Philip Larkin (106 page)

Osborne, John, ‘Larkin and the Visual Arts’,
About Larkin
36 (October 2013), pp. 19–21.

——,
Larkin, Ideology and Critical Violence: A Case of Wrongful Conviction
(Basingstoke: Palgrave Macmillan, 2008).

Palmer, Richard,
Such Deliberate Disguises: The Art of Philip Larkin
(London and New York: Continuum, 2008).

Parkinson, R. N., ‘To keep our metaphysics warm: A study of “Church Going” by Philip Larkin’,
Critical Survey
5 (Winter 1971), pp. 224–33.

Paulin, Tom, ‘She Did Not Change: Philip Larkin’,
Minotaur: Poetry and the Nation State
(London: Faber & Faber, 1992), pp. 233–51.

Pelizzon, V. Penelope, ‘Native Carnival: Philip Larkin’s Puppet-Theatre of Ritual’, in James Booth (ed.),
New Larkins for Old
(Basingstoke: Macmillan, 2000), pp. 213–23.

Regan, Stephen (ed.),
Philip Larkin: Contemporary Critical Essays
(Basingstoke: Macmillan, 1997).

Roberts, Neil, ‘Hughes, the Laureateship and National Identity’,
Q/W/E/R/T/Y
9 (October 1999), pp. 203–9.

Rossen, Janice, ‘Larkin at Oxford: Chaucer, Langland and Bruce Montgomery’,
Journal of Modern Literature
21.2 (Winter 1997), pp. 295–311.

——, ‘Philip Larkin and
Lucky Jim
’,
Journal of Modern Literature
22.1 (Fall 1998), pp. 147–64.

——,
Philip Larkin: His Life’s Work
(Hemel Hempstead: Harvester Wheatsheaf, 1989).

Rumens, Carol, ‘“I don’t understand cream cakes, but I eat them”: Distance and difference in
A Girl in Winter
’,
About Larkin
29 (April 2010), pp. 7–12.

Thwaite, Anthony, ‘How It Seemed Then: An Autobiographical, Anecdotal Essay’, in Zachary Leader (ed.),
The Movement Reconsidered: Essays on Larkin, Amis, Gunn, Davie, and their Contemporaries
(Oxford: Oxford University Press, 2009), pp. 247–54.

Tolley, Trevor,
Larkin at Work: A Study of Larkin’s Mode of Composition as seen in his Workbooks
(Hull: Hull University Press, 1997).

——, ‘Lost Pages’,
About Larkin
11 (April 2001), pp. 24–7.

——,
My Proper Ground: A Study of the Work of Philip Larkin and its Development
(Edinburgh: Edinburgh University Press, 1991).

—— and John White (eds),
Larkin’s Jazz
, Properbox 155 (four-CD set), in association with the Philip Larkin Society. www.propermusic.com.

Tomlinson, Charles, ‘The Middlebrow Muse’,
Essays in Criticism
7.2 (April 1957), pp. 208–17.

Vize, Colin, ‘Larkin’s Refraction’,
About Larkin
36 (April 2013), p. 23.

Watson, J. R., ‘The Other Larkin’,
Critical Quarterly
17.4 (Winter 1975), pp.  347–60.

Wiemann, Birte, ‘Larkin’s Englishness: A German Perspective’,
About Larkin
29 (April 2010), pp. 25–6.

Woolf, Sheila, ‘A Hearty Laugh? Philip Larkin at King Henry VIII School, Coventry’,
About Larkin
28 (October 2009), pp. 15–16.

‘Really, Philip could do no wrong in his father’s eyes. Or his mother’s. They worshipped him,’ Larkin’s elder sister Kitty recalled.

On holiday in Germany, aged fourteen, in 1936: ‘frightening notices that you felt you should understand and couldn’t.’

Rhöndorf bathing beach, 1934. Eva and Sydney Larkin flanked by a German mother and daughter. Presumably the photograph was taken by the father.

At 73 Coten End, Warwick in the early 1940s. The jam which his father made from plums from this garden features in Larkin’s elegy ‘An April Sunday brings the snow’ (1948).

Larkin’s closest school friend, the aspiring painter, James Sutton. They shared a Lawrentian idealism and a passion for jazz.

Sketch in a letter to Kingsley Amis, 1942.

Larkin and Kingsley Amis were inseparable from May 1941 until Amis was called up just over a year later. Amis insisted that his friend be ‘savagely uninterested’ in all the things he was ‘savagely uninterested in’.

In his final year at Oxford (1942–3) Larkin became friends with Bruce Montgomery, who wrote crime fiction under the pseudonym ‘Edmund Crispin’. ‘Bruce’s irresponsibility and self-confidence were exactly what I needed at the time,’ Larkin later recalled.