text: screenwriter

text: film director

text: producer

text: 20th Century Fox

text: Screen Writers Guild

text: Hollywood Blacklist

text: How Green Was My Valley

text: The Ghost and Mrs. Muir

text: The Robe

text: The Agony and the Ecstasy

text: Academy Award

text: How Green Was My Valley

text: David and Bathsheba

text: Golden Globe

text: screen adaptation

text: Irving Stone

text: The Agony and the Ecstasy

text: Laurel Award for Screenwriting Achievement

text: Carol Reed

text: John Ford

text: Jacques Tourneur

text: Elia Kazan

text: Otto Preminger

text: Joseph L. Mankiewicz

text: Michael Curtiz

text: New York City

text: Chicago

text: Finley Peter Dunne

text: Margaret Ives (Abbott) Dunne

text: Chicago Tribune

text: Roman Catholic

text: Middlesex School

text: Harvard University

text: Hollywood

text: Leonard Spigelglass

text: Student Tour

text: Me and My Gal

text: The Count of Monte Cristo

text: Edward Small

text: Rowland V. Lee

text: The Melody Lingers On

text: Helldorado

text: Jesse Lasky

text: Under Pressure

text: Magnificent Obsession

text: The Last of the Mohicans

text: John L. Balderstone

text: 1992 film version

text: Breezing Home

text: 20th Century Fox

text: World War II

text: Lancer Spy

text: Julien Josephson

text: Suez

text: Stanley and Livingstone

text: The Rains Came

text: Swanee River

text: Johnny Apollo

text: How Green Was My Valley

text: William Wyler

text: U.S. Office of War Information

text: Salute to France

text: The Town

text: Josef von Sternberg

text: The Late George Apley

text: The Ghost and Mrs. Muir

text: Forever Amber

text: Ring Lardner Jr

text: Escape

text: The Luck of the Irish

text: Dudley Nichols

text: Pinky

text: Otto Preminger

text: David and Bathsheba

text: Queen of Sheba

text: Anne of the Indies

text: Lydia Bailey

text: Way of a Gaucho

text: The Robe

text: Jezebel

text: Demetrius and the Gladiators

text: The Egyptian

text: Prince of Players

text: Moss Hart

text: Darryl F. Zanuck

text: The View from Pompey's Head

text: Hilda Crane

text: Three Brave Men

text: In Love and War

text: Edward Anhalt

text: Jerry Wald

text: Charles Brackett

text: Ten North Frederick

text: Blue Denim

text: Wild in the Country

text: Elvis Presley

text: Clifford Odets

text: Lisa

text: Jan de Hartog

text: Stephen Boyd

text: Dolores Hart

text: The Agony and the Ecstasy

text: Irving Stone

text: Quirt and Flagg

text: Sistine Chapel

text: Blindfold

text: The Last of the Mohicans

text: Michael Mann

text: Daniel Day-Lewis

text: Fenimore Cooper

text: The New Yorker

text: The Atlantic Monthly

text: Adlai Stevenson

text: Mr. Dooley's America

text: Time Magazine

text: Los Angeles Times

text: Harvard Review

text: Hollywood Walk of Fame

text: Hollywood Boulevard

text: Writers Guild of America

text: Academy of Motion Picture Arts and Sciences

text: World War II

text: Committee to Defend America by Aiding the Allies

text: materiel

text: Hollywood Blacklist

text: Committee for the First Amendment

text: John Huston

text: William Wyler

text: House Un-American Activities Committee

text: Humphrey Bogart

text: Lauren Bacall

text: Danny Kaye

text: Gene Kelly

text: subpoena

text: Communist Party

text: Ring Lardner Jr.

text: Clifford Odets

text: Albert Maltz

text: Marsha Hunt

text: Dalton Trumbo

text: contempt of Congress

text: Hollywood Ten

text: Albert Maltz

text: cancer

text: Malibu, California

text: The Count of Monte Cristo

text: Rowland V. Lee

text: Student Tour

text: The Melody Lingers On

text: The Last of the Mohicans

text: Breezing Home

text: Lancer Spy

text: Suez

text: Stanley and Livingstone

text: Julien Josephson

text: The Rains Came

text: Swanee River

text: Johnny Apollo

text: How Green Was My Valley

text: Son of Fury

text: The Late George Apley

text: The Ghost and Mrs. Muir

text: Forever Amber

text: Ring Lardner Jr.

text: Escape

text: The Luck of the Irish

text: Pinky

text: Dudley Nichols

text: Anne of the Indies

text: David and Bathsheba

text: Lydia Bailey

text: Way of a Gaucho

text: The Robe

text: Albert Maltz

text: Demetrius and the Gladiators

text: The Egyptian

text: Casey Robinson

text: Prince of Players

text: The View from Pompey's Head

text: Hilda Crane

text: Three Brave Men

text: Ten North Frederick

text: In Love and War

text: Blue Denim

text: Wild in the Country

text: Lisa

text: The Agony and the Ecstasy

text: Blindfold

text: Contemporary Authors

text: Thomson Gale

text: McGraw-Hill

categories: 1992 deaths,American male screenwriters,1908 births,Writers from New York City,Hollywood blacklist,Harvard Lampoon alumni,Roman Catholic writers,Film directors from New York City,Deaths from cancer in California,Screenwriters from New York (state),Middlesex School alumni

paragraph: Philip Dunne (writer)

paragraph: Philip Ives Dunne (February 11, 1908 – June 2, 1992) was a Hollywood screenwriter, film director and producer, who worked prolifically from 1932 until 1965. He spent the majority of his career at 20th Century Fox crafting well regarded romantic and historical dramas, usually adapted from another medium. Dunne was a leading Screen Writers Guild organizer and was politically active during the "Hollywood Blacklist" episode of the 1940s-1950s. He is best known for the films "How Green Was My Valley" (1941), "The Ghost and Mrs. Muir" (1947), "The Robe" (1953) and "The Agony and the Ecstasy" (1965).

paragraph: Dunne received two Academy Award nominations for screenwriting: "How Green Was My Valley" (1941) and "David and Bathsheba" (1951). He also received a Golden Globe nomination for his 1965 screen adaptation of Irving Stone's novel "The Agony and the Ecstasy", as well as several peer awards from the Writers Guild of America (WGA), including the Laurel Award for Screenwriting Achievement.

paragraph: Many notable directors worked with Dunne's screenplays, including Carol Reed, John Ford, Jacques Tourneur, Elia Kazan, Otto Preminger, Joseph L. Mankiewicz, and Michael Curtiz, among others.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Early Life.

paragraph: Dunne was born in New York City, the son of Chicago syndicated columnist and humorist Finley Peter Dunne and Margaret Ives (Abbott) Dunne, a champion golfer and the daughter of the "Chicago Tribune"'s book reviewer and novelist, Mary Ives Abbott.

paragraph: Although a Roman Catholic, he attended Middlesex School (1920–1925) and Harvard University (1925–1929). Immediately after graduation, he boarded a train for Hollywood for his health and to seek work.

paragraph: Section::::Biography.:First Screenplays.

paragraph: Dunne was not initially interested in working in the film industry but that is the first place he got a job. Via a recommendation from a friend of his brother's he obtained work at Fox as a reader at $35 a week. Also among readers at the time was Leonard Spigelglass. Dunne later recalled:

paragraph: We got nothing but the worst stuff; all the good books and plays went through the New York readers’ department. We got the pathetic originals written by out-of-work screenwriters. I kept seeing ways that I thought I could improve them. I’d write a synopsis, and I’d make it better. I couldn’t help it. It would be an obvious thing that the guy had missed. And when you learn to synopsize a story, you learn to construct it. At the same time, I was moonlighting writing short stories, so all these things came together.”

paragraph: In 1931, Dunne was fired from Fox after less than a year at the studio in a cost-cutting move. He was briefly under contract at MGM, writing a comedy for them, but was unhappy with his work and resigned after hanging in his first draft. This script was subsequently filmed as "Student Tour" (1934), which Dunne never saw.

paragraph: Dunne aso worked uncredited on "Me and My Gal" (1932).

paragraph: Section::::Biography.:Edward Small.

paragraph: The first important screenplay of Dunne's career was "The Count of Monte Cristo" (1934), produced by Edward Small. Dunne was brought on to the project after the novel had been distilled to a treatment by director Rowland V. Lee and Dan Totheroh, and Dunne helped finesse the script into scenes and did the dialogue. Dunne later credited Lee as an important mentor for him.

paragraph: Small kept Dunne on to work on the script for "The Melody Lingers On" (1935). He was also credited for "Helldorado" (1935), the latter at Fox for Jesse Lasky, another early mentor.

paragraph: He did some minor uncredited work on "Under Pressure" (1935) and "Magnificent Obsession" (1935).

paragraph: Dunne received a lot of acclaim for his adaptation of "The Last of the Mohicans" (1936) for Small which he wrote with John L. Balderstone. Dunne claimed the script was hurt by later rewrites from another writer, but the script, rather than the original novel, formed the basis of the 1992 film version.

paragraph: For Universal he wrote "Breezing Home" (1937) which he later said was the first of what he considered only four original screenplays he would write in his career.

paragraph: Section::::Biography.:20th Century Fox.

paragraph: After working for various studios, he moved to 20th Century Fox in 1937, where he would remain for 25 years (excepting 4 years civilian war service during World War II), scripting 36 films in total and directing 10. He also produced several of his later films.

paragraph: His first assignment at Fox was "Lancer Spy" (1937), with George Sanders. He then did three films in collaboration with Julien Josephson which established him as one of the leading writers at the studio: "Suez" (1938), "Stanley and Livingstone" (1939), and "The Rains Came" (1939).

paragraph: Alone Dunne wrote "Swanee River" (1939), and "Johnny Apollo" (1940) (rewriting Rowland Brown's draft).

paragraph: He wrote "How Green Was My Valley" (1941) originally developed with William Wyler then taken over by John Ford. He also wrote "" (1942).

paragraph: Section::::Biography.:World War Two.

paragraph: From 1942 to 1945, Dunne was the Chief of Production for the Motion Picture Bureau, U.S. Office of War Information, Overseas Branch. He wrote films such as "Salute to France" (1943).

paragraph: Notably, he produced the non-fiction short "The Town" (1944), directed by Josef von Sternberg, which has received some critical acclaim.

paragraph: Section::::Biography.:Post War Career.

paragraph: Dunne returned to Fox after the war and quickly re-established himself as one of the studio's leading writers with credits including "The Late George Apley" (1947), and "The Ghost and Mrs. Muir" (1947).

paragraph: He wrote "Forever Amber" (1947) in collaboration with Ring Lardner Jr and wrote "Escape" (1948) and "The Luck of the Irish" (1948). He revised Dudley Nichols' script for "Pinky" (1949).

paragraph: In 1949 he and Otto Preminger were working on a film "The Far East Story" which was never made.

paragraph: Dunne moved into spectacles with "David and Bathsheba" (1951), based on the story in the Bible but which Dunne considered his second "original". It was a huge hit. Zanuck put Dunne on Queen of Sheba but it was never made.

paragraph: He also wrote "Anne of the Indies" (1951) and "Lydia Bailey" (1952).

paragraph: Section::::Biography.:Producer.

paragraph: Dunne turned producer with "Way of a Gaucho" (1952) which he also wrote. As a writer only he worked on "The Robe" (1953), the first movie in CinemaScope and a huge success. Dunne had enjoyed writing "David and Bathsheba" but said working on "The Robe" was "a chore" which he only did "as a favor to Zanuck".

