Authors: James Booth
73.
Émaux et Camées
(1852).
74.
‘A Conversation with Ian Hamilton’,
FR
, p. 25.
75.
‘Poet’s Choice’,
FR
, p. 17.
76.
DPL/1/7/78.
77.
The word appears elsewhere in his work only in the juvenile ‘Last Will and Testament’ (1940).
78.
It is difficult also not to hear a horrible gauche pun here. ‘White Major’ evokes a Kiplingesque officer in the British army, the kind of person who would use the phrase ‘a white man’ to indicate decent, upright values. In a letter to an inquirer, however, Larkin denied that he intended this pun: ‘you don’t mention that “Sympathy in White Major” is an echo of “Symphonie en Blanc Majeure” (Gautier). Nothing about white majors!’
Complete Poems
, p. 444.
79.
When Kemp in
Jill
allowed his room-mate to plagiarize his tutorial essay, Warner declared: ‘That’s awfully white of you, old man.’
Jill
, p. 119.
80.
Oliver Marshall, ‘A Letter from Loughborough’,
AL
15 (April 2003), pp. 18–19. Larkin had written a four-line squib with this title in Workbook 5 in 1959.
Complete Poems
, p. 298.
81.
Les Complaintes
(1885) and
L’Imitation de Notre-Dame la Lune
(1886).
82.
Robert Giroux of Farrar, Straus and Giroux, the American publisher of
High Windows
, objected to this poem on the grounds of anti-Semitism. Without engaging in any argument Larkin directed that the poem either be included, or omitted with a note indicating that the omission had been made. Motion, p. 436.
83.
To Monica Jones, 12 September 1968.
LM
,
p.
391. Hartley, pp. 133–5.
84.
Hartley, p. 194.
85.
4 October 1968.
SL
,
p. 405.
86.
2 November 1968.
SL
,
p. 407.
87.
24 November 1968. Not in
LM
.
88.
26 December 1968. Not in
LM
.
17: Jazz, Race and Modernism (1961–71)
1.
20 November 1968.
SL
,
p. 408.
2.
This may have been at the suggestion of John Kenyon, Hull Professor of History. John White, personal communication, 24 October 2010.
3.
An anthology of Larkin’s own favourite jazz recordings is available. Trevor Tolley and John White (eds),
Larkin’s Jazz
, Properbox 155 (four-CD set), in association with the Philip Larkin Society. www.propermusic.com.
4.
AWJ
, p. 45.
5.
Larkin’s LP collection is held in the University Collection at the Hull History Centre.
6.
AWJ
, p. 106.
7.
Ibid., p. 116.
8.
FR
, pp. 112–16.
9.
Hartley, p. 139.
10.
James Booth, ‘Glimpses’ (interview with Monica Jones),
AL
12 (October 2001), p. 23.
11.
AWJ
, pp. 47, 36.
12.
Ibid., p. 65.
13.
Interview with
Paris Review
,
RW
, p. 70.
14.
To Sutton, 23 June 1941.
SL
, p. 18.
15.
AWJ
, p. 35.
16.
B. J. Leggett notes the parallel in relation to ‘Aubade’.
Larkin’s Blues: Jazz, Popular Music and Poetry
(Baton Rouge: Louisiana State University Press, 1999), p. 14.
17.
AWJ
, p. 36.
18.
Ibid., p. 60.
19.
Interview with
Paris Review
,
RW
, p. 61.
20.
AWJ
, p. 167.
21.
Ibid., p. 47.
22.
Ibid., p. 156.
23.
Ibid., p. 243.
24.
Ibid., pp. 86, 85.
25.
Ibid., p. 119.
26.
Ibid., p. 19.
27.
Ibid., p. 40.
28.
Ibid., p. 41.
29.
Ibid., pp. 41–2.
30.
Ibid., p. 78.
31.
‘Requiem for Jazz’,
Weekend Telegraph
, 23 April 1965; in
Larkin’s Jazz: Essays and Reviews 1940–1984
, ed. Richard Palmer and John White (London and New York: Continuum, 2001), p. 140.
32.
AWJ
, p. 112.
33.
Ibid., p. 44.
34.
Ibid., pp. 39, 43.
35.
Ibid., p. 63.
36.
Ibid., p. 211.
37.
Ibid., 28. Trevor Tolley gives an account of Larkin’s jazz tastes in the chapter on
All What Jazz
in
My Proper Ground: A Study of the Work of Philip Larkin and its Development
(Edinburgh: Edinburgh University Press, 1991).
38.
AWJ
, pp. 96–7.
39.
Ibid., p. 126.
40.
Ibid., p. 150.
41.
Ibid., pp. 218–19. The Paston Letters were written by members of the Paston family between the years 1422 and 1509.
42.
Ibid., p. 161.
43.
Ibid., p. 46.
44.
Ibid., p. 188.
45.
Ibid., p. 187. The text has ‘remembering’ in error for ‘remember’.
46.
Ibid., p. 188.
47.
Ibid., p. 201.
48.
Ibid., p. 209.
49.
Ibid., p. 282.