New Releases by Philip LARKIN

Sono gli anni del secondo conflitto mondiale; Katherine Lind è una ragazza straniera che ha trovato lavoro nella biblioteca di una piccola città della provincia inglese, diretta dall''insopportabile signor Anstey. Un giorno riceve una lettera: è di Robin Fennel, il suo vecchio amico di penna, una delle poche persone che conosce nel paese. Il pensiero di Katherine corre subito alla leggendaria estate dei suoi sedici anni, passata nella casa dei Fennel, e all''attrazione nata tra lei e Robin. Non si sono mai più sentiti da allora, ma lui - che è sotto le armi - le annuncia una visita. Cosa può essere rimasto in un gelido inverno di guerra di quel lontano, innocente amore adolescenziale? Il secondo romanzo di Philip Larkin è un intenso racconto che parla di guerra e di pace, di esilio e di vacanza, di inverni e di estati; è il «racconto di un poeta» - ha scritto Joyce Carol Oates - «che sa evocare, con poche nude immagini, un senso di spreco, disillusione e vuoto profondo degno del più desolato Beckett», una storia «di grande sensibilità, meditativa, commovente, di proporzioni volutamente modeste che ricorda l''opera di Virginia Woolf».

A partir de los documentos depositados tras su muerte en la Biblioteca Brynmor Jones, de Hull, este volumen recopila parte de la ficción juvenil e inédita de Larkin, escrita bajo el seudónimo de Brunnette Coleman. Creadas básicamente para deleitar a Kingsley Amis y Edmund Crispin, los irreverentes amigos de Larkin en Oxford, estas nouvelles nos trasladan a un internado femenino, remedando las populares novelas sobre colegialas tan de moda en su época. He aquí los primeros balbuceos literarios de Larkin, textos pseudoautobiográficos en los que, usando una voz prestada, da rienda suelta a sus tendencias, explicita su confusa sexualidad y desata sus críticas al sistema escolar femenino, lo que liberó su creatividad y le llevo convertirse en el aclamado escritor y poeta que es hoy en día.

Letters Home gives access to the last major archive of Larkin''s writing to remain unpublished: the letters to members of his family. These correspondences help tell the story of how Larkin came to be the writer and the man he was: to his father Sydney, a ''conservative anarchist'' and admirer of Hitler, who died relatively early in Larkin''s life; to his timid depressive mother Eva, who by contrast, lived long, and whose final years were shadowed by dementia; and to his sister Kitty, the sparse surviving fragment of whose correspondence with her brother gives an enigmatic glimpse of a complex and intimate relationship- But it was the years during which he and his sister looked after their mother in particular that shaped the writer we know so well: a number of poems written over this time are for her, and the mood of pain, shadow and despondency that characterises his later verse draws its strength from his experience of the long, lonely years of her senility. One surprising element in the volume, however, is the joie de vivre shown in the large number of witty and engaging drawings of himself and Eva, as ''Young Creature'' and ''Old Creature'', with which he enlivens his letters throughout the three decades of her widowhood. This important edition, meticulously edited by Larkin''s biographer, James Booth, is a key piece of scholarship that completes the portrait of this most cherished of English poets.

Katherine es una joven refugiada que trabaja como bibliotecaria en una gris ciudad inglesa. Hastiada de su trabajo y de la vida en general, lo único que le hace mantener la esperanza es la perspectiva de un reencuentro con el que fue su primer amor. Así, en las horas previas a su cita, Katherine revivirá las idílicas vacaciones que supusieron para ella la pérdida de la inocencia y el paso a la edad adulta. Ahora Robin, el protagonista de aquel crucial verano, tan glorioso como mortificante, tan radiante como precozmente crepuscular, podría poner fin a su monótona vida y arrancarla para siempre de las garras de la frustración.

Re-packaged in the much-loved Faber typographic look.

A stunning new edition that brings together all of Larkin''s poems in addition to some unpublished pieces.

