philip larkins style of writing?

Answer 1

Larkin's style, a remarkable mixture of the beautiful and the true, of the 'poetic' and the 'real,' can be a source of considerable difficulty to many readers. He writes elegant poems, often conservative in technique, even using rhyme, poems with quite startling beauty in sometimes very elegaic language, but there are many poems where he introduces startling and undecorous modern colloquialisms like 'Sod all!' ('Send no money'); 'wanking at ten past three' ('Love again'); 'Jive at the Mecca, use deodorants' ('Breadfruit'), as well as 'piss' and '****.' Readers are thus challenged and left unsure at what level they are 'meant' to respond. Style combines with other elements, such as variations in tone within a poem, to undermine our search for clear authorial intentions, as if Larkin feared that that would be the beginning of new myth-kitty-making.

In order to see in more detail what all this means, it is best to turn to some particularly well-known poems. In "Lines on a Young Lady's Photograph Album" (18 September, 1953), the personality of the speaker is striking; he is addressing a woman he is obviously fond of, the tone is playfully sardonic: 'Not quite your class, I'd say, dear, on the whole' (line 15). Here we feel very strongly what Larkin said about the poem as experience. At the obvious level, the poem evokes the experience of seeing another person's photographs; the viewer is sexually stirred by some of the shots, but this turns into a meditation on the pragmatics of photographic representation:

How overwhelmingly persuades
That this is a real girl in a real place,

In every sense empirically true! (lines 24-6) Which in turn modulates into a much more intensely poetic concern with the utter 'pastness' of the past, heightened unexpectedly by the sudden violence of 'lacerate':

Or is it just the past? Those flowers, that gate,
These misty parks and motors, lacerate
Simply by being over; you
Contract my heart by looking out of date. (lines 27-30)

The poem is addressed to a woman who was once this young girl that attracts him, ('I wonder if you'd spot the theft/ Of this one of you bathing' lines 39-40) but there is a difference between the pictures and the person. The poem expresses a quite absurd amount of sorrow (cry, grief, yowl, mourn) in the plural ('we cry') before ending suddenly on a quite different note:

In short, a past that no one now can share,
No matter whose your future; calm and dry,
It holds you like a heaven, and you lie
Unvariably lovely there,
Smaller and clearer as the years go by.

There is the reminder that he and she are together now, but that the future is wide open. The past offers false possibilities of myth, while time will inevitably ruin her beauty and bring her towards a death holding no prospects of eternity. The only immutability available is that of the past captured in the photo.
During a time in which so many English poets have assumed American mannerisms, Larkin’s style has remained stubbornly indigenous. His poems have not been made for export; his achievement, his attitudes, and his deliberation in pursuing a career out of the public eye, all have for us the charm of unfamiliarity. Formal perfection has not been foremost among our poets’ concerns since the middle fifties; a poet like Richard Wilbur, who has not significantly altered his style since then, seems an astonishing survivor halfway through the seventies. Larkin has the same sort of tenacity, maintaining standards of craftsmanship whose rigour seems enhanced by an infrequency of publication. One book every decade, a pile of mature poems numbering less than a hundred — what American poet over fifty has been as scrupulous an editor of himself as Larkin has been? If the finish and relative scarcity of these poems seem alien to us, the world view many of them express is even more so. Thoroughgoing pessimism in the manner of Hardy has generally seemed unadaptable to American minds.
arkin has a simple style to him that over time did attract me. He is almost like the average man's writer, or blue-collar writer. Throughout the book there is not an abundance of complex language, but more or less simple thoughts that are conveyed easily to the reader. Although I disagree with Larkin's views on a few subjects such as religion, he still made me ponder a few things. Another great aspect of Larkin's writing that drew me to him was how a simple incident brought on great thought. Poems such as Solar, Wires, and The Mower all reflect on life situations brought upon by little incidents. These poems deal with life matters such as taking things for granted, obstacles, and generosity yet they are relayed in such an inviting manner that the reader can't help but listen. Another great Larkin attribute is his honesty."

