Philip Larkin (97 page)

  
50.
   Ibid., p. 62.

  
51.
   Ibid., p. 187. Stokely Carmichael (1941–98) was a
Trinidadian
-
American
activist associated with the Black Power and Black Panther movements.

  
52.
   Ben Ratliff,
Coltrane: The Story of a Sound
(New York: Farrar, Straus & Giroux, 2007); cited in ‘Ugly on Purpose’, review of Richard Palmer,
Such Deliberate Disguises: The Art of Philip Larkin
(London and New York: Continuum, 2008). http://www.openlettersmonthly.com/january-2009-larkin-coltrane/ (accessed 14 November 2011).

  
53.
   To Sutton, ‘Friday Night’, 1939? Not in
SL
.

  
54.
   
AWJ
, p. 234.

  
55.
   Ibid., p. 68.

  
56.
   Ibid., pp. 117–18.

  
57.
   Ibid., p. 87.

  
58.
   ‘Requiem for Jazz’, in
Larkin’s Jazz
, ed. Palmer and White, p. 141.

  
59.
   
AWJ
, p. 87.

  
60.
   Ibid. John Osborne refers to ‘the radicalism and cosmopolitanism’ of Larkin’s racial ideology in his jazz writings.
Larkin, Ideology and Critical Violence: A Case of Wrongful Conviction
(Basingstoke: Palgrave Macmillan, 2008), p. 45.

  
61.
   
AWJ
, p. 24.

  
62.
   Ibid., p. 20,

  
63.
   Ibid., pp. 21, 24.

  
64.
   Ibid., p. 97.

  
65.
   Ibid., p. 55.

  
66.
   Ibid., p. 283.

  
67.
   3 August 1971.
SL
,
p. 443.

  
68.
   
SL
,
p. 444.

  
69.
   Ibid.,
p. 445.

  
70.
   To Donald Mitchell, 9 December 1968. Motion, p. 386.

  
71.
   Lisa Jardine, ‘Saxon Violence’,
Guardian
, 8 December 1992, Section 2, p. 4. For good measure Jardine adds: ‘and an easy misogynist’.

  
72.
   The
Noctes Ambrosianae
, a series of seventy-one witty and humorous discussions set in Ambrose’s Tavern, Edinburgh, appeared in
Blackwood’s Magazine
between 1822 and 1835.

  
73.
   To Monica Jones, 16 November 1968. Not in
LM
.

  
74.
   19 June 1970.
SL
,
p. 432.

  
75.
   19 November 1973.
SL
,
p. 493.

  
76.
   21 August 1971.
AWJ
, p. 284.

  
77.
   To Judy Egerton, 15 November 1969.
SL
,
p. 421.

  
78.
   15 September 1984.
SL
,
p. 719.

  
79.
   
SL
,
p. 445.

  
80.
   DPL(2)/2/15/44.

  
81.
   14 October 1980.
SL
,
p. 629.

  
82.
   To Conquest, 12 November 1973.
SL
, pp. 492–3.

  
83.
   
SL
,
p. 456.

  
84.
   See also John Osborne, ‘Diasporic identities’, in
Larkin, Ideology and Critical Violence
, pp. 229–45. Osborne sees Larkin’s enthusiasm for jazz as an aspect of his modernity.

  
85.
   To John White, cited in Tolley and White (eds),
Larkin’s Jazz
, CD liner notes, p. 13.

  
86.
   20 November 1968.
SL
,
p. 408.

  
87.
   27 November 1968. Motion, p. 386.

  
88.
   To Peter Crawley, 19 June 1969.
SL
,
p. 416.

  
89.
   13 January 1970.
SL
,
p. 425.

  
90.
   To Peter Crawley.
SL
,
p. 417.

  
91.
   
AWJ
, pp. 17–18.

  
92.
   Ibid., p. 19.

  
93.
   Ibid., pp. 22–3.

  
94.
   Ibid., p. 25.

  
95.
   Ibid., p. 27.

  
96.
   Ibid., p. 23.

  
97.
   Ibid.

  
98.
   The ‘novel in gibberish’ is not immediately identifiable. Probably Larkin had in mind James Joyce’s
Finnegans Wake
, which still remains problematic for most readers.

  
99.
   Motion, p. 386. Richard Palmer devotes a chapter to ‘Larkin’s Most Expensive Mistake’, analysing the ‘determined perversity’ of the Introduction to
All What Jazz
.
Such Deliberate Disguises
, pp. 13–33.

100.
   ‘The Art of Jazz’ (1940), in
Larkin’s Jazz
, ed. Palmer and White, p. 169.

101.
   
AWJ
, p. 27.

102.
   Ibid., p. 15.

103.
   Palmer,
Such Deliberate Disguises
, p. 57.

104.
   
AWJ
, pp. 15–16.

105.
   
Larkin’s Jazz
, ed. Palmer and White, pp. 6–7.

106.
   
AWJ
, p. 22.

107.
   Ibid., pp. 28–9.

18: Politics and Literary Politics (1968–73)

    
1.
   10 March 1946.
SL
, p. 115

    
2.
   
LM
,
p. 381.

    
3.
   Hartley, p. 159.

    
4.
   To Monica Jones, 14 September 1964. Passage not in
LM
.

    
5.
   
SL
,
p. 403.

    
6.
   Ibid., p. 402.