paragraph: He was announced for a film "The Story of Jezebel" which was not made. Dunne wrote the sequel to "The Robe", "Demetrius and the Gladiators" (1954), his third original, which was also a hit.

paragraph: However another spectacle Dunne wrote (from a draft by Casey Robinson]]), "The Egyptian" (1954), was a boxoffice disappointment. Dunne says he acted as an unofficial producer on this film.

paragraph: Section::::Biography.:Director.

paragraph: Dunne was assigned to produce "Prince of Players" (1955) from a script by Moss Hart. When he could not find a director he was happy with, Darryl F. Zanuck suggested Dunne to do the job himself.

paragraph: Dunne later said "I started directing too late and, no question, at the wrong time. Twentieth Century Fox, the studio system, were falling apart. The boat had sailed."

paragraph: Dunne wrote, produced and directed "The View from Pompey's Head" (1955). He wrote and directed "Hilda Crane" (1956). That was produced by Herbert Swope who also produced "Three Brave Men" (1957) which Dunne wrote and directed.

paragraph: He directed and did some writing on "In Love and War" (1958), a war time drama, featuring many of the studio's young contract players. Edward Anhalt wrote it and Jerry Wald produced.

paragraph: Dunne wrote and directed two films for producer Charles Brackett: "Ten North Frederick" (1958) with Gary Cooper, and "Blue Denim" (1959).

paragraph: Section::::Biography.:Later Films.

paragraph: In 1961, he directed "Wild in the Country", starring Elvis Presley, from a screenplay by Clifford Odets and produced by Wald.

paragraph: In 1962, he directed "Lisa", based on the novel "The Inspector" by Jan de Hartog and featuring Stephen Boyd and Dolores Hart, which was nominated for a Golden Globe for Best Picture - Drama. Dunne did not wrote it.

paragraph: Dunne worked on "The Agony and the Ecstasy" (1965) as a writer only. Although based on a novel by Irving Stone, Dunne later said he considered this an original. "I called it Quirt and Flagg in the Sistine Chapel," he said later.

paragraph: He wrote and directed "Blindfold" (1966), at Universal. It was his last feature. He was reportedly working on an adaptation of "The Consort" a novel by Anthony Hextall Smith, but it was never made.

paragraph: The 1992 film "The Last of the Mohicans", directed by Michael Mann and starring Daniel Day-Lewis, was based on Dunne's 1936 screenplay of the Fenimore Cooper novel.

paragraph: Section::::Biography.:Other writing.

paragraph: In addition to screenwriting, Dunne wrote syndicated newspaper articles and was a contributor to "The New Yorker" and "The Atlantic Monthly" magazines.

paragraph: He wrote speeches for various Democratic politicians such as Adlai Stevenson.

paragraph: He also wrote a stage play, "Mr. Dooley's America" (1976), based on his father's humor, and another, "Politics" (1980).

paragraph: His books include "Mr Dooley Remembers" (1963) and "Take Two: A Life in Movies and Politics" (1980). His short stories appeared in the "New Yorker" and his essays were regular features of "Time Magazine", the "Los Angeles Times", and the "Harvard Review".

paragraph: Section::::Biography.:Awards.

paragraph: He was a winner of the Laurel Award (1962) and the Valentine Davies Award (1974).

paragraph: The week before he died he was awarded a lifetime achievement award by the Writers Guild.

paragraph: Dunne has a star on the Hollywood Walk of Fame, in front of 6725 Hollywood Boulevard, just west of Las Palmas Ave.

paragraph: Section::::Politics.

paragraph: Dunne was a co-founder of the Screen Writers Guild and served as vice-president of its successor, the Writers Guild of America, from 1938 to 1940. He later served on the Board of Governors of the Academy of Motion Picture Arts and Sciences (AMPAS) from 1946 to 1948.

paragraph: Before World War II, he was a member of the Committee to Defend America by Aiding the Allies, a group founded in May 1940 that advocated military materiel aid to Britain as the best way to keep the United States out of the war.

paragraph: Section::::Politics.:Philip Dunne and the Hollywood Blacklist.

paragraph: Dunne was a key participant in the Hollywood Blacklist episode of the 1940s and 1950s. In 1947 he co-founded the Committee for the First Amendment with John Huston and William Wyler in response to hearings held by the House Un-American Activities Committee (HUAC). Dunne, Huston, and Wyler, along with fellow members Humphrey Bogart, Lauren Bacall, Danny Kaye, and Gene Kelly, appeared before HUAC in Washington, D.C. in October 1947, protesting HUAC's activities and methods. Dunne was never subpoenaed or blacklisted himself, nor was he accused of any Communist Party affiliations.

paragraph: As a writer and director, Dunne frequently worked with others who either were, had been, or would become blacklisted, including Ring Lardner Jr., Clifford Odets, Albert Maltz, and Marsha Hunt. Additionally, Dunne was a character witness for Dalton Trumbo at the latter's trial for contempt of Congress.

paragraph: The original credits for "The Robe" (1953) gave Dunne the sole screenplay credit, when in fact Hollywood Ten member Albert Maltz had made significant contributions. In 1997, the WGA restored full writing credits to blacklisted writers whose names were left out of films they worked on. The following is from the WGA's "Blacklisted Writers Receive Credit" press release of April 2, 1997:

paragraph: In the case of The Robe there was an extraordinary amount of information gathered to indicate that Maltz was entitled to shared screenplay credit. In addition, Philip Dunne did not believe he deserved sole screenplay credit but it was not until many years later that he learned that a blacklisted writer had worked on the project. Amanda Dunne, Philip's widow, confirms that Philip would have been happy to share screenplay credit with Maltz.

paragraph: Dunne's political stance was decidedly liberal and reformist, but he was also determinedly anti-Communist. His involvement in the Committee for the First Amendment can arguably be read as just that—support for Constitutional free speech against a government entity (HUAC) that, to Dunne, seemed determined to usurp those rights. At various times dating to before the Second World War, he clashed with fellow members of the Screen Writers Guild who he felt were "pro-Stalin" Communists. Dunne's anti-Communist leanings would seem to be verified by his uninterrupted employment as a screenwriter on major Hollywood productions throughout the blacklist period, despite his quite vocal denunciation of HUAC.

paragraph: Section::::Personal life.

paragraph: Dunne married the former Amanda Duff (1914-2006) on July 13, 1939. They had three children, Miranda, Philippa, and Jessica.

paragraph: In 1980, he published his memoirs, "Take Two: A Life in Movies and Politics".

paragraph: Dunne died of cancer on June 2, 1992, in Malibu, California, aged 84.

paragraph: Section::::Quotes.

paragraph: BULLET::::- "Never in all my years in this chancy and unstable profession did I ever realize that I was sleepwalking along a precipice. I ignored the fact that the rate of professional mortality among screen writers is extremely high...It wasn't courage or arrogance or insensitivity; I suspect it was the irascible Horatio Alger in my blood. If I had it to do all over again I would perish of sheer fright."

paragraph: BULLET::::- "All over town the industrious communist tail wagged the lazy liberal dog."

paragraph: BULLET::::- "Had I known it was the Golden Age of Hollywood, I would have enjoyed it more."

paragraph: Section::::Selected filmography.

paragraph: BULLET::::- "The Count of Monte Cristo" (1934, screenplay with Rowland V. Lee and Dan Totheroh)

paragraph: BULLET::::- "Student Tour" (1934, screenplay)

paragraph: BULLET::::- "Helldorado" (1935, screenplay)

paragraph: BULLET::::- "The Melody Lingers On" (1936, screenplay)

paragraph: BULLET::::- "The Last of the Mohicans" (1936, screenplay)

paragraph: BULLET::::- "Breezing Home" (1937, screenplay)

paragraph: BULLET::::- "Lancer Spy" (1937, screenplay)

paragraph: BULLET::::- "Suez" (1938, screenplay)

paragraph: BULLET::::- "Stanley and Livingstone" (1939, screenplay with Julien Josephson)

paragraph: BULLET::::- "The Rains Came" (1939, screenplay)

paragraph: BULLET::::- "Swanee River" (1939, screenplay)

paragraph: BULLET::::- "Johnny Apollo" (1940, screenplay with Rowland Brown)

paragraph: BULLET::::- "How Green Was My Valley" (1941, screenplay)

paragraph: BULLET::::- "Son of Fury" (1942, screenplay)

paragraph: BULLET::::- "The Late George Apley" (1947, screenplay)

paragraph: BULLET::::- "The Ghost and Mrs. Muir" (1947, screenplay)

paragraph: BULLET::::- "Forever Amber" (1947, screenplay with Ring Lardner Jr.)

paragraph: BULLET::::- "Escape" (1948, screenplay)

paragraph: BULLET::::- "The Luck of the Irish" (1948, screenplay)

paragraph: BULLET::::- "Pinky" (1949, screenplay with Dudley Nichols)

paragraph: BULLET::::- "Anne of the Indies" (1951, screenplay)

paragraph: BULLET::::- "David and Bathsheba" (1951, screenplay)

paragraph: BULLET::::- "Lydia Bailey" (1952, screenplay)

paragraph: BULLET::::- "Way of a Gaucho" (1952, screenplay, producer)

paragraph: BULLET::::- "The Robe" (1953, screenplay with Albert Maltz)

paragraph: BULLET::::- "Demetrius and the Gladiators" (1954, screenplay)

paragraph: BULLET::::- "The Egyptian" (1954, screenplay with Casey Robinson)

paragraph: BULLET::::- "Prince of Players" (1955, director, producer)

paragraph: BULLET::::- "The View from Pompey's Head" (1955, screenplay, director, producer)

paragraph: BULLET::::- "Hilda Crane" (1956, screenplay, director)

paragraph: BULLET::::- "Three Brave Men" (1956, screenplay and director)

paragraph: BULLET::::- "Ten North Frederick" (1958, screenplay and director)

paragraph: BULLET::::- "In Love and War" (1958, director)

paragraph: BULLET::::- "Blue Denim" (1959, screenplay, director)

paragraph: BULLET::::- "Wild in the Country" (1961, director)

paragraph: BULLET::::- "Lisa" (1962, director)

paragraph: BULLET::::- "The Agony and the Ecstasy" (1965, screenplay with Carol Reed)

paragraph: BULLET::::- "Blindfold" (1966, screenplay and director)

paragraph: Section::::References.

paragraph: BULLET::::- "Contemporary Authors": Philip Dunne, Thomson Gale, 2004

paragraph: BULLET::::- Philip Dunne, "Take Two: A Life in Movies and Politics", McGraw-Hill, 1980 ()

paragraph: Section::::External links.

paragraph: BULLET::::-  - Writers Guild of America's 1997 press release on restoration of blacklist credits

description: American writer, producer, director

wikidata_label: Philip Dunne

wikipedia_title: Philip Dunne (writer)


text: Edward II of England

text: Isabella of France

text: Edward, the Black Prince

text: Eltham Palace

text: Kent

text: Earl of Cornwall

text: Edward III

text: María Díaz de Haro

text: Lordship of Biscay

text: Joan, Countess of Penthièvre

text: Duchy of Brittany

text: Maria de La Cerda, Lady of Lunel

text: Ferdinand de la Cerda

text: Alfonso X of Castile

text: Juana Núñez de Lara

text: Halidon Hill

text: Edward Balliol

text: Lesmahagow Abbey

text: Scottish

text: John of Fordun

text: Perth

text: alabaster-carved tomb

text: Westminster Abbey

categories: Medieval Cornish people,1316 births,People from Eltham,1336 deaths,Earls of Cornwall,People associated with Perth and Kinross,14th-century English nobility,Burials at Westminster Abbey,Heirs to the English throne,House of Plantagenet

paragraph: John of Eltham, Earl of Cornwall

paragraph: John of Eltham, 1st Earl of Cornwall (15 August 1316 – 13 September 1336) was the second son of Edward II of England and Isabella of France. He was heir apparent to the English throne until the birth of his nephew Edward, the Black Prince.

