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The Old Fools What do they think has happened, the old fools, To make them like this ? Do they somehow suppose It's more grown-up when your mouth hangs open and drools And you keep on pissing yourself, and can't remember Who called this morning ? Or that, if they only chose, They could alter things back to when they danced all night, Or went to their wedding, or sloped arms some September ? Or do they fancy there's really been no change, And they've always behaved as if they were crippled or tight, Or sat through days of thin continuous dreaming Watching light move ? If they don't (and they can't), it's strange: Why aren't they screaming ? At death, you break up: the bits that were you Start speeding away from each other for ever With no one to see. It's only oblivion, true: We had it before, but then it was going to end, And was all the time merging with a unique endeavour To bring to bloom the million-petalled flower Of being here. Next time you can't pretend There'll be anything else. And these are the first signs: Not knowing how, not hearing who, the power Of choosing gone. Their looks show that they're for it: Ash hair, toad hands, prune face dried into lines- How can they ignore it ? Perhaps being old is having lighted rooms Inside your head, and people in them, acting. People you know, yet can't quite name; each looms Like a deep loss restored, from known doors turning, Setting down a Iamp, smiling from a stair, extracting A known book from the shelves; or sometimes only The rooms themselves, chairs and a fire burning, The blown bush at the window, or the sun' s Faint friendliness on the wall some lonely Rain-ceased midsummer evening. That is where they live: Not here and now, but where all happened once. This is why they give An air of baffled absence, trying to be there Yet being here. For the rooms grow farther, leaving Incompetent cold, the constant wear and tear Of taken breath, and them crouching below Extinction' s alp, the old fools, never perceiving How near it is. This must be what keeps them quiet. The peak that stays in view wherever we go For them is rising ground. Can they never tell What is dragging them back, and how it will end ? Not at night? Not when the strangers come ? Never, throughout The whole hideous inverted childhood? Well, We shall find out.


Philip Larkin


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Did you know about Philip Larkin?

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. 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. Brett who was chairman of the library committee who appointed him and friend until Larkin's death wrote "At first I was impressed with the time he spent in his office arriving early and leaving late.

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. After graduating from Oxford in 1943 with a first in English language and literature Larkin became a librarian.

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