Introduction

Philip Larkin's poem "The Explosion" is a short yet powerful exploration of life and death after a mining disaster. Originally written in 1970 and later included in his 1974 collection High Windows, it offers a sobering meditation on the fragility of life and the persistent power of hope.

As a prominent figure in the British poetry scene, Larkin was known for his understated style and poignant reflections on everyday life. Set in a mining community, likely in mid-20th century England, this poem offers a glimpse into the lives of those affected by the harsh realities of the mining industry. While it is unclear whether Larkin was referring to a specific mining accident, the prevalence of such catastrophes in Britain at the time suggests that real-world events and experiences informed the poem's creation.

Poem Summary

The poem opens just before a mining disaster, with the scene set at the mine's entrance. Despite the peaceful, almost idyllic setting, long shadows set a foreboding mood. The slagheap, a pile of waste material from the mining process, appears quiet and still.

The second and third stanzas depict ordinary life continuing, unaware of the looming disaster. The miners' casual conversation and the boy's playful discovery of a lark's nest indicate this is just an ordinary day for them. The miners are shown to be unaware, perhaps even complacent, of the impending catastrophe.

The fourth stanza depicts the miners passing through the mine's tall, open gates. Larkin captures their humanity in vivid detail, describing them as fathers and brothers dressed in moleskin clothes, sharing jokes and laughter:

So they passed in beards and moleskins

Fathers, brothers, nicknames, laughter,

Through the tall gates standing open.

Disaster strikes in the fifth stanza. The peaceful atmosphere above ground is suddenly disrupted as if by an earthquake. Even the cows stop grazing, and a sudden haze dims the sun.

In the sixth and seventh stanzas, the poem shifts in tone as it addresses the aftermath of the fatal explosion. The souls of the dead miners are portrayed as being in a better place, "sitting in God's house in comfort." The survivors are comforted by the belief that they will see their loved ones again.

The idea of reunion is emphasized by the comparison to "clear lettering" in a chapel. In a moment of emotional intensity, the wives of the victims actually see visions of their husbands who have perished in the explosion.

In the final stanzas, the survivors imagine their loved ones as larger-than-life, idealized figures, perhaps even divine. They envision them as golden, like coins, or walking towards them from the sun.

In the last stanza, which is just one short line, one of these idealized figures is said to be holding eggs, perhaps the larks' from the third stanza, as a symbol of life and hope. This final image suggests that even in the face of tragedy, there is a sense of resilience and the enduring power of life.