Philip Larkin • New Yorker

Sunday, 7 February 2016

“In the late summer of 1947, Philip Larkin, a few years removed from university and eking out a living as an assistant librarian, bought himself a camera—a British-made Purma Special. In a letter to a friend, he characterized the purchase as an ‘act of madness’—it had cost him more than a week’s salary—but the camera seemed to open up fresh possibilities. ‘There are dozens of worthy compositions knocking around,’ he wrote. “It’s a question of realizing what is good even in black and white.” Lev Mendez • New Yorker

Advertisements