years later Sir Tom 7ourtenay debuted his one,man play 1retending to Be Me at the est $orkshire Playhouse,F5D4GF55DG later transferring the production to the 7omedy Theatre in .ondon(s est &nd. An audio recording of the play, which is based on .arkin(s letters, interviews, diaries and verse, was released in 6DD=.F555G -n 6DD?, **7 Two broadcast a play Love )gainQits title also that of one of .arkin(s most painfully personal poemsQdealing with the last thirty years of .arkin(s life 8though not shot anywhere near !ull:. The lead role was played by !ugh *onneville,F556G and in the same year 7hannel B broadcast the documentary 1hi"i( Larkin6 Love and Death in Hu"".F55?G **7 #adio B broadcast a play by 7hris !arrald entitled Mr Larkin*s )wkward Day, recounting the practical 0oke played on him in 54=C by his friend #obert 7on2uest, of the group known as The Movement.F55BG [edit Biblio)raphy Philip .arkin 85466,54<=: is a poet whose very name con0ures up a specific persona+ the gloomy, death,obsessed and darkly humorous observer of human foibles and failings. The truth, both about the man and his work, is more complex, but the existence of the popular image points to .arkin(s broader cultural influence, beyond the world of poetry. !is personal reputation has sometimes suffered, particularly following the publication of his letters which revealed veins of right,wing opinion, but he remains much loved for his Epi2uant mixture of lyricism and discontentE 8as defined by @ean !artley of the 9arvell Press:. *orn in 7oventry, .arkin was the son of a )a/i,sympathising father who worked as the 7ity Treasurer, and a mother to whom he felt a strong, though sometimes

claustrophobic attachment. The Eforgotten boredomE of his childhood was followed by a much more colourful period at %xford Jniversity where he formed several important friendships with, amongst others, Hingsley Amis. .arkin(s first 0ob after Jniversity, running a local library in Shropshire, became his wage,earning career for the rest of his life, taking him to university libraries in .eicester, *elfast and finally !ull, where he stayed for thirty years. This lack of professional eventfulness was matched, at least on the surface, by his private life+ despite several long,standing relationships with women, .arkin never married. -nitially .arkin concentrated on writing fiction, producing two novels in the 54BDs. !is first poetry collection, The 'orth $hi( 854B=: was heavily influenced by $eats and did not yet present the voice for which he later became famous. The mature Philip .arkin style , that of the detached, sometimes lugubrious, sometimes tender observer of Eordinary people doing ordinary thingsE 8@ean !artley: , first appears in his second collection, The Less Deceived, published ten years later. The virtues of this poetic persona, its plainness and scepticism, came to be associated with The 9ovement, the post,war generation of poets brought together in the )ew .ines anthology of 54=>. Two more collections followed at similarly lengthy intervals+ The Whitsun Weddings 854>=:, considered by many to be his finest achievement, and High Windows 854CB:. -n his final decade, .arkin(s poetic inspiration largely failed, and he produced only a handful of poems before his death from cancer in 54<=. This loss of inspiration was one of the reasons he turned down the post of Poet .aureate, offered to him the year before his death, though the fact he was first choice for it underlines the high regard in which he was held, despite his slight output. .arkin was a fine reader of his work and the Archive is delighted to be able to present for the first time extracts from a newly,discovered recording dating from the early 54<Ds. -t was made by @ohn eeks, the sound archivist at !ull Jniversity, and so a colleague of .arkin(s. ;espite the relaxed circumstances in which the sessions were recorded 8on a series of Sunday afternoons following a leisurely lunch: the sound 2uality is excellent. Significant too is the extent of the recording+ in choosing to read 0ust shy of thirty poems, .arkin seems to be offering an overview of his career, as if aware he was nearing its end. The tapes were discovered in a garage by 9r eeks( son and a commercial release will be forthcoming from 'aber L 'aber in @anuary 6DD4. -n the meantime, Archive listeners can en0oy a preview of .arkin(s expert delivery of three of his most famous poems+ (9r *leaney(, (The hitsun eddings( and (The Trees(. .arkin(s voice on the page , full of hesitations and 2ualifications which give the impression of a mind caught in the act of thinking , is particularly suited to reading aloud. .arkin once said of his poems that he wanted to give readers the impression of Ea chap chatting to chapsE and certainly his understated delivery does the collo2uial aspect of his poetry 0ustice. *ut this tone is balanced in these poems by a hard,won lyricism, transcendence even, especially in the final stan/a of (The hitsun eddings( which shifts the language of the poem from realist description into heightened metaphor with the beautiful image of gathering emotional momentum as an arrow shower Esomewhere becoming rainE. -t is such sudden openings, coupled with the subtle music of his highly,structured but flexible verse forms, that lifts .arkin(s poetry beyond the misanthropy of which he sometimes stands accused.