Can't say I agree with this part, though:
"Thoroughgoing pessimism in the manner of Hardy has generally seemed unadaptable to American minds."
Here's one of my favorites:
This Be The Verse

They f*ck you up, your mum and dad.
They may not mean to, but they do.
They fill you with the faults they had
And add some extra, just for you.
But they were f*cked up in their turn
By fools in old-style hats and coats,
Who half the time were soppy-stern
And half at one another's throats.
Man hands on misery to man.
It deepens like a coastal shelf.
Get out as early as you can,
And don't have any kids yourself.
--Philip Larkin

Answer 2

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Philip Larkin - This Be The Verse They **** you up, your mum and dad. They may not mean to, but they do. They fill you with the faults they had And add some extra, just for you. But they were ****** up in their turn By fools in old-style hats and coats, Who half the time were soppy-stern And half at one another's throats. Man hands on misery to man. It deepens like a coastal shelf. Get out as early as you can, And don't have any kids yourself. "This Be The Verse" ("They **** you up, your mum and dad") is a lyric poem in three verses of four iambic tetrameter on an alternating rhyme scheme, by the English poet Philip Larkin (1922–1985). It was written around April 1971, first published in the August 1971 issue of New Humanist, and appeared in the 1974 collection High Windows. This Be The Verse is perhaps Larkin's best known (and almost certainly his most frequently quoted) poem. Larkin himself compared it with W. B. Yeats's Lake Isle of Innisfree and said he expected to hear it recited in his honour by a thousand Girl Guides before he died. It appears in its entirety on more than a thousand web pages. It is frequently parodied. Television viewers in the United Kingdom voted it one of the "Nation's Top 100 Poems".[1] Another testament to the enduring appeal of Larkin's poem came in April 2009, when the first four lines of the poem were recited by a British appeal court judge as part of his judgement of a particularly acrimonious divorce case involving the future custody arrangements of a nine year old child. Lord Justice Wall referred to the emotional damage caused to the child, saying: "These four lines seem to me to give a clear warning to parents who, post-separation, continue to fight the battles of the past, and show each other no respect." [2] Indeed, it is quoted on occasions by people who do not know they are quoting Larkin. It is brief and memorable enough that many who read it are then able to recite it from memory, and do so to others, who also remember it and recite it again with minor variations. It has been heard on the lips of adolescents who do not know who Larkin was. As such, the poem shows signs of having entered the folklore process of oral tradition, and may be on its way to becoming an underground nursery rhyme of sorts, after the manner of Pounds, Shillings, and Pence. The title of the poem is an allusion to Robert Louis Stevenson's Requiem, which also contains familiar lines: Under the wide and starry sky, Dig the grave and let me lie. Glad did I live and gladly die, And I laid me down with a will. This be the verse you grave for me: Here he lies where he longed to be; Home is the sailor, home from sea, And the hunter home from the hill. Stevenson's thought of a happy homecoming in death is given an ironic turn. The title also ironically recalls the recurring phrase in the Old Testament threatening the sins of the father against his sons: "for I the Lord, thy God, am a jealous God, visiting the iniquity of the fathers upon the children unto the third and fourth generation of them that hate me" [Exodus 20:5]. Larkin parodies the divine threat by rewriting the deliberate retribution of an angry vengeful God as the tragic shortcomings of "your mum and dad" (l. 1). This biblical allusion injects a homiletic quality into the unabashedly profane poem and hints at a certain awareness on Larkin's part that, of all his poems, this one will be the poem his readers will remember

Answer 3

Can't follow the Larkin fan club...

Answer 4

Philip Larkins

Answer 5

Without playing games, don’t be available 100% of the time or let your life be an open book. A man that comes on too strong or doesn’t have outside interests will scare a woman away just as much as it would if the circumstances were reversed. Read here http://AttractAnyWoman.emuy.info/?49bs

Women don’t want to feel as though they are completely responsible for your happiness and that is what it feels like when the other person has no outside interests. Men who are overeager or jump when the woman says jump are the ones who are more likely to end up in the friend zone. This doesn’t mean that you should play the game of not calling for a few days; it means that you should set healthy boundaries until you both naturally find a spot for the other in your lives.

Answer 6

He was an atheist .