Culture

Auden’s ‘The Way’

Posted on by Mark Aldrich

At one point in “The Quest,” his modernist version of a quest romance told in 20 sonnets, the poet W.H. Auden derides occult fascinations as “an architecture for the odd.”

The particular sonnet, which in some editions is titled “The Tower,” but in Auden’s official Collected Poems is simply called number “IX,” concludes with a warning from magicians caught in their own tower:

Yet many come to wish their tower a well;
For those who dread to drown, of thirst may die,
Those who see all become invisible:
 
Here great magicians, caught in their own spell,
Long for a natural climate as they sigh
“Beware of Magic” to the passer-by.

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‘The sure extinction that we travel to’

Posted on by Mark Aldrich

“I don’t know that I ever expected much of life,” Philip Larkin wrote to his lifelong friend Kingsley Amis in October 1979, “but it terrifies me to think it’s nearly over.” He had another six years of life left, but the emptiness of the end—”the total emptiness for ever,/The sure extinction that we travel to”—was much on his mind.

The poem from which those lines originate, “Aubade,” was published in 1977 in the Times Literary Supplement (TLS). Larkin had started it in 1974, worked at it that year, and then left it until 1977, when he finished it. “Death is the most important thing about life,” he wrote his companion, Monica Jones, when they were both still young.

By 1977, he had not been writing much poetry and he had taken to describing his existence in letters to friends as a sort of death-in-life:
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A Perfect Day

Posted on by Mark Aldrich

“You’re going to reap just what you sow.”

“Um, excuse me?”

“You’re going to reap just what you sow.” And he says it three more times.

After deftly sketching some snapshots of a perfect day—a walk in the park, a moment in a zoo, me and you—the speaker/relentless monotone voice in Lou Reed’s song of that same name leaves us with that pushy, inexplicable, and echoing last line.
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