paragraph: Section::::Life.

paragraph: John was born in 1316 at Eltham Palace, Kent. At the age of twelve, he was created Earl of Cornwall on 6 October 1328. Caught in the throes of the war between his father, Edward II, and mother Isabella, his growing years were turbulent. He was passed between his parents and even held in the Tower of London for a time before his brother, Edward III, led a coup against their mother and assumed his majority.

paragraph: Information on John is scant, but by most historical accounts he was highly competent, and highly trusted by Edward. He was named "Guardian of the Realm" when Edward III was out of the country; was asked to open Parliament in Edward's absence, and was named Warden of the northern Marches, which gave him virtual autonomy in that portion of England.

paragraph: Being the younger brother of the English monarch, since early childhood marital negotiations were made for John during his lifetime: in March 1328 Edward III entered in negotiations for a marriage between his brother and María Díaz de Haro, heiress of the Lordship of Biscay, and in December 1335 were made negotiations for a wedding with Joan, Countess of Penthièvre and heiress of the Duchy of Brittany; however, it doesn't seem that any of these arrangements resulted in an official betrothal. At the end, by contract signed on 28 September 1334, John was betrothed with Maria de La Cerda, Lady of Lunel and daughter of Ferdinand de la Cerda (grandson of King Alfonso X of Castile) by his wife Juana Núñez de Lara, Lady of Lara. A dispensation was sought, but the contract was abandoned when relations between Edward and Philippe worsened in late 1334. Marie married Charles d'Évreux at Poissy in April 1335 (ref: López de Ayala, P. (1780) Crónicas de los Reyes de Castilla (Madrid), Tome II, Crónica del rey Enrique II, Año Octavo, Cap. X, p. 49.) .

paragraph: At seventeen he was a key commander in the Battle of Halidon Hill (1333), a devastating defeat for the Scots. Later he commanded an army in the southwest of Scotland that put down resistance to Edward Balliol, whose claims to the Scottish throne were supported by England.

paragraph: According to Scottish accounts, who view John as a ruthless destroyer, he burned down Lesmahagow Abbey when it was filled with people who had sought sanctuary from the wrath of the English troops. As the Scottish chronicler John of Fordun tells it, this violation of the sacred laws of sanctuary so enraged King Edward III that he killed his own brother in fury. According to modern historian Tom Beaumont James, this tale "challenges the distinction between history and story."

paragraph: John died, shortly after turning 20, at Perth, probably from a fever. Edward buried his brother with all honours in a beautiful alabaster-carved tomb in Westminster Abbey, in January 1337, and had masses said for his soul regularly.

paragraph: Section::::Arms.

paragraph: As Earl of Cornwall, John had use of the coat of arms of the kingdom, differenced by a "bordure France (i.e. azure semy of fleur-de-lys or)".

paragraph: Section::::External links.

paragraph: BULLET::::- Lineage at British Royalty/Kings of England

description: English Earl

wikidata_label: John of Eltham, Earl of Cornwall

wikipedia_title: John of Eltham, Earl of Cornwall


text:
Dutch Golden Age painter
still life
Berchem
Belgium
Antwerp
Guild of St. Luke
Haarlem
Nicolaes Pieterszoon Berchem
Willem Claeszoon Heda
Haarlem Guild of St. Luke
Evert van Aelst
Floris van Dyck
Christian Berentz
Floris van Schooten
Jan Jansz Treck
Pieter Claesz

categories: People from Berchem,1660 deaths,Dutch Golden Age painters,Members of the Haarlem Guild of Saint Luke,Dutch still life painters,Flemish painters,Flemish still life painters,Dutch male painters,Members of the Antwerp Guild of Saint Luke,Artists from Haarlem,1590s births

paragraph: Pieter Claesz

paragraph: Pieter Claesz (c. 1597–1 January 1660) was a Dutch Golden Age painter of still lifes.

paragraph: Section::::Biography.

paragraph: He was born in Berchem, Belgium, near Antwerp, where he became a member of the Guild of St. Luke in 1620. He moved to Haarlem in 1620, where his son, the landscape painter Nicolaes Pieterszoon Berchem was born (October 1). He and Willem Claeszoon Heda, who also worked in Haarlem, were the most important exponents of the "ontbijt" or dinner piece. They painted with subdued, virtually monochromatic palettes, the subtle handling of light and texture being the prime means of expression. Claesz generally chose objects of a more homely kind than Heda, although his later work became more colourful and decorative. Claesz's still lifes often suggest allegorical purpose, with skulls serving as reminders of human mortality. The two men founded a distinguished tradition of still life painting in Haarlem. Pieter Claesz was influenced by the artist movement 'Vanitas'.

paragraph: Section::::Legacy.

paragraph: Claesz is registered in the Haarlem Guild of St. Luke as the teacher of his son, Nicolaes Berchem, in 1634, but Nicolaes preferred landscapes to still life painting and later after a trip his talent in music. Claesz had, in addition to his son, the pupils Evert van Aelst, Floris van Dyck, Christian Berentz, Floris van Schooten, and Jan Jansz Treck.

paragraph: Section::::References.

paragraph: BULLET::::- National Gallery of Art.

paragraph: Section::::External links.

paragraph: BULLET::::- Pieter Claesz at PubHist

alias:
Claesz. Pieter
Pieter Claasz
Claes Pieters
Pieter Claesz.
Pieter Claes
Pieter Claessen
Pieter Claass
Pieter claezs
Pieter Clasien
P. Classen
Piter Classen
Pr. Claes
Pieter Claese
Pit. Claassen
Pieter Claasen
Pr. Claesz
Pieter Claess
Peter Clausans
Pieter Classen
claesz pieter
Pr. Claesz.
Piter Clasen
Pieter Claassen
Claesz
P. Klaes
Piter Claessen
Clausence
pieter claesz
Pieter Claesse
Classon
Pieter Klaes

