Philip Larkin (94 page)

  
15.
   DX/329, inventory p. 119.

  
16.
   Motion, p. 319. Iris Murdoch,
The Flight from the Enchanter
(London: Chatto & Windus, 1956). Copy in the University Collection, History Centre, Hull: MJ/B1/491, inscribed ‘M. M. B. Jones’ in Monica’s hand, with ‘& Dr Larkin’ beneath in his.

  
17.
   Hull copy of Murdoch,
The Flight from the Enchanter
, pp. 3, 78, 81.

  
18.
   Ibid., pp. 79, 308.

  
19.
   Ibid., pp. 5, 23, 79.

  
20.
   Anthony Thwaite, personal communication, 14 August 2011.

  
21.
   Anthony Thwaite (ed.),
Larkin at Sixty
(London: Faber & Faber, 1982), opposite p. 60.

  
22.
   
LM
,
p. 304n.

  
23.
   Ibid.,
pp. 303–4.

  
24.
   Ibid.,
p. 306n.

  
25.
   4 October 1962.
LM
,
p. 305.

  
26.
   Ibid.,
p. 304.

  
27.
   Published in the
Spectator
, 23 November 1962.

  
28.
   
Philip Larkin Reads and Comments on The Whitsun Weddings
, Listen Records, LPV 6 (Hull: Marvell Press, 1965).

  
29.
   See for example paintings by Hans Baldung Grien (1484/5–1545) in the Kunstmuseum, Basel, Switzerland.

  
30.
   
LM
, pp. 306–7.

  
31.
   Published in
Critical Quarterly
8.2 (Summer 1966), p. 173.

  
32.
   To Eva Larkin, 16 December 1962.

  
33.
   To Monica Jones, 7 August 1966. Not in
LM
.

  
34.
   Brennan, p. 43.

  
35.
   Ibid., p. 23.

  
36.
   DPL/10/3.

  
37.
   To Monica Jones, 17 August 1963. Motion, p. 339.

  
38.
   
LKA
, pp. 204–5.

  
39.
   DX/329, inventory 68. These cameras took self-developing film, avoiding the involvement of a chemist or photographic laboratory.

  
40.
   
Lord Byron: Selected Prose
, ed. Peter Gunn (Harmondsworth: Penguin, 1972), p. 357.

  
41.
   
SL
, p. 257.

  
42.
   See http://www.harrison-marks.com/hub.htm (accessed 27 April 2011).

  
43.
   Motion, p. 266.

  
44.
   Jean Hartley,
‘Larkin, Love and Sex’,
AL
30 (October 2010), p. 6.

  
45.
   Richard Bradford,
The Odd Couple: The Curious Friendship between Kingsley Amis and Philip Larkin
(London: Robson Press, 2012), pp. 209, 237.

  
46.
   DX/329, inventory 600 i–ix. There were also ‘Super 8’ cine-reels such as were used for Marks’s films: inventory 72a–d.

  
47.
   Sophia Dawn appeared in
Kamera
, issue 56 (1963). She was the principal model in Harrison Marks’s Byronically titled hardback
She Walks in Beauty
, and
appeared in two 8mm home movies,
The Bare Truth
and
Nature’s Intended.
See http://www.harrison-marks.com/models_1.htm (accessed 27 April 2011).

  
48.
   DX/329, inventory 73 a–j. Ten ring-binders were found in the box room of 105 Newland Park. They were empty, but one showed the torn remnants of two black-and-white glamour photographs pasted to the inner front and back covers. Seven were Staff Handbooks. James Booth, ‘Glimpses’ (interview with Monica Jones),
AL
12 (October 2001), pp. 25–6.

  
49.
   Presumably a jokey reference to the famous ‘You know how to whistle?’ scene from the film
To Have and Have Not
(1944),
starring Lauren Bacall and Humphrey Bogart.

  
50.
   Thwaite inadvertently omitted the final stanza in the workbook draft from the 1988
Collected Poems
.

  
51.
   Burnett omits the stanza break after ‘understand’.
Complete Poems
, p. 309.

  
52.
   Burnett’s rigorous editorial principles led him to print Larkin’s shorter typescript version of the poem, adding subsequent lines from the 1967 fragment in Workbook 7 (see below). This fragment breaks off two lines earlier than the 1964 text, at ‘Of an explicit music; then’. Burnett confusingly relegates the uncancelled final two lines of the substantive 1964 workbook version to his notes, as ‘Additional lines’.
Complete Poems
, p. 637.

  
53.
   25 April 1964.
LM
,
p. 330.

  
54.
   
LM
,
p. 331.

  
55.
   29 April 1964.
LM
,
p. 333.

  
56.
   To Monica Jones, 10 August 1964. Not in
LM
.

  
57.
   Brennan, p. 58.

  
58.
   DPL/1/7/16.

  
59.
   Brennan, p. 59; Motion, p. 423.

  
60.
   Brennan, p. 7.

  
61.
   3 March 1964.
LM
,
p. 326.

  
62.
   Motion, p. 343.

  
63.
   ‘An Interview with John Haffenden’,
FR
, p. 55.

  
64.
   In his selection of Larkin’s poems, Martin Amis preserves the order of poems within the volumes, despite the fact that his omissions dispel Larkin’s original sequence. Thus ‘Here’, completed in October 1961, and ‘Dockery and Son’, completed in March 1963, both come before the much earlier ‘An Arundel Tomb’, completed in February 1956. This is puzzling since Amis argues that Larkin’s ‘volumes of verse [. . .] get stronger and stronger by a factor of ten’, a contentious point which would surely be better illustrated by arranging the individual poems in chronological order. Introduction to
Philip Larkin: Poems
(London: Faber & Faber, 2011), pp. xxii–xxiii.

16: Living for Others (1964–8)

    
1.
   
Bibliography
, G14.

    
2.
   22 May 1964.
LM
,
p. 335.

    
3.
   8 June 1964.
LM
,
p. 337.

    
4.
   3 March 1964.
LM
,
p. 326.

    
5.
   Motion, pp. 340, 345.

    
6.
   Ibid., p. 350.

    
7.
   Ibid., p. 362.

    
8.
   Brennan, p. 30.