The North Ship, Philip Larkin''s earliest volume of verse, was first published in August 1945. The introduction, by Larkin himself, explains the circumstances of its publication and the influences which shaped its contents.

The best way to experience the poetry of Philip Larkin on your iPad. Faber Voices lifts classic poems off the page, bringing together audio recordings of great poets reading their own work with an editor''s selection of their poems. A wonderful and intimate experience for poetry lovers, Faber Voices are also an invaluable resource for those studying or exploring these works for the first time. This selection allows you to appreciate the poems as never before, in a beautifully clean design, with options to read and listen to the poet simultaneously. This is how poetry for iBooks should be.Features:See each poem exactly as it was intended, in a fixed format with no erroneous line breaks.Hear every poem as it should be heard, read by the poet at the tap of a finger.Experience the ultimate Larkin selection, made by his editors and estate exclusively for this ebook. The full list of poems:MCMXIVAt GrassDaysMr BleaneyAfternoonsVers de SociétéThe TreesChurch GoingThe ExplosionThe Whitsun WeddingsAn Arundel TombPhilip Larkin was born in Coventry in 1922. He was the best-loved poet of his generation, and the recipient of innumerable honours, including the Queen''s Gold Medal for Poetry.Search ''Seamus Heaney'', ''Wendy Cope'' or ''Ted Hughes'' for more Faber Voices.

Réfugiée en Angleterre, lors de la seconde guerre mondiale, Katherine Lind y survit solitaire, confrontée à la vie étriquée d’une bibliothèque de province. L’exil l’a coupée de tout. Ne subsiste, au milieu d’un hiver impitoyable, que le souvenir d’un mois d’été dans la campagne anglaise lorsque, six ans plus tôt, écolière encore, elle était venue rendre visite à son correspondant, Robin Fennel. Pourtant, il s’est passé peu de choses entre elle et ce garçon, si peu qu’elle ne sait comment l’accueillir, face à l’intimité qu’il quémande à la veille de partir pour le débarquement. « Odyssée à l’intérieur d’un rêve », où une existence affronte ses propres limites dans l’engrenage des ratages quotidiens, ce deuxième et dernier roman d’un jeune poète est devenu un classique des lettres anglaises. Philip Larkin a été désigné comme "le plus grand écrivain anglais depuis 1945" par The Times, en 2008.

La poésie peut s’insinuer en vous sans crier gare. Wordsworth a failli me coûter la vie, une fois. Je descendais l’autoroute M1, un samedi matin ; il y avait cette émission de poésie à la radio, « L’heure des poèmes » ; c’était une belle matinée d’été, soudain quelqu’un s’est mis à lire l’Ode à l’Immortalité, j’en ai eu les yeux brouillés de larmes. Et quand vous conduisez dans la file du milieu à cent kilomètres-heure... J’aime à croire que je suis plutôt drôle, et j’espère que ça passe dans mon écriture. Mais c’est le malheur qui suscite un poème. Et je pense que la source de ma popularité, si j’en ai une, vient sans doute de ces choses que j’ai écrites sur le malheur – après tout la plupart des gens sont malheureux, non ? Je me suis demandé si les auteurs du nouveau dictionnaire Oxford des citations allaient m’accoler « Ils te niquent, tes père et mère ». Je tenais de bonne source qu’on leur avait assuré que c’était mon vers le plus connu, et je ne voudrais pas donner à croire que je n’aimais pas mes parents. En tout cas, ils n’ont pas pris ce vers. La frousse je suppose. P.L. Poèmes choisis et traduits de l’anglais par Guy Le Gaufey, avec la collaboration de Denis Hirson. Édition précédée de « Le principe de plaisir » et suivie d’un entretien à l’Observer. Format numérique en VF uniquement. Philip Larkin (1922-1985) poète, romancier et critique de jazz, est considéré comme l’un des plus grands écrivains anglais du XXe siècle. Son deuxième et dernier roman, Une fille en hiver, est publié aux mêmes éditions.

