Larkin may share a great many of the techniques of postmodern writers. As in their works, Larkin`s so-called "performance" can be said to be the only way of accomplishing an aesthetic goal in the modern or postmodern culture of relativism. In an ate stripped of certainties--the exitence of God, the benevolence of science, the perfectability of mankind--we are left with human individuals and what they do with their lives. But, unlike the postmodern writers who contract into silence after failing to widen their actions into a general truth, Larkin never "scuttles his story in its last line." The reason why he always takes double-sided attitude and uses many kinds of intricate devices is not to complicate meaning of the text, as in many modernist of postmodernist writers, but to enhance the reader`s participation in the author`s neutrally presented interpretation of life`s experiences. Therefore, the silence which comes at the end of "High Windows" should be interpreted as a truth beyond human understanding, not as "a kind of eclipse of meaning in the face of the void". Larkin is too traditional and too value-oriented poet to be a postmodern nihilist. He is a poet "to whom technique seems to matter less than contents", a poet who accepts the forms he has inherited but uses them to express his own content. It is true that Larkin makes use of pessimistic or melancholy substance. But he thinks that a poem, is it is a good one, must be a positive and joyful thing, and that, through poetry, we are able to go on in our sorrowful lives. Larkin`s pessimism, as such, is not a passive surrender to time. It is a faithful understanding of the true condition of our human life.