Re-discovering Philip Larkin through word, image and jazz.

the poet Philip Larkin holds a drink and smiles.

A rare smiling image of English poet Philip Larkin.

My old copy of The Whitsun Weddings by Philip Larkin, hidden on the bookshelf for years, was pulled out for a nostalgic read the other day after an intriguing documentary about the poet on BBC4 earlier this week. In the Whitsun Weddings collection, in the poem For Sidney Bechet, the poet describes (earlier era) jazz music as falling upon him,

‘Like an enormous yes’ and refers to it as

‘the natural noise of good, / Scattering long-haired grief and scored pity.’

While commonly known for a somewhat melancholic approach to life, this does not sound like a person who has no time for passion. It was news to me too that alongside his poetry, Larkin had also made significant literary and journalistic contributions to critiquing Jazz music such as the perhaps controversial (maybe just honest) All What Jazz.

The television documentary revealed even more interesting aspects of Larkin’s artistic dimensions, that included skill with a camera as well as with the poetic word. Some of his images are black and white with a haunting or melancholy quality, reflected in his poetry too, such as Home is so Sad.

Yet much of Larkin’s photographic work is also personal and full of emotion like the multiple shots of intimate friends, male and female, with whom he shared his life, albeit within certain strong constraints and clear boundaries, evident in the ending of Talking in Bed,

‘Nothing shows why / At this unique distance from isolation / It becomes still more difficult to find / Words at once true and kind, / Or not untrue and not unkind.

More surprisingly, a significant number of the photographic portraits are of himself, taken with the delayed shutter function of his high-tech Rollieflex camera. The original ‘King of the Selfie’, Philip Larkin was a complex, intense human being whose work continues to intrigue, inspire and invite debate. Some of his photos have been published in The Importance of Elsewhere 2015.

image courtesy of http://www.flickr.com/photos/norfolkodyssey/1426630717

 

 

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