Philip Larkin met Monica Jones at University College Leicester in autumn 1946, when they were both twenty-four; he was the newly-appointed assistant librarian and she was an English lecturer. In 1950 Larkin moved to Belfast, and thence to Hull, while Monica remained in Leicester, becoming by turns his correspondent, lover and closest confidante, in a relationship which lasted over forty years until the poet''s death in 1985. This remarkable unpublished correspondence only came to light after Monica Jones''s death in 2001, and consists of nearly two thousand letters, postcards and telegrams, which chronicle - day by day, sometimes hour by hour - every aspect of Larkin''s life and the convolutions of their relationship.

Philip Larkin (1922-1985) remains England''s best-loved poet - a writer matchlessly capable of evoking his native land and of touching all readers from the most sophisticated intellectual to the proverbial common reader. The late John Betjeman observed that ''this tenderly observant poet writes clearly, rhythmically, and thoughtfully about what all of us can understand''. Behind this modest description lies a poet who made greatness look, in Milton''s prescription, ''simple, sensuous and passionate''. This collection, first published in 1967, contains many of his best-loved poems, including The Whitsun Weddings, An Arundel Tomb, Days, Mr Bleaney and MCMXIV.

For the first time, Faber publish a selection from the poetry of Philip Larkin. Drawing on Larkin''s four collections and on his uncollected poems. Chosen by Martin Amis. ''Many poets make us smile; how many poets make us laugh - or, in that curious phrase, "laugh out loud" (as if there''s another way of doing it)? Who else uses an essentially conversational idiom to achieve such a variety of emotional effects? Who else takes us, and takes us so often, from sunlit levity to mellifluous gloom?... Larkin, often, is more than memorable: he is instantly unforgettable.'' - Martin Amis

On many criteria, Australia has been a pioneering democracy. As one of the oldest continuing democracies, however, a health check has long been overdue. Since 2002 the Democratic Audit of Australia, a major democracy assessment project, has been applying an internationally tested set of indicators to Australian political institutions and practices.The indicators derive from four basic principles--political equality, popular control of government, civil liberties and human rights and the quality of public deliberation. Comparative data are taken from Australia''s nine jurisdictions, as well as from three comparator democracies, Canada, New Zealand and the United Kingdom, to identify strengths, weaknesses and opportunities for reform.Some of the findings are disturbing. For example, Australia has fallen well behind in the regulation of private money in elections and in controlling the use of government or parliamentary resources for partisan benefit. Transparency and accountability have suffered from relatively weak FOI regimes and from executive dominance of parliaments.For those studying democracy or wanting to reform Australian politics, The State of Democracy provides a wealth of evidence in a well-illustrated and highly accessible format. Internationally, it is an important contribution to the democracy assessment literature and pushes into new areas such as the intergovernmental decision-making of federalism.

Philip Larkin (1922-85) was not only one of the foremost English poets of the twentieth century, but also a notable novelist and a distinguished writer on jazz. He was jazz critic for The Daily Telegraph between 1961 and 1971. Jazz Writings brings together Larkin''s reviews, articles and essays written for The Guardian, The Observer, The New Statesman, and numerous other publications.

Collects a wide range of writing by this witty and astute British poet, including commentary on a diverse list of authors

A fresh and exciting approach to English Literature

Drawing on the papers deposited after his death in the Brynmore Jones Library, Hull, this volume collects together virtually all of Philip Larkin''s remaining unpublished fiction.

Poet Philip Larkin''s reputation as a writer on jazz has so far hinged almost exclusively on All What Jazz, which collects the 126 record-review columns he wrote for the Daily Telegraph from 1961 to 1971. However, he wrote frequently and elsewhere on jazz-for the Observer, Guardian, New Statesman and such journals as American Scholar. In bringing all these pieces together, Larkin''s Jazz is not only a valuable addition to Larkin scholarship but an illuminating corrective to all those who regard him as a jazz reactionary. Larkin once wrote that "a critic is only as good as his ear;" Larkin''s Jazz offers decisive evidence of just how durable and penetrating his judgments have proven to be.