description: painter from the Northern Netherlands

wikidata_label: Pieter Claesz

wikipedia_title: Pieter Claesz


text: The North Ship

text: Jill

text: A Girl in Winter

text: The Less Deceived

text: The Whitsun Weddings

text: High Windows

text: The Daily Telegraph

text: jazz

text: The Oxford Book of Twentieth Century English Verse

text: Queen's Gold Medal for Poetry

text: Poet Laureate

text: Sir John Betjeman

text: Oxford

text: first

text: Brynmor Jones Library

text: University of Hull

text: Andrew Motion

text: Donald Davie

text: Randall Jarrell

text: Wordsworth

text: W. H. Auden

text: W. B. Yeats

text: Thomas Hardy

text: Anthony Thwaite

text: letters

text: John Banville

text: Lisa Jardine

text: misogynist

text: Poetry Book Society

text: The Times

text: Coventry Evening Telegraph

text: Kingston upon Hull

text: Larkin 25

text: Poets' Corner

text: Westminster Abbey

text: Radford, Coventry

text: Lichfield

text: Epping

text: Radford, Coventry

text: Coventry railway station

text: King Henry VIII School

text: Second World War

text: self-made man

text: Nazism

text: Nuremberg rallies

text: Ezra Pound

text: T. S. Eliot

text: James Joyce

text: D. H. Lawrence

text: jazz

text: saxophone

text: Down Beat

text: School Certificate

text: St John's College, Oxford

text: Second World War

text: Kingsley Amis

text: finals

text: first-class honours degree

text: Wellington, Shropshire

text: King's College London

text: Library Association

text: University College, Leicester

text: Senior Common Room

text: Lucky Jim

text: Hardy country

text: The Queen's University of Belfast

text: Monica Jones

text: Patsy Strang

text: open marriage

text: Winifred Arnott

text: University of Hull

text: Professor R. L. Brett

text: bedsit

text: High Windows

text: University Grants Committee

text: Brynmor Jones Library

text: Brynmor Jones

text: vice-chancellor

text: GEAC

text: Singer Gazelle

text: Haydon Bridge

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text: The Whitsun Weddings

text: Monitor

text: Patrick Garland

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text: Hull

text: OBE

text: Companion of Honour

text: All Souls College, Oxford

text: Bodleian Library

text: copyright library

text: Brenda Moon

text: Thomas Hardy

text: T. S. Eliot

text: W. B. Yeats

text: W. H. Auden

text: Rudyard Kipling

text: Rupert Brooke

text: Modernists

text: Donald Davie

text: St John's College, Oxford

text: honorary degree

text: Warwick

text: St Andrews

text: Sussex

text: Newland Park

text: Christ Church, Oxford

text: Roy Plomley

text: Desert Island Discs

text: Dallas Blues

text: Louis Armstrong

text: Spem in alium

text: Thomas Tallis

text: Symphony No. 1 in A flat major

text: Edward Elgar

text: Bessie Smith

text: Larkin at Sixty

text: Anthony Thwaite

text: Faber and Faber

text: The South Bank Show

text: Melvyn Bragg

text: Roy Hattersley

text: shingles

text: Poet Laureate

text: oesophageal cancer

text: Cottingham

text: St Paul's Cathedral

text: Hexham Abbey

text: Durham Cathedral

text: The Listener

text: Brunette Coleman

text: Jill

text: Reginald A. Caton

text: The North Ship

text: Yeats

text: Faber and Faber

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text: Belfast

text: The Less Deceived

text: Lucky Jim

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text: The Movement

text: PEN

text: Robert Conquest

text: Hessle

text: The Times

text: An Arundel Tomb

text: The Whitsun Weddings

text: Oxford University

text: The Whitsun Weddings

text: Royal Society of Literature

text: High Windows

text: This Be The Verse

text: title poem

text: The Times Literary Supplement

text: Thomas Hardy

text: fatalism

text: Andrew Motion

text: modernism

text: The Daily Telegraph

text: Coventry Evening Telegraph

text: Charles Madge

text: juvenilia

text: Elizabeth Jennings

text: The Spectator

text: The Times

text: G. S. Fraser

text: The Movement

text: TLS

text: Robert Lowell

text: Encounter

text: Charles Tomlinson

text: A. Alvarez

text: The New Poetry

text: The Observer

text: The New York Review of Books

text: Christopher Ricks

text: Larkin at Sixty

text: Peter Porter

text: Gavin Ewart

text: Christopher Ricks

text: Seamus Heaney

text: Alan Brownjohn

text: Donald Mitchell

text: Clive James

text: Thom Gunn

text: Donald Davie

text: Modernism

text: Bernard Bergonzi

text: nihilist

text: pessimist

text: Bryan Appleyard

text: Peter Mandler

text: Andrew Duncan

text: The Movement

text: Peter Riley

text: British Poetry Revival

text: W.S. Graham

text: Dylan Thomas

text: Anthony Thwaite

text: Andrew Motion

text: pornography

text: racism

text: right wing

text: Tom Paulin

text: Lisa Jardine

text: Martin Amis

text: The War Against Cliché

text: Louis Armstrong

text: cricket

text: Test matches

text: survey

text: Poetry Book Society

text: The Times

text: BBC

text: AQA

text: A Level

text: OCR board

text: Hull

text: Hornsea

text: Sky News

text: BBC Radio 4

text: BBC Four

text: John Betjeman

text: The South Bank Show

text: Melvyn Bragg

text: Alan Bennett

text: Channel 4

text: Oliver Ford Davies

text: Stephen Joseph Theatre

text: Orange Tree Theatre

text: Monica Jones

text: Tom Courtenay

text: West Yorkshire Playhouse

text: Comedy Theatre

text: BBC Two

text: Hugh Bonneville

text: Channel 4

text: Mr Larkin's Awkward Day

text: practical joke

text: charitable organization

text: literary executor

text: Edwin Dawes

text: Larkin 25

text: Kingston upon Hull

text: Larkin 25

text: East Riding of Yorkshire

text: toad

text: Martin Jennings

text: Hull Paragon Interchange

text: The Whitsun Weddings

text: Hull City Council

text: memorial bench

text: Poets' Corner

text: Westminster Abbey

text: Tom Courtenay

text: Grayson Perry

text: Blake Morrison

text: An Arundel Tomb

text: Hull UK City of Culture 2017

text: The Burges

text: Sally Amis

text: The Whitsun Weddings

text: An Arundel Tomb

text: Mr Bleaney

text: This Be The Verse

text: High Windows

text: Homage to Philip Larkin

text: An Affair of Sanity: Philip Larkin

text: Paulin, Tom

text: Mr Larkin's Awkward Day

text: BBC Radio 4

text: BBC Radio 4

text: The Philip Larkin Society

text: "Philip Larkin"

text: The Philip Larkin Centre for Poetry and Creative Writing

text: "Photographer's papers reveal image-conscious Larkin"

text: "Revealingly yours, Philip Larkin"

text: Audio files of Larkin

text: "Unknown Philip Larkin poem found in shoebox"

categories: Formalist poets,English librarians,Deaths from cancer in England,1922 births,Deaths from esophageal cancer,People educated at King Henry VIII School, Coventry,Academics of the University of Hull,Members of the Order of the Companions of Honour,English agnostics,Fellows of the Royal Society of Literature,Philip Larkin,Alumni of St John's College, Oxford,English male novelists,1985 deaths,Commanders of the Order of the British Empire,People from Coventry,Jazz writers,Academics of the University of Leicester

paragraph: Philip Larkin

paragraph: Philip Arthur Larkin (9 August 1922 – 2 December 1985) was an English poet, novelist, and librarian. His first book of poetry, "The North Ship", was published in 1945, followed by two novels, "Jill" (1946) and "A Girl in Winter" (1947), and he came to prominence in 1955 with the publication of his second collection of poems, "The Less Deceived", followed by "The Whitsun Weddings" (1964) and "High Windows" (1974). He contributed to "The Daily Telegraph" as its jazz critic from 1961 to 1971, articles gathered in "All What Jazz: A Record Diary 1961–71" (1985), and he edited "The Oxford Book of Twentieth Century English Verse" (1973). His many honours include the Queen's Gold Medal for Poetry. He was offered, but declined, the position of Poet Laureate in 1984, following the death of Sir John Betjeman.

paragraph: After graduating from Oxford in 1943 with a first in English language and literature, Larkin became a librarian. It was during the thirty years he worked with distinction as university librarian at the Brynmor Jones Library at the University of Hull that he produced the greater part of his published work. His poems are marked by what Andrew Motion calls "a very English, glum accuracy” about emotions, places, and relationships, and what Donald Davie described as "lowered sights and diminished expectations". Eric Homberger (echoing Randall Jarrell) called him "the saddest heart in the post-war supermarket"—Larkin himself said that deprivation for him was “what daffodils were for Wordsworth”. Influenced by W. H. Auden, W. B. Yeats, and Thomas Hardy, his poems are highly structured but flexible verse forms. They were described by Jean Hartley, the ex-wife of Larkin's publisher George Hartley (the Marvell Press), as a "piquant mixture of lyricism and discontent", though anthologist Keith Tuma writes that there is more to Larkin's work than its reputation for dour pessimism suggests.

paragraph: Larkin's public persona was that of the no-nonsense, solitary Englishman who disliked fame and had no patience for the trappings of the public literary life. The posthumous publication by Anthony Thwaite in 1992 of his letters triggered controversy about his personal life and political views, described by John Banville as hair-raising, but also in places hilarious. Lisa Jardine called him a "casual, habitual racist, and an easy misogynist", but the academic John Osborne argued in 2008 that "the worst that anyone has discovered about Larkin are some crass letters and a taste for porn softer than what passes for mainstream entertainment". Despite the controversy Larkin was chosen in a 2003 Poetry Book Society survey, almost two decades after his death, as Britain's best-loved poet of the previous 50 years, and in 2008 "The Times" named him Britain's greatest post-war writer.

paragraph: In 1973 a "Coventry Evening Telegraph" reviewer referred to Larkin as "the bard of Coventry", but in 2010, 25 years after his death, it was Larkin's adopted home city, Kingston upon Hull, that commemorated him with the Larkin 25 Festival which culminated in the unveiling of a statue of Larkin by Martin Jennings on 2 December 2010, the 25th anniversary of his death. On 2 December 2016, the 31st anniversary of his death, a floor stone memorial for Larkin was unveiled at Poets' Corner in Westminster Abbey.

paragraph: Section::::Life.

paragraph: Section::::Life.:Early life and education.

paragraph: Philip Larkin was born on 9 August 1922 at 2, Poultney Road, Radford, Coventry, the only son and younger child of Sydney Larkin (1884–1948), who came from Lichfield, and his wife, Eva Emily Day (1886–1977) of Epping. The family lived in the district of Radford, Coventry, until Larkin was five years old, before moving to a large three-storey middle-class house complete with servants quarters near Coventry railway station and King Henry VIII School, in Manor Road. Having survived the bombings of the Second World War their former house in Manor Road was demolished in the 1960s to make way for a road modernisation programme, the construction of an inner ring road. His sister Catherine, known as Kitty, was 10 years older than he was. His father, a self-made man who had risen to be Coventry City Treasurer, was a singular individual, 'nihilistically disillusioned in middle age', who combined a love of literature with an enthusiasm for Nazism, and had attended two Nuremberg rallies during the mid-'30s. He introduced his son to the works of Ezra Pound, T. S. Eliot, James Joyce and above all D. H. Lawrence. His mother was a nervous and passive woman, "a kind of defective mechanism...Her ideal is 'to collapse' and to be taken care of", dominated by her husband.

paragraph: Larkin's early childhood was in some respects unusual: he was educated at home until the age of eight by his mother and sister, neither friends nor relatives ever visited the family home, and he developed a stammer. Nonetheless, when he joined Coventry's King Henry VIII Junior School he fitted in immediately and made close, long-standing friendships, such as those with James "Jim" Sutton, Colin Gunner and Noel "Josh" Hughes. Although home life was relatively cold, Larkin enjoyed support from his parents. For example, his deep passion for jazz was supported by the purchase of a drum kit and a saxophone, supplemented by a subscription to "Down Beat". From the junior school he progressed to King Henry VIII Senior School. He fared quite poorly when he sat his School Certificate exam at the age of 16. Despite his results, he was allowed to stay on at school; two years later he earned distinctions in English and History, and passed the entrance exams for St John's College, Oxford, to read English.

paragraph: Larkin began at Oxford University in October 1940, a year after the outbreak of Second World War. The old upper class traditions of university life had, at least for the time being, faded, and most of the male students were studying for highly truncated degrees. Due to his poor eyesight, Larkin failed his military medical examination and was able to study for the usual three years. Through his tutorial partner, Norman Iles, he met Kingsley Amis, who encouraged his taste for ridicule and irreverence and who remained a close friend throughout Larkin's life. Amis, Larkin and other university friends formed a group they dubbed "The Seven", meeting to discuss each other's poetry, listen to jazz, and drink enthusiastically. During this time he had his first real social interaction with the opposite sex, but made no romantic headway. In 1943 he sat his finals, and, having dedicated much of his time to his own writing, was greatly surprised at being awarded a first-class honours degree.

paragraph: Section::::Life.:Early career and relationships.

paragraph: In 1943 Larkin was appointed librarian of the public library in Wellington, Shropshire. It was while working there that in early 1944 he met his first girlfriend, Ruth Bowman, an academically ambitious 16-year-old schoolgirl. In 1945, Ruth went to continue her studies at King's College London; during one of his visits their friendship developed into a sexual relationship. By June 1946, Larkin was halfway through qualifying for membership of the Library Association and was appointed assistant librarian at University College, Leicester. It was visiting Larkin in Leicester and witnessing the university's Senior Common Room that gave Kingsley Amis the inspiration to write "Lucky Jim" (1954), the novel that made Amis famous and to whose long gestation Larkin contributed considerably. Six weeks after his father's death from cancer in March 1948, Larkin proposed to Ruth, and that summer the couple spent their annual holiday touring Hardy country.

paragraph: In June 1950 Larkin was appointed sub-librarian at The Queen's University of Belfast, a post he took up that September. Before his departure he and Ruth split up. At some stage between the appointment to the position at Queen's and the end of the engagement to Ruth, Larkin's friendship with Monica Jones, a lecturer in English at Leicester, also developed into a sexual relationship. He spent five years in Belfast, which appear to have been the most contented of his life. While his relationship with Jones developed, he also had "the most satisfyingly erotic [experience] of his life" with Patsy Strang, who at the time was in an open marriage with one of his colleagues. At one stage she offered to leave her husband to marry Larkin. From 1951 onwards Larkin holidayed with Jones in various locations around the British Isles. While in Belfast he also had a significant though sexually undeveloped friendship with Winifred Arnott, the subject of "Lines on a Young Lady's Photograph Album", which came to an end when she married in 1954. This was the period in which he gave Kingsley Amis extensive advice on the writing of "Lucky Jim". Amis repaid the debt by dedicating the finished book to Larkin.

paragraph: In 1955 Larkin became University Librarian at the University of Hull, a post he held until his death. Professor R. L. Brett, who was chairman of the library committee that appointed him and a friend, wrote, "At first I was impressed with the time he spent in his office, arriving early and leaving late. It was only later that I realised that his office was also his study where he spent hours on his private writing as well as the work of the library. Then he would return home and on a good many evenings start writing again." For his first year he lodged in bedsits. In 1956, at the age of 34, he rented a self-contained flat on the top-floor of 32 Pearson Park, a three-storey red-brick house overlooking the park, previously the American Consulate. This, it seems, was the vantage point later commemorated in the poem "High Windows." Of the city itself Larkin commented: "I never thought about Hull until I was here. Having got here, it suits me in many ways. It is a little on the edge of things, I think even its natives would say that. I rather like being on the edge of things. One doesn't really go anywhere by design, you know, you put in for jobs and move about, you know, I've lived in other places." In the post-war years, Hull University underwent significant expansion, as was typical of British universities during that period. When Larkin took up his appointment there, the plans for a new university library were already far advanced. He made a great effort in just a few months to familiarize himself with them before they were placed before the University Grants Committee; he suggested a number of emendations, some major and structural, all of which were adopted. It was built in two stages, and in 1967 it was named the Brynmor Jones Library after Sir Brynmor Jones, the university's vice-chancellor.

