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High Windows, by Philip Larkin
Download High Windows, by Philip Larkin
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Larkin's final collection of poems shows, as does all his best work, his ability to adapt contemporary speech rhythms and everyday vocabulary to subtle metrical patterns and poetic forms. Many of the poems in the collection, which includes some of his best-known pieces ("The Old Fools", "This Be the Verse", "The Explosion", and the title poem) show the preoccupation with death and transience that is so typical of the poet.
- Sales Rank: #738516 in Books
- Published on: 1979-10-29
- Original language: English
- Number of items: 1
- Dimensions: 7.76" h x .16" w x 4.96" l, .10 pounds
- Binding: Paperback
- 64 pages
About the Author
Philip Larkin was born in Coventry in 1922 and was educated at King Henry VIII School, Coventry, and St John's College, Oxford. As well as his volumes of poems, which include The Whitsun Weddings and High Windows, he wrote two novels, Jill and A Girl in Winter, and two books of collected journalism: All What Jazz: A Record Diary, and Required Writing: Miscellaneous Prose. He worked as a librarian at the University of Hull from 1955 until his death in 1985. He was the best-loved poet of his generation, and the recipient of innumerable honours, including the Queen's Gold Medal for Poetry, and the WHSmith Award.
Most helpful customer reviews
1 of 2 people found the following review helpful.
Oddly uninspired given his previous work.
By Robert Beveridge
Philip Larkin, High Windows (Faber, 1974)
Larkin, the celebrated librarian-poet, got somewhat cranky in his middle age. He also got more experimental, both qualities that make for fine poetry. Add to these scurrilousness, a wicked sense of humor, and an ear for rhythm matched only in the modern world's finest poets, and you have a recipe for greatness.
So why doesn't Larkin always pull it off? Good question. When he's on, he's very, very on, but when he's off, it's a mess. Unlike most poets, Larkin seems to have been able to switch back and forth between formal and free verse at will a number of times, but he did make the grade-school gaffe of trying to combine the two more than once. And a good deal of his "politically incorrect" (for lack of a better term) poetry smacks more of the juvenile than the Shakespearean:
"Jan von Hogspeuw staggers to the door
And pisses at the dark. Outside, the rain
Courses in cart-ruts down the deep mud land.
Inside, Dirk Dogstoerd pours himself some more..."
("The Card-Players")
Despite these excursions into the ridiculous, however, Larkin does still exhibit his mastery more often than not in this slim volume, and it's worth picking up either for the established Larkin fan or the newcomer who wonders what happened to metrical poetry after World War II. ***
3 of 3 people found the following review helpful.
Philip Larkin speaks to me much more than do most poets.
By R. M. Peterson
Continuing my re-reading of Philip Larkin's poems continues to be a treat. HIGH WINDOWS is from 1974. Larkin was then fifty-two. It turned out to be his last book of poetry (aside from selections and collections). Poet's block then descended on Larkin, who never had been a prolific poet.
In part that no doubt was because he was such a consummate craftsman. He adapts his poetry to formal constraints, which surely demands considerably more effort from the poet but for me results in poems more powerful, more moving than virtually all of free verse. And his end-rhymes -- which nineteen of the twenty-four poems in this book employ -- are so creative, intricately fashioned, yet generally understated.
A good example is "The Building", which is about a hospital. It is one of the longer poems in the book, at sixty-four lines. It consists of nine stanzas of seven lines each, with one solitary FINAL line. The end-rhymes carry over from one stanza to the next. Here is the conclusion of the poem:
* * * All know they are going to die.
Not yet, perhaps not here, but in the end,
And somewhere like this. That is what it means,
This clean-sliced cliff; a struggle to transcend
The thought of dying, for unless its powers
Outbuild cathedrals nothing contravenes
The coming dark, though crowds each evening try
With wasteful, weak, propitiatory flowers.
As it does in "The Building", death looms large over the entire book. And it is broader than personal death. HIGH WINDOWS also is an elegy for England. For example, here is a stanza from "Going, Going":
And that will be England gone,
The shadows, the meadows, the lanes,
The guildhalls, the carved choirs.
There'll be books; it will linger on
In galleries; but all that remains
For us will be concrete and tyres.
But HIGH WINDOWS is not all doom and gloom. There are flashes of life and gaiety, though often, in their case, Philip Larkin himself is a spectator, observing with rueful, self-deprecating humor, as in the opening stanza of "Annus Mirabilis":
Sexual intercourse began
In nineteen sixty-three
(Which was rather late for me)--
Between the end of the "Chatterley" ban
And the Beatles' first LP.
Over the past two years, I have been trying to read a book of poetry every month or so. I have found that, in general, I do not understand or am utterly indifferent to at least half the poems in a book and I end up marking about ten percent of the poems to return to some indefinite day in the future. With Larkin, the poems I don't understand or don't care for number only one in four, and in HIGH WINDOWS I marked eight of the twenty-four poems as special. Needless to say, Philip Larkin speaks to me much more than do most poets.
7 of 7 people found the following review helpful.
Make time!
By courtney J angermeier
Phillip Larkin rocks. When I was a sophmore in college I burned down my dorm room and my copy of High Windows. It was truly tragic. This slim little volume contains some of Larkin's best work. It is wry, revealing, and sardonic in true Larkin fashion. I particularly like the title poem and None of the Books Have Time. Also, there's one in there about the stubborn stupidity of old folks that is absolutely delightful and hilarious though the title escapes me at the moment. Anyway, this small book that won't take up either much time to read or much space on the shelf is a delightful and highly recommended piece. One of my all-time favorites.
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