Ambulances by Philip Larkin - Famous poems, famous poets. - All Poetry

Ambulances

Closed like confessionals, they thread
Loud noons of cities, giving back
None of the glances they absorb.
Light glossy grey, arms on a plaque,
They come to rest at any kerb:
All streets in time are visited.

Then children strewn on steps or road,
Or women coming from the shops
Past smells of different dinners, see
A wild white face that overtops
Red stretcher-blankets momently
As it is carried in and stowed,

And sense the solving emptiness
That lies just under all we do,
And for a second get it whole,
So permanent and blank and true.
The fastened doors recede. Poor soul,
They whisper at their own distress;

For borne away in deadened air
May go the sudden shut of loss
Round something nearly at an end,
And what cohered in it across
The years, the unique random blend
Of families and fashions, there

At last begin to loosen. Far
From the exchange of love to lie
Unreachable inside a room
The trafic parts to let go by
Brings closer what is left to come,
And dulls to distance all we are.

Analysis (ai): This poem explores the somber presence of ambulances in urban landscapes, examining their enigmatic nature and the profound implications they evoke. Unlike their traditional function as symbols of hope, the ambulances here are depicted as silent observers, absorbing the chaos of city life while offering no solace. Through the lens of children and bystanders witnessing the events, the poem reveals the fragility of life and the inevitable dissolution that awaits us all. It reflects the alienation and disconnect prevalent in modern society, where the ambulance becomes a chilling reminder of the ephemeral nature of our existence.

In comparison to Larkin's other works, this poem displays a similar preoccupation with themes of mortality and the fleeting nature of human existence. It complements his oeuvre, which often explores the complexities of everyday life, capturing the mundane and overlooked moments that shape our collective experience.

Contextually, the poem aligns with the post-war era in Britain, a period characterized by a sense of disillusionment and existential uncertainty. It reflects the societal shifts and anxieties following the devastation of war, mirroring the prevailing mood of the time.

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Crimmond - The lasting image of my father going finally into hospital was of him being wheeled backwards into an ambulance in a wheel chair with a blanket on his shoulders and his hair was in disarray and he was confused, tired and grey.

A fan of P.Larkin ...I heard of this poem and it resonates with my memory of that moment and the emotion of seeing blue lit ambulances at night.

on Jul 05 2020 04:18 AM PST x edit

Alex Went - You're mostly right: the sentence ('For... loosen') comprises two coordinated subjunctives. The subject of the first is 'the sudden shut of loss', and the subject of the second 'what cohered in it'. 'May' in verse 3 does double service with 'go' (v3) and 'loosen' (v4). Stripped back, therefore, the second clause reads 'What cohered in it may begin to loosen...' This reply comes to you, ten years on, from the age of coronavirus (2020): I hope you receive it.

on May 17 2020 11:32 PM PST x edit

Trapezewriting - the subject is both 'the sudden shut' and 'what cohered in (the shut)' - you are correct (though 'shut' is an unusual noun; it is generally a verb). Because the subject is compound, the verb is plural: 'begin to loosen'. Hope that helps, ten years later.

on Apr 21 2020 02:03 AM PST x edit

Alex Went - How weird that we should both post in response to that comment from ten years ago! I completely agree with your reading. But I think that the antecedent of 'it' is 'something nearly at an end' rather than 'the sudden shut of loss'.

on May 17 2020 11:36 PM PST x edit

BlackJesus69 - Hey there big boy, love the profile pic. Hit me up xx

on Nov 29 2019 05:32 AM PST x edit

John D - Ask not for whom the bell tolls, baby.

on Nov 17 2014 01:08 PM PST x edit

- pedo

on Aug 22 2019 06:23 PM PST x edit

Comments from the archive

I-Like-Rhymes - Hust one giys opinion but I believe that it actually refers to the "blend of families". Grammar never was my stong point but given the general construction of that unweildy sentence that carries over 2 stanzas
"....., the unique random blend of families and fashions, there at last begin to loosen." seems to be the dominant section.
Jim

on Sep 20 2009 08:15 AM PST x edit

- From guest Mechthild Schulte (contact)
I have a grammatical problem: Stanza 5, l.1 - what is the subject to the verb construction "begin to loosen"? As I understand it, the verb refers to "the sudden shut of loss" and, further on, to "what cohered in it across the years" (stanza 4) ; but if this is correct, shouldn't the verb be "begins"? Or do I, as a non-native speaker, construe it incorrectly? Thanks for some help!

on Sep 19 2009 10:48 PM PST x edit

Philip Larkin Follow

His first book of poetry, The North Ship, was published in 1945 and, though not particularly strong on its own, is notable insofar as certain passages foreshadow the unique sensibility and maturity that characterizes his later work. In 1946, Larkin discovered the poetry of Thomas Hardy and became a great admirer of his poetry, learning from Hardy how to make the commonplace and often dreary details of his life the basis for extremely tough, unsparing, and memorable poems. With his second volume of poetry, The Less Deceived (1955), Larkin became the preeminent poet of his generation, and a leading voice of what came to be called 'The Movement', a group of young English wri

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