paragraph: One of Larkin's colleagues at Hull said he became a great figure in post-war British librarianship. Ten years after the new library's completion, Larkin computerized records for the entire library stock, making it the first library in Europe to install a GEAC system, an automated online circulation system. Richard Goodman wrote that Larkin excelled as an administrator, committee man and arbitrator. "He treated his staff decently, and he motivated them", Goodman said. "He did this with a combination of efficiency, high standards, humour and compassion." From 1957 until his death, Larkin's secretary was Betty Mackereth. All access to him by his colleagues was through her, and she came to know as much about Larkin's compartmentalized life as anyone. During his 30 years there, the library's stock sextupled, and the budget expanded from £4,500 to £448,500, in real terms a twelvefold increase.

paragraph: Section::::Life.:Later life.

paragraph: In February 1961 Larkin's friendship with his colleague Maeve Brennan became romantic, despite her strong Roman Catholic beliefs. In early 1963 Brennan persuaded him to go with her to a dance for university staff, despite his preference for smaller gatherings. This seems to have been a pivotal moment in their relationship, and he memorialised it in his longest (and unfinished) poem "The Dance". Around this time, also at her prompting, Larkin learnt to drive and bought a car – his first, a Singer Gazelle. Meanwhile, Monica Jones, whose parents had died in 1959, bought a holiday cottage in Haydon Bridge, near Hexham, which she and Larkin visited regularly. His poem "Show Saturday" is a description of the 1973 Bellingham show in the North Tyne valley.

paragraph: In 1964, in the wake of the publication of "The Whitsun Weddings", Larkin was the subject of an episode of the arts programme "Monitor", directed by Patrick Garland. The programme, which shows him being interviewed by fellow poet John Betjeman in a series of locations in and around Hull, allowed Larkin to play a significant part in the creation of his own public persona; one he would prefer his readers to imagine.

paragraph: In 1968, Larkin was offered the OBE, which he declined. Later in life he accepted the offer of being made a Companion of Honour.

paragraph: Larkin's role in the creation of Hull University's new Brynmor Jones Library had been important and demanding. Soon after the completion of the second and larger phase of construction in 1969, he was able to redirect his energies. In October 1970 he started work on compiling a new anthology, "The Oxford Book of Twentieth Century English Verse" (1973). He was awarded a Visiting Fellowship at All Souls College, Oxford, for two academic terms, allowing him to consult Oxford's Bodleian Library, a copyright library. While he was in Oxford he passed responsibility for the Library to his deputy, Brenda Moon. Larkin was a major contributor to the re-evaluation of the poetry of Thomas Hardy, which, in comparison to his novels, had been overlooked; in Larkin's "idiosyncratic" and "controversial" anthology, Hardy was the poet most generously represented. There were twenty-seven poems by Hardy, compared with only nine by T. S. Eliot (however, Eliot is most famous for long poems); the other poets most extensively represented were W. B. Yeats, W. H. Auden and Rudyard Kipling. Larkin included six of his own poems—the same number as for Rupert Brooke. In the process of compiling the volume he had been disappointed not to find more and better poems as evidence that the clamour over the Modernists had stifled the voices of traditionalists. The most favourable responses to the anthology were those of Auden and John Betjeman, while the most hostile was that of Donald Davie, who accused Larkin of "positive cynicism" and of encouraging "the perverse triumph of philistinism, the cult of the amateur ... [and] the weakest kind of Englishry". After an initial period of anxiety about the anthology's reception, Larkin enjoyed the clamour.

paragraph: In 1971 Larkin regained contact with his schoolfriend Colin Gunner, who had led a picaresque life. Their subsequent correspondence has gained notoriety as in these letters, Larkin expressed right-wing views and used racist language. In the period from 1973 to 1974 Larkin became an Honorary Fellow of St John's College, Oxford, and was awarded honorary degrees by Warwick, St Andrews and Sussex universities. In January 1974 Hull University informed Larkin that they were going to dispose of the building on Pearson Park in which he lived. Shortly afterwards he bought a detached two-storey 1950s house in Newland Park which was described by his university colleague John Kenyon as "an entirely middle-class backwater". Larkin, who moved into the house in June, thought the four-bedroom property "utterly undistinguished" and reflected, "I can't say it's the kind of dwelling that is eloquent of the nobility of the human spirit".

paragraph: Shortly after splitting up with Maeve Brennan in August 1973, Larkin attended W. H. Auden's memorial service at Christ Church, Oxford, with Monica Jones as his official partner. In March 1975 the relationship with Brennan restarted, and three weeks after this he initiated a secret affair with Betty Mackereth, who served as his secretary for 28 years, writing the long-undiscovered poem "We met at the end of the party" for her. Despite the logistical difficulties of having three relationships simultaneously, the situation continued until March 1978. From then on he and Jones were a monogamous couple.

paragraph: In 1976 Larkin was the guest of Roy Plomley on BBC's "Desert Island Discs". His choice of music included "Dallas Blues" by Louis Armstrong, "Spem in alium" by Thomas Tallis and the Symphony No. 1 in A flat major by Edward Elgar. His favourite piece was "I'm Down in the Dumps" by Bessie Smith.

paragraph: In December 2010, as part of the commemorations of the 25th anniversary of Larkin's death, the BBC broadcast a programme entitled "Philip Larkin and the Third Woman" focusing on his affair with Mackereth in which she spoke for the first time about their relationship. It included a reading of a newly discovered secret poem, "Dear Jake" and revealed that Mackereth was one of the inspirations for his writings.

paragraph: Section::::Life.:Final years and death.

paragraph: In 1982 Larkin turned sixty. This was marked most significantly by a collection of essays entitled "Larkin at Sixty", edited by Anthony Thwaite and published by Faber and Faber. There were also two television programmes: an episode of "The South Bank Show" presented by Melvyn Bragg in which Larkin made off-camera contributions, and a half-hour special on the BBC that was devised and presented by the Labour Shadow Cabinet Minister Roy Hattersley.

paragraph: In 1983 Jones was hospitalised with shingles. The severity of her symptoms, including its effects on her eyes, distressed Larkin. As her health declined, regular care became necessary: within a month she moved into his Newland Park home and remained there for the rest of her life.

paragraph: At the memorial service for John Betjeman, who died in July 1984, Larkin was asked if he would accept the post of Poet Laureate. He declined, not least because he felt he had long since ceased to be a writer of poetry in a meaningful sense. The following year Larkin began to suffer from oesophageal cancer. On 11 June 1985 he underwent surgery, but his cancer was found to have spread and was inoperable. On 28 November he collapsed and was readmitted to hospital. He died four days later, on 2 December 1985, at the age of 63, and was buried at the Cottingham municipal cemetery near Hull. His grave can be found on the left hand side of the cemetery, close to the entrance. Its plain white headstone reads "Philip Larkin 1922–1985 Writer".

paragraph: Larkin had asked on his deathbed that his diaries be destroyed. The request was granted by Jones, the main beneficiary of his will, and Betty Mackereth; the latter shredded the unread diaries page by page, then had them burned. His will was found to be contradictory regarding his other private papers and unpublished work; legal advice left the issue to the discretion of his literary executors, who decided the material should not be destroyed. When she died on 15 February 2001, Jones, in turn, left one million pounds to St Paul's Cathedral, Hexham Abbey and Durham Cathedral.

paragraph: Section::::Creative output.

paragraph: Section::::Creative output.:Juvenilia and early works.

paragraph: From his mid-teens Larkin "wrote ceaselessly", producing both poetry, initially modelled on Eliot and W. H. Auden, and fiction: he wrote five full-length novels, each of which he destroyed shortly after completion. While he was at Oxford University he had a poem published for the first time: "Ultimatum" in "The Listener". Around this time he developed a pseudonymous alter ego for his prose, Brunette Coleman. Under this name he wrote two novellas, "Trouble at Willow Gables" and "Michaelmas Term at St Brides" (2002), as well as a supposed autobiography and an equally fictitious creative manifesto called "What we are writing for". Richard Bradford has written that these curious works show "three registers: cautious indifference, archly overwritten symbolism with a hint of Lawrence and prose that appears to disclose its writer's involuntary feelings of sexual excitement".

paragraph: After these works Larkin started his first published novel "Jill" (1946). This was published by Reginald A. Caton, a publisher of barely legal pornography, who also issued serious fiction as a cover for his core activities. Around the time that "Jill" was being prepared for publication, Caton inquired of Larkin if he also wrote poetry. This resulted in the publication, three months before "Jill", of "The North Ship" (1945), a collection of poems written between 1942 and 1944 which showed the increasing influence of Yeats. Immediately after completing "Jill", Larkin started work on the novel "A Girl in Winter" (1947), completing it in 1945. This was published by Faber and Faber and was well received, "The Sunday Times" calling it "an exquisite performance and nearly faultless". Subsequently, he made at least three concerted attempts at writing a third novel, but none went further than a solid start.

paragraph: Section::::Creative output.:Mature works.

paragraph: It was during Larkin's five years in Belfast that he reached maturity as a poet. The bulk of his next published collection of poems "The Less Deceived" (1955) was written there, though eight of the twenty-nine poems included were from the late 1940s. This period also saw Larkin make his final attempts at writing prose fiction, and he gave extensive help to Kingsley Amis with "Lucky Jim", which was Amis's first published novel. In October 1954 an article in "The Spectator" made the first use of the title The Movement to describe the dominant trend in British post-war literature. Various poems by Larkin were included in a 1953 PEN Anthology that also included poems by Amis and Robert Conquest, and Larkin was seen to be a part of this grouping. In 1951 Larkin compiled a collection called "XX Poems" which he had privately printed in a run of just 100 copies. Many of the poems in it subsequently appeared in his next published volume.

paragraph: In November 1955 "The Less Deceived" was published by the Marvell Press, an independent company in Hessle near Hull (dated October). At first the volume attracted little attention, but in December it was included in "The Times"' list of "Books of the Year". From this point the book's reputation spread and sales blossomed throughout 1956 and 1957. During his first five years in Hull the pressures of work slowed Larkin's output to an average of just two-and-a-half poems a year, but this period saw the writing of some of his best-known poems, such as "An Arundel Tomb", "The Whitsun Weddings" and "Here".

paragraph: In 1963 Faber and Faber reissued "Jill", with the addition of a long introduction by Larkin that included much information about his time at Oxford University and his friendship with Kingsley Amis. This acted as a prelude to the release the following year of "The Whitsun Weddings", the volume which cemented his reputation; almost immediately after its publication he was granted a Fellowship of the Royal Society of Literature. In the years that followed Larkin wrote several of his most famous poems, followed in the 1970s by a series of longer and more sober poems, including "The Building" and "The Old Fools". All of these appeared in Larkin's final collection, "High Windows", which was published in June 1974. Its more direct use of language meant that it did not meet with uniform praise; nonetheless it sold over twenty thousand copies in its first year alone. For some critics it represents a falling-off from his previous two books, yet it contains a number of his much-loved pieces, including "This Be The Verse" and "The Explosion", as well as the title poem. "Annus Mirabilis" (Year of Wonder), also from that volume, contains the frequently quoted observation that sexual intercourse began in 1963, which the narrator claims was "rather late for me": this despite Larkin having started his own sexual career in 1945. Bradford, prompted by comments in Maeve Brennan's memoir, suggests that the poem commemorates Larkin's relationship with Brennan moving from the romantic to the sexual.

