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From Library Journal
Thwaite has gathered all the poems Larkin wrote between 1946 and 1985, the year of his death; he also includes a generous selection of work written earlier, before Larkin found his characteristic voice. In all, there are some 240 poems, 83 of them never published before. The unpublished work comes from every period of Larkin's career and increases by half the number of poems in his canon. The poet we now have is considerably more prolific than the one who issued only three small, mature collections in his lifetime. With or without the new poems, Larkin is a major postwar British writer, and this is the best available collection of his poetry. An essential addition to both academic and general libraries.
- Michael Hennessy, Southwest Texas State Univ., San Marcos
Copyright 1989 Reed Business Information, Inc.
- Michael Hennessy, Southwest Texas State Univ., San Marcos
Copyright 1989 Reed Business Information, Inc.
Review
"More often than any other English poet since the war, Larkin gave us lines that it is unlikely we'll be able to forget." --Ian Hamilton, The Times (London)
"Larkin is resolute, forthright, witty, and gloomy. This is the man who famously said that deprivation was for him what daffodils were for Wordsworth. Yet surely the results of this life, in the shape of his poems, are gifts, not deprivations." --Donald Hall, The New Criterion
"Larkin is resolute, forthright, witty, and gloomy. This is the man who famously said that deprivation was for him what daffodils were for Wordsworth. Yet surely the results of this life, in the shape of his poems, are gifts, not deprivations." --Donald Hall, The New Criterion
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Most helpful customer reviews
5.0 out of 5 stars
One of the greatest poets of the (past) century,
By His poetry may however not be to everyone's taste: there is no place for lace and flowers in Larkin. His work is more often than not dark and reflects the feelings of a man who probably felt everything was wasting away about him: not only his own life, but the world as a whole. Through his poems we discover a man who seems to have skipped childhood and adolescence and who finds himself at fifty having had life pass him by. Larkin's poetry expresses his sourness, his fears, his repressed anger, his spite, his general disgust with society and the modern world. And it does this in the most expressive of ways, never shying away from the words that seem necessary, however crude they might be. There is much beauty in his despair. If you are sensitive to poetry, then you cannot avoid reading Larkin. Be warned however that you should not read Larkin to brighten up your life: the "happy poems" are few and far between. But read him nonetheless and decide afterwards whether his work is to your liking. He may just hit the spot on one of those lonely evenings when you feel yourself that everything just isn't as it should be. And after that, you will never be able to separate yourself from a copy of Philip Larkin's Collected Poems...
5.0 out of 5 stars
The greatest poet of the 50s, 60s and 70s.,
By Anglo Jackson (London United Kingdom) - See all my reviews
2 of 2 people found the following review helpful
5.0 out of 5 stars
These Be The Verses--5 x 5 Stars=Yes, 25 Stars,
By Why doesn't everyone who reads in the English Language know Philip Larkin? Oh, this Larkin is most assuredly not for every taste--he is ugly, rueful, bitter, timorous, and in these he is wholly and perfectly one with his poetic voice. He is a formalist--a large quantity of rhymed iambic pentameter at a time when most "poetry" is indistinguishable from prose except in the way the lines are arranged--who sounds, miraculously, astonishingly, colloquial (the particular mark of his genius). Many of these poems attain a perfection--Aubade, High Windows, This Be The Verse, others, all relatively well known--that literally staggers the imagination. As with the (classic) jazz to which Larkin was so devoted, in which the players continually found "new" notes to blow, and even created new musical vocabularies when the old ones were exhausted, Larkin finds boundless new resources inside the English language and then bursts poetry's integument asunder when his straightlaced, albeit eccentric, formalism seems to hem him in. Unlike most contemporary poets, Larkin creates lines you remember--indeed, cannot shake--and want to memorize for the delight, and mortification, of self and friends. Larkin does not, by the bye, deal in any manner of obscurantism. What he means is clearly on the page. It may not leave you in the sunniest of dispositions, but it will lift you, powerfully, to another level of poetic appreciation. This is a book for life by the major voice of my time.
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