Authors: James Booth
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.