paragraph: Later in 1974 he started work on his final major published poem, "Aubade". It was completed in 1977 and published in 23 December issue of "The Times Literary Supplement". After "Aubade" Larkin wrote only one poem that has attracted close critical attention, the posthumously published and intensely personal "Love Again".

paragraph: Section::::Creative output.:Poetic style.

paragraph: Larkin's poetry has been characterized as combining "an ordinary, colloquial style", "clarity", a "quiet, reflective tone", "ironic understatement" and a "direct" engagement with "commonplace experiences", while Jean Hartley summed his style up as a "piquant mixture of lyricism and discontent".

paragraph: Larkin's earliest work showed the influence of Eliot, Auden and Yeats, and the development of his mature poetic identity in the early 1950s coincided with the growing influence on him of Thomas Hardy. The "mature" Larkin style, first evident in "The Less Deceived", is "that of the detached, sometimes lugubrious, sometimes tender observer", who, in Hartley's phrase, looks at "ordinary people doing ordinary things". He disparaged poems that relied on "shared classical and literary allusions - what he called "the myth-kitty", and the poems are never cluttered with elaborate imagery." Larkin's mature poetic persona is notable for its "plainness and scepticism". Other recurrent features of his mature work are sudden openings and "highly-structured but flexible verse forms".

paragraph: Terence Hawkes has argued that while most of the poems in "The North Ship" are "metaphoric in nature, heavily indebted to Yeats's symbolist lyrics", the subsequent development of Larkin's mature style is "not ... a movement from Yeats to Hardy, but rather a surrounding of the Yeatsian moment (the metaphor) within a Hardyesque frame". In Hawkes's view, "Larkin's poetry ... revolves around two losses": the "loss of modernism", which manifests itself as "the desire to find a moment of epiphany", and "the loss of England, or rather the loss of the British Empire, which requires England to define itself in its own terms when previously it could define 'Englishness' in opposition to something else."

paragraph: In 1972 Larkin wrote the oft-quoted "Going, Going", a poem which expresses a romantic fatalism in its view of England that was typical of his later years. In it he prophesies a complete destruction of the countryside, and expresses an idealised sense of national togetherness and identity: "And that will be England gone ... it will linger on in galleries; but all that remains for us will be concrete and tyres". The poem ends with the blunt statement, "I just think it will happen, soon."

paragraph: Larkin's style is bound up with his recurring themes and subjects, which include death and fatalism, as in his final major poem "Aubade". Poet Andrew Motion observes of Larkin's poems that "their rage or contempt is always checked by the ... energy of their language and the satisfactions of their articulate formal control", and contrasts two aspects of his poetic personality—on the one hand an enthusiasm for "symbolist moments" and "freely imaginative narratives", and on the other a "remorseless factuality" and "crudity of language". Motion defines this as a "life-enhancing struggle between opposites", and concludes that his poetry is typically "ambivalent": "His three mature collections have developed attitudes and styles of ... imaginative daring: in their prolonged debates with despair, they testify to wide sympathies, contain passages of frequently transcendent beauty, and demonstrate a poetic inclusiveness which is of immense consequence for his literary heirs."

paragraph: Section::::Creative output.:Prose non-fiction.

paragraph: Larkin was a notable critic of modernism in contemporary art and literature. His scepticism is at its most nuanced and illuminating in "Required Writing", a collection of his book reviews and essays, and at its most inflamed and polemical in his introduction to his collected jazz reviews, "All What Jazz", drawn from the 126 record-review columns he wrote for "The Daily Telegraph" between 1961 and 1971, which contains an attack on modern jazz that widens into a wholesale critique of modernism in the arts. Despite the reputation Larkin not unwillingly acquired as an enemy of modernism, recent critical assessments of Larkin's writings have identified them as possessing some modernist characteristics.

paragraph: Section::::Legacy.

paragraph: Section::::Legacy.:Reception history.

paragraph: When first published in 1945, "The North Ship" received just one review, in the "Coventry Evening Telegraph", which concluded "Mr Larkin has an inner vision that must be sought for with care. His recondite imagery is couched in phrases that make up in a kind of wistful hinted beauty what they lack in lucidity. Mr Larkin's readers must at present be confined to a small circle. Perhaps his work will gain wider appeal as his genius becomes more mature?" A few years later, though, the poet and critic Charles Madge came across the book and wrote to Larkin with his compliments. When the collection was reissued in 1966 it was presented as a work of juvenilia, and the reviews were gentle and respectful; the most forthright praise came from Elizabeth Jennings in "The Spectator": "few will question the intrinsic value of "The North Ship" or the importance of its being reprinted now. It is good to know that Larkin could write so well when still so young."

paragraph: "The Less Deceived" was first noticed by "The Times", who included it in its "List of Books of 1955". In its wake many other reviews followed; "most of them concentrated ... on the book's emotional impact and its sophisticated, witty language." The "Spectator" felt the collection was "in the running for the best published in this country since the war"; G. S. Fraser, referring to Larkin's perceived association with The Movement felt that Larkin exemplified "everything that is good in this 'new movement' and none of its faults". The "TLS" called him "a poet of quite exceptional importance", and in June 1956 the "Times Educational Supplement" was fulsome: "As native as a Whitstable oyster, as sharp an expression of contemporary thought and experience as anything written in our time, as immediate in its appeal as the lyric poetry of an earlier day, it may well be regarded by posterity as a poetic monument that marks the triumph over the formless mystifications of the last twenty years. With Larkin poetry is on its way back to the middlebrow public." Reviewing the book in America the poet Robert Lowell wrote, "No post-war poetry has so caught the moment, and caught it without straining after its ephemera. It's a hesitant, groping mumble, resolutely experienced, resolutely perfect in its artistic methods."

paragraph: In time, there was a counter-reaction: David Wright wrote in "Encounter" that "The Less Deceived" suffered from the "palsy of playing safe"; in April 1957 Charles Tomlinson wrote a piece for the journal "Essays in Criticism", "The Middlebrow Muse", attacking The Movement's poets for their "middle-cum-lowbrowism", "suburban mental ratio" and "parochialism"—Larkin had a "tenderly nursed sense of defeat". In 1962 A. Alvarez, the compiler of an anthology entitled "The New Poetry", famously accused Larkin of "gentility, neo-Georgian pastoralism, and a failure to deal with the violent extremes of contemporary life".

paragraph: When "The Whitsun Weddings" was released Alvarez continued his attacks in a review in "The Observer", complaining of the "drab circumspection" of Larkin's "commonplace" subject-matter. Praise outweighed criticism; John Betjeman felt Larkin had "closed the gap between poetry and the public which the experiments and obscurity of the last fifty years have done so much to widen." In "The New York Review of Books" Christopher Ricks wrote of the "refinement of self-consciousness, usually flawless in its execution" and Larkin's summoning up of "the world of all of us, the place where, in the end, we find our happiness, or not at all." He felt Larkin to be "the best poet England now has."

paragraph: In his biography Richard Bradford writes that the reviews for "High Windows" showed "genuine admiration" but notes that they typically encountered problems describing "the individual genius at work" in poems such as "Annus Mirabilis", "The Explosion" and "The Building" while also explaining why each were "so radically different" from one another. Robert Nye in "The Times" overcame this problem "by treating the differences as ineffective masks for a consistently nasty presence".

paragraph: In "Larkin at Sixty", amongst the portraits by friends and colleagues such as Kingsley Amis, Noel Hughes and Charles Monteith and dedicatory poems by John Betjeman, Peter Porter and Gavin Ewart, the various strands of Larkin's output were analysed by critics and fellow poets: Andrew Motion, Christopher Ricks and Seamus Heaney looked at the poems, Alan Brownjohn wrote on the novels, and Donald Mitchell and Clive James looked at his jazz criticism.

paragraph: Section::::Legacy.:Critical opinion.

paragraph: In 1980 Neil Powell could write that "It is probably fair to say that Philip Larkin is less highly regarded in academic circles than either Thom Gunn or Donald Davie". But more recently Larkin's standing has increased. "Philip Larkin is an excellent example of the plain style in modern times", writes Tijana Stojkovic. Robert Sheppard asserts that "It is by general consent that the work of Philip Larkin is taken to be exemplary". "Larkin is the most widely celebrated and arguably the finest poet of the Movement", states Keith Tuma, and his poetry is "more various than its reputation for dour pessimism and anecdotes of a disappointed middle class suggests".

paragraph: Stephen Cooper's "Philip Larkin: Subversive Writer" and John Osborne's "Larkin, Ideology and Critical Violence" suggest the changing temper of Larkin studies, the latter attacking eminent critics such as James Booth and Anthony Thwaite for their readiness to reduce to poems to works of biography, and stressing instead the genius of Larkin's universality and deconstructionism. Cooper argues that "The interplay of signs and motifs in the early work orchestrates a subversion of conventional attitudes towards class, gender, authority and sexual relations". Cooper identifies Larkin as a progressive writer, and perceives in the letters a "plea for alternative constructs of masculinity, femininity and social and political organisation". Cooper draws on the entire canon of Larkin's works, as well as on unpublished correspondence, to counter the image of Larkin as merely a racist, misogynist reactionary. Instead he identifies in Larkin what he calls a "subversive imagination". He highlights in particular "Larkin's objections to the hypocrisies of conventional sexual politics that hamper the lives of both sexes in equal measure".

paragraph: In similar vein to Cooper, Stephen Regan notes in an essay entitled "Philip Larkin: a late modern poet" that Larkin frequently embraces devices associated with the experimental practices of Modernism, such as "linguistic strangeness, self-conscious literariness, radical self-questioning, sudden shifts of voice and register, complex viewpoints and perspectives, and symbolist intensity".

paragraph: A further indication of a new direction in the critical valuation of Larkin is S. K. Chatterjee's statement that "Larkin is no longer just a name but an institution, a modern British national cultural monument".

paragraph: Chatterjee's view of Larkin is grounded in a detailed analysis of his poetic style. He notes a development from Larkin's early works to his later ones, which sees his style change from "verbal opulence through a recognition of the self-ironising and self-negating potentiality of language to a linguistic domain where the conventionally held conceptual incompatibles – which are traditional binary oppositions between absolutes and relatives, between abstracts and concretes, between fallings and risings and between singleness and multiplicity – are found to be the last stumbling-block for an artist aspiring to rise above the impasse of worldliness". This contrasts with an older view that Larkin's style barely changed over the course of his poetic career. Chatterjee identifies this view as being typified by Bernard Bergonzi's comment that "Larkin's poetry did not ... develop between 1955 and 1974". For Chatterjee, Larkin's poetry responds strongly to changing "economic, socio-political, literary and cultural factors".

paragraph: Chatterjee argues that "It is under the defeatist veneer of his poetry that the positive side of Larkin's vision of life is hidden". This positivity, suggests Chatterjee, is most apparent in his later works. Over the course of Larkin's poetic career, "The most notable attitudinal development lay in the zone of his view of life, which from being almost irredeemably bleak and pessimistic in "The North Ship", became more and more positive with the passage of time".

paragraph: The view that Larkin is not a nihilist or pessimist, but actually displays optimism in his works, is certainly not universally endorsed, but Chatterjee's lengthy study suggests the degree to which old stereotypes of Larkin are now being transcended. Representative of these stereotypes is Bryan Appleyard's judgement (quoted by Maeve Brennan) that of the writers who "have adopted a personal pose of extreme pessimism and loathing of the world ... none has done so with quite such a grinding focus on littleness and triviality as Larkin the man". Recent criticism of Larkin demonstrates a more complex set of values at work in his poetry and across the totality of his writings.