The Poetry Archive is very grateful to 9r valuable recording.

eeks for allowing us to make use of this

Philip Arthur Larkin 7!"##3!",%8

&nglish poet, novelist, and critic, a leading figure of (The 9ovement,( term coined to describe a group of *ritish poets that coalesced during the 54=Ds, about the same time as the rise of the (Angry $oung 9en(. (The 9ovement( poets addressed everyday *ritish life in plain, straightforward language and often in traditional forms. -t first attracted attention with the publication of the anthology 'ew Lines, edited by #obert 7on2uest. Among its writers were Philip .arkin, Hingsley Amis, ;onald ;avie and Thom 3unn. 7on2uest saw the group(s work Efree from both mystical and logical compulsions and , like modern philosophy , is empirical in its attitude to all that comes.E .arkin(s best known books were T!& .&SS ;&7&-I&; 854==:, T!& !-TSJ) &;;-)3S 854>B:, and !-3! -);% S 854CB:. 9:t is not sufficient to say that poetry has lost its audience, and so need no lon)er consider it' lots of people still read and e/en buy poetry; 1ore accurately, poetry has lost its old audience, and )ained a ne2 one; <his has been caused by the conse=uences of a cunnin) mer)er bet2een poet, literary critic and academic critic 7three classes no2 notoriously indistin)uishable8' it is hardly an exa))eration to say that the poet has )ained the happy position 2herein he can praise his o2n poetry in the press and explain it in the class3room, the reader has been bullied into )i/in) up the consumer6s po2er to say 6: don6t like this, brin) me somethin) different;69 [Link] in (The Pleasure Principle(, from +e,uired Writing, 54<?: Philip .arkin was born in 7oventry. !is father, Sydney, was the city treasurer, who admired !itler. $ears later .arkin described his childhood home as Edull, pot,bound and slightly mad...E Sydney bought his son a set of drums and subscribed to the American 0a// maga/ine Down Beat. .arkin was educated at Hing !enry I--School where he wrote for the school maga/ine. At the age of 5< he entered St. @ohn(s 7ollege, %xford. !e studied &nglish, met Hingsley Amis, listened to 0a//, and was known as a bookish dandy. ;uring orld ar -- he was exempted from service because of bad eyes. After graduating he became a librarian, first in the library of an urban district council in Shropshire, later in university libraries in .eicester and *elfast. 'rom 54== until his death he was the librarian of the *rynmor @ones library at the Jniversity of !ull, which he built up a staff of eleven to over 5DD. EJntil - began to meet grown,ups on more or less e2ual terms - fancied myself a kind of -shmael. The reali/ation that it was not people - disliked but children was for me

one of those celebrated moments of revelation, comparable to reading !eackel or -ngersoll in the last century. The knowledge that - should never 8except by deliberate act of folly: get mixed with them again more than compensated for having to start earning a living.E [Link] in (The Savage Seventh(, from #e2uired riting: As poet .arkin made his debut with the collection T!& )%#T! S!-P in 54B=, written with short lines and carefully worked,out rhyme schemes. -n was published at his own expense and showed the influence of $eats. -t was followed by two novels, @-.. 854B>:, a coming,of,age story, and A 3-#. -) -)T&# 854BC:, after which he abandoned fiction. E- tried very hard to write a third novel for about five years, E he later said. EThe ability to do so had 0ust vanished.E Only one ship is seekin) us, a black3 >ailed unfamiliar, to2in) at her back A hu)e and birdless silence; :n her 2ake No 2aters breed or break; 8from ()ext, Please(, 54==: -n The Whitsun Weddings the title,poem describes the poet(s 0ourney by train from !ull to .ondon. hitsun is the seventh Sunday after &aster. -n the 54=Ds, *ritish tax law made the hitsun weekend a financially advantageous time to be married+ E@ust long enough to settle hats and say 1 7 near"y died, 1 A do/en marriages got under way. 1 They watched the landscape, sitting side by side1.E .arkin used the tones and rhythms of ordinary speech, and focused on the urban landscape of the industrial north. E7anals with floatings of industrial froth; 1 A hothouse flashed uni2uely+ hedges dipped 1 And rose+ and now and then a smell of grass 1 ;isplaced the reek of buttoned carriage,cloth 1 Jntil the next town, new and nondescript, 1 Approached with acres of dismantled cars.E !-3! -);% S 854CB: includes two substantial poems about ageing, illness and death, (The %ld 'ools( and (The *uilding(. -n these works .arkin explored the mood of post,war &ngland and its bleak views of the future. (;eprivation is to me what daffodils are to ordsworth,E was .arkin(s famous confession. .arkin avoided EbigE words, sentimentality and philosophising, his language was plain, his approach was cool and restricted, which led critics to accuse him of lack of emotional involvement. Although he had a number of affairs, .arkin feared marriage and family, and never married. ETwo can live as stupidly as one,E he said. .arkin managed to maintain three long relationships , most of his life .arkin spent with 9onica @ones, a professor of &nglish, whom he met when he was 6B. -n 54CB he bought a house in !ull, which he shared with her. .arkin(s mother died in 54CC, and after her death he wrote only 55 poems, although he produced a book of essays in 54<?. [Link] is first boredom, then fear 1 hether or not we use it, it goes,E .arkin wrote in 54>?. Shortly after refusing the .aureateship when his friend @ohn *et0eman died, .arkin underwent surgery for cancer of the oesophagus, and died within a year on ;ecember

