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After graduating from Oxford in 1943 with a first in English language and literature, Larkin became a librarian, and it was during the 30 years he spent running the 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 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. 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 reactionary 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," though 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. |