paragraph: The debate about Larkin is summed up by Matthew Johnson, who observes that in most evaluations of Larkin "one is not really discussing the man, but actually reading a coded and implicit discussion of the supposed values of 'Englishness' that he is held to represent". Changing attitudes to Englishness are reflected in changing attitudes to Larkin, and the more sustained intellectual interest in the English national character, as embodied in the works of Peter Mandler for instance, pinpoint one key reason why there is an increased scholarly interest in Larkin.

paragraph: A summative view similar to those of Johnson and Regan is that of Robert Crawford, who argues that "In various ways, Larkin's work depends on, and develops from, Modernism." Furthermore, he "demonstrates just how slippery the word 'English' is".

paragraph: Despite these recent developments, Larkin and his circle are nonetheless still firmly rejected by modernist critics and poets. For example, the poet Andrew Duncan, writing of The Movement on his pinko.org website, notes that "there now seems to be a very wide consensus that it was a bad thing, and that Movement poems are tedious, shallow, smug, sententious, emotionally dead, etc. Their successors in the mainstream retain most of these characteristics. Wolfgang Gortschacher's book on Little Magazine Profiles ... shows ... that there was a terrific dearth of magazines during the 50s—an impoverishment of openings which correlates with rigid and conservative poetry, and with the hegemony of a few people determined to exclude dissidents." Peter Riley, a key player in the British Poetry Revival, which was a reaction against The Movement's poets, has also criticised Larkin for his uncritical and ideologically narrow position: "What after all were Larkin and The Movement but a denial of the effusive ethics of poetry from 1795 onwards, in favour of 'This is what life is really like' as if anyone thought for a second of representing observable 'life'. W.S. Graham and Dylan Thomas knew perfectly well that 'life' was like that, if you nominated it thus, which is why they went elsewhere."

paragraph: Section::::Legacy.:Posthumous reputation.

paragraph: Larkin's posthumous reputation was deeply affected by the publication in 1992 of Anthony Thwaite's edition of his letters and, the following year, his official biography, "Philip Larkin: A Writer's Life" by Andrew Motion. These revealed his obsession with pornography, his racism, his increasing shift to the political right wing, and his habitual expressions of venom and spleen. In 1990, even before the publication of these two books, Tom Paulin wrote that Larkin's "obscenity is informed by prejudices that are not by any means as ordinary, commonplace, or acceptable as the poetic language in which they are so plainly spelled out." The letters and Motion's biography fuelled further assessments of this kind, such as Lisa Jardine's comment in "The Guardian" that "The Britishness of Larkin's poetry carries a baggage of attitudes which the "Selected Letters" now make explicit". On the other hand, the revelations were dismissed by the novelist Martin Amis in "The War Against Cliché", arguing that the letters in particular show nothing more than a tendency for Larkin to tailor his words according to the recipient. A similar argument was made by Richard Bradford in his biography on Larkin from 2005. Commenting on "Letters to Monica"

paragraph: (2010) Graeme Richardson states that the collection went "some way towards the restoration of Larkin's tarnished image...reveal(ing) Larkin as not quite the sinister, black-hearted near-rapist everyone thought it was OK to abuse in the 90s."

paragraph: Trying to resolve Larkin's contradictory opinions on race in his book "Such Deliberate Disguises: The Art of Philip Larkin", the writer Richard Palmer quotes a letter Larkin wrote to Betjeman, as if it exposes "all the post-Motion and post-Letters furore about Larkin’s 'racism' as the nonsense it is":

paragraph: The American Negro is trying to take a step forward that can be compared only to the ending of slavery in the nineteenth century. And despite the dogs, the hosepipes and the burnings, advances have already been made towards giving the Negro his civil rights that would have been inconceivable when Louis Armstrong was a young man. These advances will doubtless continue. They will end only when the Negro is as well-housed, educated and medically cared for as the white man.

paragraph: Reviewing Palmer's book, John G. Rodwan, Jr. proposes that:

paragraph: a less forgiving reader could counter by asking if this does not qualify as the thought of a "true racist": I find the state of the nation quite terrifying. In 10 years' time we shall all be cowering under our beds as hordes of blacks steal anything they can lay their hands on. Or this: We don’t go to cricket Test matches now, too many fucking niggers about.

paragraph: Despite controversy about his personal life and opinions, Larkin remains one of Britain's most popular poets. In 2003, almost two decades after his death, Larkin was chosen as "the nation's best-loved poet" in a survey by the Poetry Book Society, and in 2008 "The Times" named Larkin as the greatest British post-war writer. Three of his poems, "This Be The Verse", "The Whitsun Weddings" and "An Arundel Tomb", featured in the "Nation's Top 100 Poems" as voted for by viewers of the BBC's "Bookworm" in 1995. Media interest in Larkin has increased in the twenty-first century. Larkin's collection "The Whitsun Weddings" is one of the available poetry texts in the AQA English Literature A Level syllabus, while "High Windows" is offered by the OCR board. Buses in Hull displayed extracts from his poems in 2010.

paragraph: Section::::Legacy.:Recordings.

paragraph: In 1959, the Marvell Press published "Listen presents Philip Larkin reading The Less Deceived" (Listen LPV1), an LP record on which Larkin recites all the poems from "The Less Deceived" in the order they appear in the printed volume. This was followed, in 1965, by "Philip Larkin reads and comments on The Whitsun Weddings" (Listen LPV6), again on the Marvell Press's record label (though the printed volume was published by Faber and Faber). Once again the poems are read in the order in which they appear in the printed volume, but with Larkin including introductory remarks to many of the poems. A recording of Larkin reading the poems from his final collection, "High Windows", was published in 1975 as "British poets of our time. Philip Larkin; High Windows: poems read by the author" (edited by Peter Orr) on the Argo record label (Argo PLP 1202). As with the two previous recordings, the sequencing of the poems is the same as in the printed volume.

paragraph: Larkin also appears on several audio poetry anthologies: "The Jupiter Anthology of 20th Century English Poetry – Part III" (JUR 00A8), issued in 1963 and featuring "An Arundel Tomb" and "Mr Bleaney" (this same recording was issued in the United States in 1967 on the Folkways record label as "Anthology of 20th Century English Poetry – Part III" (FL9870)); "The Poet Speaks" record 8 (Argo PLP 1088), issued in 1967 and featuring "Wants", "Coming", "Nothing to be Said", "Days" and "Dockery and Son"; "On Record" (YA3), issued in 1974 by Yorkshire Arts Association and featuring "Here", "Days", "Next, Please", "Wedding-Wind", "The Whitsun Weddings", "XXX", "XIII" (these last two poems from "The North Ship"); and "Douglas Dunn and Philip Larkin", issued in 1984 by Faber and Faber (A Faber Poetry cassette), featuring Larkin reading 13 poems including, for the first time on a recording, "Aubade".

paragraph: Despite the fact that Larkin made audio recordings (in studio conditions) of each of his three mature collections, and separate recordings of groups of poems for a number of audio anthologies, he somehow gained a reputation as a poet who was reluctant to make recordings in which he read his own work. While Larkin did express a dislike of the sound of his own voice ("I come from Coventry, between the sloppiness of Leicester and the whine of Birmingham, you know—and sometimes it comes out"), the evidence indicates that this influenced more his preference not to give public readings of his own work, than his willingness to make audio recordings of his poems.

paragraph: In 1980, Larkin was invited by the Poets' Audio Center, Washington, to record a selection of poems from the full range of his poetic output for publication on a Watershed Foundation cassette tape. The recording was made in February 1980 (at Larkin's own expense) by John Weeks, a sound engineer colleague from the University of Hull. Although negotiations between Larkin, his publishers and the Watershed Foundation collapsed, the recording (of Larkin reading 26 poems selected from his four canonical volumes of poetry) was sold – by Larkin – to Harvard University's Poetry Room in 1981. In 2004, a copy of this recording was uncovered in the Hornsea garage studio of the engineer who had made the recording for Larkin. (Subsequently, Larkin's own copy of the recording was found in the Larkin Archive at the University of Hull) News of the “newly discovered” recording made the headlines in 2006, with extracts being broadcast in a Sky News report. A programme examining the discovery in more depth, "The Larkin Tapes", was broadcast on BBC Radio 4 in March 2008. The recordings were issued on CD by Faber and Faber in January 2009 as "The Sunday Sessions".

paragraph: In contrast to the number of audio recordings of Larkin reading his own work, there are very few appearances by Larkin on television. The only programme in which he agreed to be filmed taking part is "Down Cemetery Road" (1964), from the BBC "Monitor" series, in which Larkin was interviewed by John Betjeman. The filming took place in and around Hull (with some filming in North Lincolnshire), and showed Larkin in his natural surroundings: his flat in Pearson Park, the Brynmor Jones Library; and visiting churches and cemeteries. The film was more recently broadcast on BBC Four. In 1981, Larkin was part of a group of poets who surprised John Betjeman on his seventy-fifth birthday by turning up on his doorstep with gifts and greetings. This scene was filmed by Jonathan Stedall and later featured in the third episode of his 1983 series for BBC2, "Time With Betjeman".

paragraph: In 1982, as part of the celebrations for his sixtieth birthday, Larkin was the subject of "The South Bank Show". Although Larkin declined the invitation to appear in the programme, he recorded (on audio tape) "a lot of poems" specifically for it. Melvyn Bragg commented, in his introduction to the programme, that the poet had given his full cooperation. The programme, broadcast on 30 May, featured contributions from Kingsley Amis, Andrew Motion and Alan Bennett. Bennett was also filmed reading several Larkin poems a few years later, in an edition of "Poetry in Motion", broadcast by Channel 4 in 1990.

paragraph: Section::::Legacy.:Fiction based on Larkin's life.

paragraph: In 1999, Oliver Ford Davies starred in Ben Brown's play "Larkin With Women" at the Stephen Joseph Theatre, Scarborough, reprising his role at the Orange Tree Theatre, London in 2006. The play was published by Larkin's usual publishers, Faber and Faber. Set in the three decades after Larkin's arrival in Hull, it explores his long relationships with Monica Jones, Maeve Brennan and Betty Mackereth. Another Larkin inspired entertainment, devised and starring Sir Tom Courtenay, was given a pre-production performance on the afternoon of Saturday 29 June 2002 at Hull University's Middleton Hall. Courtenay performed his one-man play "Pretending to Be Me" as part of the Second Hull International Conference on the Work of Philip Larkin. In November that year, Courtenay debuted the play at the West Yorkshire Playhouse, later transferring the production to the Comedy Theatre in London's West End.

paragraph: In July 2003, BBC Two broadcast a play entitled "Love Again"—its title also that of one of Larkin's most painfully personal poems—dealing with the last thirty years of Larkin's life (though not shot anywhere near Hull). The lead role was played by Hugh Bonneville, and in the same year Channel 4 broadcast the documentary "Philip Larkin, Love and Death in Hull".

paragraph: In April 2008, BBC Radio 4 broadcast a play by Chris Harrald entitled "Mr Larkin's Awkward Day", recounting the practical joke played on him in 1957 by his friend Robert Conquest, a fellow poet.

paragraph: Section::::Legacy.:Philip Larkin Society.

