Ways of Life: On Places, Painters and Poets

“A wonderful, fascinating account of two stars of the post-war literary generation, and their mutual influence.”— –Good Book Guide

Kingsley Amis and Philip Larkin were close from the moment they met as undergraduates at Oxford. They were, however, very different personalities. Kingsley was charming, sociable, and completely amoral whilst Larkin was awkward and insecure. Their relationship with one another is fascinating in part because it provided the inspiration behind their work. In fact, parts of Lucky Jim were based on Larkin’s life, a fact the poet begrudged for the rest of his life. An extraordinary study of one of the most controversial literary friendships of the twentieth century.

The period covered by this richly detailed collection, which brings the poet to the age of forty, T.S. Eliot was to set a new course for his life and work. Forsaking the Unitarianism of his American forebears, he was received into the Church of England and naturalised as a British citizen – a radical and public alteration of the intellectual and spiritual direction of his career.

The demands of Eliot’s professional life as writer and editor became more complex and exacting during these years. The celebrated but financially-pressed periodical he had been editing since 1922 – The Criterion – switched between being a quarterly and a monthly, before being rescued by the fledgling house of Faber & Gwyer. In addition to writing numerous essays and editorials, lectures, reviews, introductions and prefaces, his letters show Eliot involving himself wholeheartedly in the business of his new career as a publisher. His Ariel poems, Journey of the Magi (1927) and A Song for Simeon (1928) established a new manner and vision for the poet of The Waste Land and ‘The Hollow Men’. These are also the years in which Eliot published two sections of an exhilaratingly funny, savage, jazz-influenced play-in-verse – ‘Fragment of a Prologue’ and ‘Fragment of an Agon’ – which were subsequently brought together as Sweeney Agonistes. In addition, he struggled to translate the remarkable work Anabase, by St.-John Perse, which was to be a signal influence upon his own later poetry.

This correspondence with friends and mentors vividly documents all the stages of Eliot’s personal and artistic transformation during these crucial years, the continuing anxieties of his private life, and the forging of his public reputation.