Larkin the "transcendant anti-Romantic"

I would have to say I'm more drawn to the idea of Larkin as a dark writer looking for that trancendent experience. Given the comments in "Church Going" regarding the narrator looking for a religious experience in a supposedly religious area, I'd like to think that there is a desire to have that feeling. Otherwise, why bother with the search? It'd be much easier to buy him as a cynical person who has no faith in finding connections to anything. He seems to share this idea in "Talking in Bed" when he mentions the idea of isolation even in the most intimate of settings. However, if that is truly the case, the why write about any intimate relationship at all? Larkin's endeavors to prove how apathetic he is only seem to say the opposite. In "Talking in Bed" he writes that the more time that passes, the more isolated people become to each other when in fact it should be the exact opposite. While this could be a perception of Larkin's real-life experiences, he could also use this as a defense of remaining alone. If all relationships are built on lies and false feelings, then the is no point in pursuing a relationship or trying to establish a connection with anyone. The more someone disparages an idea, the more that person is likely to eventually believe what they're saying. The same can also be said in "Church Going" when Larkin seems to go out of his way to downplay the importance of religion, while the narrator consistently searches for the trancendence found in religion. In degrading those who classify themselves as religious, the narrator can pretend to be unaffected by his lack of religious insight. The narrator here behaves much the same way in "Talking in Bed;" both serve as a form of self-defense. For these reasons, I regard Larkin as more of a moody writer in search of a belief in the Romantic ideals.

Steps by Frank O'Hara

The first thing that can be noted about this poem is the fact that it shares a title word with O'Hara's more famous poem "A Step Away from Them." Not to say that O'Hara was known for original titles, in this book alone he has at least 4 poems entitled "Poem", but it does deserve mentioning. Mostly, in my opinion, because this poem is all about what other people are doing rather than O'Hara himself. Even though the poem starts off with O'Hara's actions and ends with them. I like to think of this poem as an "I do this, I do that" poem with a twist. I like to read it like a love poem. He opens up with referencing Ginger Rogers in "Swingtime" in which she starred opposite Fred Astaire in one of their many romantic movie set ups. In the movie she not only plays a woman in love, but also a dancer so the idea of "steps" is not far off nor the subject of love. O'Hara goes on to say that he's leaving a bed full of V-days (presumably a reference to Valentine's Day) because he was tired of D-Days (doom's days?) and yet the blue still welcomes him. O'Hara writes that he wants just a place to be alone with a nameless figure (a "you"). The New York references continue with the depiction of traffic as just another way to establish connections among humans and society. Congestion serves as an excuse for people to have physical contact with others and that when their "surgical appliances lock" they stay together; at least for the day. Which could possibly serve as a O'Hara mocking one night stands with surgical appliances as a metaphor for sexual organs. He breaks the lines referencing this form of a connection in three different lines: and when their surgical appliances lock they stay together for the rest of the day (what a day). In doing this he leads us into a false sense of a true connection. As the reader, we think that they will stay together and then are blindsided with a more cynical reality of where false connections truly lead--no where. O'Hara then starts talking about the art world of New York again. He's once again looking at the positive by saying that something isn't as blue as it appears but quickly jumps to the cynical again when describing the image obsessed members of Hollywood's elite (rib watchers). O'Hara quickly leaves the darker images behind (as he is known to do) and then starts talking about the joy of being alive. Then he jumps to how the murders in New York are helping deal with the population explosion, but they're taking place in the wrong country. This idea seems in complete opposition to O'Hara's earlier comment that the congestion helped establish stronger human connections. Yet, O'Hara seems to be particular in which people connect with others. The reference to the Seagram Building (the most expensive building built of its time in 1957 due to the extensive use of copper) seems to be a dig at the re-zoning laws issues in New York in 1961. This zoning resolution encouraged people to open privately owned businesses emulating that of the Seagram Building. This would go on to be unsuccessful so when O'Hara says it's no longer rivaled in interest, it could be his way of saying "no one is interested in it." O'Hara then describes the simplistic life of an older married couple who apparently share a well worn routine that speaks of a long lasting relationship. Which of course rounds back to the origin of the poem: love. O'Hara ends the poem by reflecting on the idea that it's so wonderful to be able to wake up and live life knowing that he (the narrator) has someone to love. Everything else, even the negative, can take a back seat in his mind because at the end of the day, all that truly matters is the relationships we have and those we love.