paragraph: The Philip Larkin Society is a charitable organization dedicated to preserving the memory and works of Philip Larkin. It was formed in 1995 on the tenth anniversary of Larkin's death in 1985, and achieved charity status in the United Kingdom in 2000. Anthony Thwaite, one of Larkin's literary executors, became the society's first president. The current Society Chairman is Edwin Dawes.

paragraph: The society carries out various activities, such as lectures. It hosted the Larkin 25 art festival from June to December 2010 to commemorate the 25th anniversary of Larkin's death.

paragraph: Section::::Memorials.

paragraph: Memorials to Larkin in Kingston upon Hull, where he worked and wrote much of his poetry, are the Larkin Building at the University of Hull housing teaching facilities and lecture rooms and the Philip Larkin Centre for Poetry and Creative Writing which hosts a regular programme of literary events.

paragraph: In 2010 the city marked the 25th anniversary of his death with the Larkin 25 Festival. A video was commissioned to illustrate Larkin's poem "Here", his hymn to Hull and the East Riding of Yorkshire. Forty decorated toad sculptures entitled "Larkin with Toads" were displayed in the city in tribute to Larkin's poem "Toads" on 17 July 2010.

paragraph: A larger-than-life-size bronze statue of Larkin by sculptor Martin Jennings was unveiled at Hull Paragon Interchange on 2 December 2010, closing the Larkin 25 events. It is inscribed, "That Whitsun I was late getting away", from the poem, "The Whitsun Weddings". Funding for the £100,000 statue, designed by Martin Jennings, was raised at charity events and auctions with support from Hull City Council. The unveiling was accompanied by Nathaniel Seaman's "Fanfare for Larkin", composed for the occasion. Five plaques containing Larkin's poems were added to the floor near the statue in 2011. In December 2012 a memorial bench was installed around a pillar near the statue.

paragraph: In June 2015 it was announced that Larkin would be honoured with a floor stone memorial at Poets' Corner in Westminster Abbey. The memorial was unveiled on 2 December 2016, the 31st anniversary of his death. Actor Sir Tom Courtenay and artist Grayson Perry both read from Larkin's work during the unveiling ceremony and an address was given by poet and author Blake Morrison. The memorial includes two lines quoted from his poem "An Arundel Tomb": Our almost-instinct almost true:What will survive of us is love.

paragraph: From 5 July to 1 October 2017, as part of the Hull UK City of Culture 2017 celebrations, the Brynmor Jones Library at Hull University mounted an exhibition entitled "Larkin: New Eyes Each Year". The exhibition featured objects from Larkin's life, as well as his personal collection of books from his last home at Newland Park, in the original shelf order that Larkin classified them in.

paragraph: In Coventry, a pub in The Burges formerly known as 'The Tudor Rose' was renamed 'The Philip Larkin'.

paragraph: Section::::List of works.

paragraph: Section::::List of works.:Poetry.

paragraph: BULLET::::- "Church Going"

paragraph: BULLET::::- "Toads"

paragraph: BULLET::::- "Maiden Name"

paragraph: BULLET::::- "Born Yesterday" (written for the birth of Sally Amis)

paragraph: BULLET::::- "Lines on a Young Lady's Autograph Album"

paragraph: BULLET::::- "The Whitsun Weddings"

paragraph: BULLET::::- "An Arundel Tomb"

paragraph: BULLET::::- "A Study of Reading Habits"

paragraph: BULLET::::- "Home is So Sad"

paragraph: BULLET::::- "Mr Bleaney"

paragraph: BULLET::::- "This Be The Verse"

paragraph: BULLET::::- "Annus Mirabilis"

paragraph: BULLET::::- "The Explosion"

paragraph: BULLET::::- "The Building"

paragraph: BULLET::::- "High Windows"

paragraph: BULLET::::- "Aubade" (first published 1977)

paragraph: BULLET::::- "Party Politics" (last published poem)

paragraph: BULLET::::- "The Dance" (unfinished & unpublished)

paragraph: BULLET::::- "Love Again" (unpublished)

paragraph: BULLET::::- "The North Ship"

paragraph: BULLET::::- "The Less Deceived"

paragraph: BULLET::::- "The Whitsun Weddings"

paragraph: BULLET::::- "High Windows"

paragraph: BULLET::::- Two appendices of all other published poems, including "XX Poems"

paragraph: BULLET::::- Burnett, Archie, ed. (2012), "The Complete Poems", Faber and Faber,

paragraph: Section::::References.

paragraph: BULLET::::- Banville, John (2006). Homage to Philip Larkin, "The New York Review of Books", 23 February 2006.

paragraph: BULLET::::- James, Clive. An Affair of Sanity: Philip Larkin, "The Observer", 25 November 1983.

paragraph: BULLET::::- Motion, Andrew (2005). "Philip Larkin" in Bayley, John and Carey, Leo (eds). "The Power of Delight: A Lifetime in Literature: Essays, 1962–2002". W. W. Norton & Company. .

paragraph: BULLET::::- Paulin, Tom (1990). "Into the Heart of Englishness," "The Times Literary Supplement", July 1990, reproduced in Regan, Stephen (ed.) (1997). "Philip Larkin". Palgrave Macmillan, pp. 160–177.

paragraph: Section::::References.:Audio and television.

paragraph: BULLET::::- Harrald, Chris. Mr Larkin's Awkward Day, BBC Radio 4, 29 April 2008. Repeated BBC Radio 4, 25 January 2010.

paragraph: Section::::Further reading.

paragraph: BULLET::::- The Philip Larkin Society. Retrieved 13 November 2009.

paragraph: BULLET::::- , a long interview with Philip Larkin.

paragraph: BULLET::::- "Philip Larkin", Channel 4 television. Retrieved 13 November 2009.

paragraph: BULLET::::- The Philip Larkin Centre for Poetry and Creative Writing, University of Hull. Retrieved 13 November 2009.

paragraph: BULLET::::- Brown, Mark (2008). "Photographer's papers reveal image-conscious Larkin", "The Guardian", 7 May 2008.

paragraph: BULLET::::- Fletcher, Christopher (2008). "Revealingly yours, Philip Larkin", "The Sunday Times", 11 May 2008.

paragraph: Section::::External links.

paragraph: BULLET::::- Audio files of Larkin reading "Mr Bleaney", "The Whitsun Weddings" and "The Trees"

paragraph: BULLET::::- Richard Lea, "Unknown Philip Larkin poem found in shoebox", "The Guardian", 6 December 2010.

description: English poet, novelist, jazz critic and librarian

enwikiquote_title: Philip Larkin

wikidata_label: Philip Larkin

wikipedia_title: Philip Larkin


text:
Aranitas
Mallakastër District
Fier County
Albania
Ottoman Empire
Turkey
general
Royal Albanian Army
Ottoman Empire
Monastir Military High School
North Macedonia
Istanbul
Turkey
World War I
Aranitas
Gustav von Myrdacz
Leon Ghilardi
aide-de-camp
Zog of Albania
Mehmet Konica
Order of Skanderbeg
Royal Albanian Army

categories: Royal Albanian Army,Ottoman Military Academy alumni,People from Janina Vilayet,1886 births,19th-century Albanian people,20th-century Albanian military personnel,Monastir Military High School alumni,Albanian anti-fascists,People from Mallakastër,Recipients of the Order of Skanderbeg,1961 deaths,Albanian generals

paragraph: Xhemal Aranitasi

paragraph: Xhemal Aranitasi (aka Xhemal Araniti) - (1886 in Aranitas, Mallakastër District, Fier County, modern Albania, then Ottoman Empire – 1961 in Turkey) was a general and commander in chief of the Royal Albanian Army.

paragraph: He was the son of Ibrahim Aranitasi, an army colonel of the Ottoman Empire and Esma Jahobegaj. He graduated from the Monastir Military High School (now in modern North Macedonia), and then at the military academy in Istanbul, Turkey.

paragraph: During the Balkan wars he fought in the Ottoman army, as the leader of a machine gun unit.

paragraph: During World War I, when most of the territory of Albania was invaded by the Austro-Hungarian Army, he served in the Aranitas municipality as a commander of the gendarmerie.

paragraph: In 1920 he joined the Royal Albanian Army and four years later he was a battalion commander. In 1925, with the rank of lieutenant colonel, he became the general commander of the Royal Albanian Army. Although major decisions on the Army were taken by officers of foreign origin, such as Gustav von Myrdacz and Leon Ghilardi, Aranitasi was the only native Albanian nominally on the staff. In 1929 he was promoted to general. He served as aide-de-camp of Zog of Albania before this task was taken by Mehmet Konica.

paragraph: In 1939, as minister of war, in the face of war with Italy, Xhemal Aranitasi forbade the press publication of popular mobilization and also prohibited the issuing of weapons to the civilian population. On April 6, 1939, on the eve of the invasion of Albania by the Italian Army, Aranitasi left the country and settled in Turkey, where he lived until the end of his life.

paragraph: He was awarded the Grand Ribbon of the Order of Skanderbeg.

paragraph: Section::::See also.

paragraph: BULLET::::- Royal Albanian Army

description: Commander in chief of the Royal Albanian Army

wikidata_label: Xhemal Aranitasi

wikipedia_title: Xhemal Aranitasi


text: Polish

text: Auxiliary bishop

text: Roman Catholic Archdiocese of Gdańsk

text: titular bishop

text: Tamallula

text: Catholic priest

categories: 2010 deaths,Polish titular bishops,People from the Free City of Danzig,1927 births,People from Gdańsk

paragraph: Zygmunt Pawłowicz

paragraph: Zygmunt Józef Pawłowicz (November 18, 1927 – March 18, 2010) was the Polish Auxiliary bishop of the Roman Catholic Archdiocese of Gdańsk from 1985 until 2005. He was also ordained the titular bishop of Tamallula in 1985.

paragraph: Born in Gdansk, Pawlowicz was ordained a Catholic priest on September 20, 1952. He died on March 18, 2010, at the age of 82.

paragraph: Section::::External links.

paragraph: BULLET::::- Catholic Hierarchy: Bishop Zygmunt Józef Pawłowicz †

description: Roman Catholic bishop

wikidata_label: Zygmunt Pawłowicz

wikipedia_title: Zygmunt Pawłowicz


text: Spanish

text: Moroccan

text: Roman Catholic

text: prelate

text: Archbishop

text: Roman Catholic Archdiocese of Tanger

text: Franciscan

text: O.F.M.

text: Tanger

text: Santiago de Compostella

text: Vilasantar

text: Galicia

categories: People from Tangier,2010 deaths,1936 births,Spanish Friars Minor,Galician people (Spain),Moroccan Roman Catholic archbishops

paragraph: José Antonio Peteiro Freire

paragraph: José Antonio Peteiro Freire (July 20, 1936 – March 25, 2010) was a Spanish-born Moroccan Roman Catholic prelate, who served as the third Archbishop of the Roman Catholic Archdiocese of Tanger from July 2, 1983, until his retirement on March 23, 2005. He was a member of the Franciscan order (O.F.M.)

paragraph: Peteiro Freire died as the Archbishop Emeritus of Tanger in Santiago de Compostella, Spain, on March 25, 2010, at the age of 73. He was born in Vilasantar, Galicia.

paragraph: Section::::External links.

paragraph: BULLET::::- Catholic Hierarchy: Archbishop José Antonio Peteiro Freire, O.F.M. †

description: Roman Catholic archbishop

wikidata_label: José Antonio Peteiro Freire

wikipedia_title: José Antonio Peteiro Freire