6, 54<=. At his funeral in estminster Abbey a combo played *ix *eiderbecke and Sidney *echet 85<4C,54=4:, of whom he had written in ('or Sidney *echet(+ E%n me your voice falls as they say love should, 1 .ike an enormous yes. 9y 7rescent 7ity 1 -s where your speech alone is understood1.E -n spite of .arkin(s wishes to destroy his papers, manuscripts were saved, but voluminous diaries were burnt. Andrew 9otion, one of .arkin(s literary executors, published in 544? a controversial biography of the poet. -t revealed the )a/i sympathies and misogyny of .arkin(s father and the poet(s casual racism and other politically incorrect attitudes. -n an interview he once defended himself+ EPeople say -(m very negative, and - suppose - am, but the impulse for producing a poem is never negative; the most negative poem in the world is a very positive thing to have done.E .arkin also wrote 0a// reviews for The Dai"y Te"egra(h between the years 54>5 and 54C5. 9ost of his articles were collected in 54CD under the title A.. !AT @ASS 8rev. ed. in 54<=:. .arkin was especially fond of 0a// musicians who emerged before orld ar --. !e loved .ouis Armstrong, Swing and ;ixieland, but @ohn 7oltrane, 9iles ;avis, ;i//y 3illespie, 7harlie Parker, and other heroes of modern 0a// were for him Eugly on purposeE. According to .arkin, the term (modern( Edenotes a 2uality of irresponsibility peculiar to this century... - dislike such things not because they are new, but because they are irresponsible exploitations of techni2ue in contradiction of human life as we know it.E 5or further readin)' 1hi"i( Larkin3 ) Bi%"iogra(hy by *.7. *loomfield 854<D:; Larkin at $ixty ed. by A. Thwaite 854<6:; Larkin by #. ;ay 854<C:; 1hi"i( Larkin3 The Man and His Work by ;. Salwak 854<4:; 1hi"i( Larkin3 His Life*s Work by @. #ossen 854<4:; 1hi"i( Larkin3 ) Writer*s Life by A. 9otion 8544?:; Out of +each3 The 1oetry of 1hi"i( Larkin by A. Swarbrick 8544=:; 1hi"i( Larkin by arren !ope 8544C:; 1hi"i( Larkin, ed. by Stephen #egan 8544C:; !ncyc"o(edia of Wor"d Literature in the 84th entury, vol. ?, ed. by Steven #. Serafin 85444:; Larkin*s B"ues3 Ja--6 1o(u"ar Music6 and 1oetry by *.@. .eggett 85444: >elected 2orks'

T!& )%#T! S!-P, 54B= @-.., 54B> A 3-#. -) -)T&#, 54BC TT P%&9S, 54=5 P%&9S, 54=B T!& .&SS ;&7&-I&;, 54== ed.+ )& P%&9S, 54=< 8with *. *obrUe, .. 9ac)eice: T!& !-TSJ) &;;-)3S, 54>B A.. !AT @ASS+ A #&7%#; ;-A#$, 54>5,54><, 54CD 8rev. All hat @a//+ A #ecord ;iary 54>5, 54C5, 54<=: ed.+ T!& %T'%#; *%%H %' T &)T-&T!,7&)TJ#$ &)3.-S! I&#S&, 54C?

ed.+ P%&T#$ SJPP.&9&)T, 54CB !-3! -);% S, 54CB '&99&S ;A9)V&S, 54C< AJ*A;&, 54<D #&KJ-#&; #-T-)3+ 9-S7&..A)&%JS P-&7&S, 54==,54<6, 54<? 7%..&7T&; P%&9S, 54<< 8ed. A. Thwaite: S&.&7T&; .&TT&#S, 5446 8ed. A. Thwaite: 'J#T!&# #&KJ-#&9&)TS *$ P!-.-P .A#H-), 6DD5 8ed. by Anthony Thwaite: T#%J*.& AT @ames *ooth: -..% 3A*.&S A); %T!&# '-7T-%)S, 6DD6 8ed. by