An Anniversary Letter to Blake Books

There are many Blake books but only one Blake Books by G. E. Bentley, Jr., the catalogue of works and criticism...

Blake Quarterly 1970s Added to the Archive

In 2014 the Blake Archive added a new wing devoted to searchable HTML and PDF editions of back issues...

Four Zoas: Glimpsing the Summit

I suppose the mountain-climbing analogy makes sense — climbing mountains is hard. For anyone with even a fleeting familiarity...

Block Museum Exhibition Q&A

The exhibition William Blake and the Age of Aquarius will open at the Block Museum of Art at Northwestern University...

An Unexpected Encounter with Space Cat

I could have told you that Ruthven Todd was a Blake scholar (here are his credits in early issues...
Blake Quarterly
An Anniversary Letter to Blake Books
Publications
Blake Quarterly 1970s Added to the Archive
BAND
Four Zoas: Glimpsing the Summit
Blake Quarterly
Block Museum Exhibition Q&A
Blake Quarterly
An Unexpected Encounter with Space Cat
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About Us

 

Welcome to our blog!

  This is the collaborative blog for the William Blake Archive and Blake/ An Illustrated Quarterly, wherein we discuss recent and upcoming projects, digital humanities, and William Blake.
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Blake Quarterly

A Last Hurrah

Our last hurrahs are like singers’ farewell tours—they tend to come around again next year—but this is a farewell to our fiftieth volume, which officially ends on 30 June, even though we have already published all four issues.

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Publications

Blake Quarterly 1970s Added to the Archive

In 2014 the Blake Archive added a new wing devoted to searchable HTML and PDF editions of back issues of Blake/An Illustrated Quarterly. Today’s publication—all 40 issues from the 1970s—is the final big installment of the Archive’s ongoing project of making freely available, and fully searchable, over four decades of the journal, thus making public some of the most important scholarly work done in Blake studies over the past half century.

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BAND

Four Zoas: Glimpsing the Summit

I suppose the mountain-climbing analogy makes sense — climbing mountains is hard. For anyone with even a fleeting familiarity with this particular Blake manuscript, the difficulty of the Four Zoas is readily apparent. Reading it is hard. Editing it is, perhaps, futile. But we try. And even in our failures do we learn.

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Blake Quarterly

The Fortunate “Un-“fortunate in BIQ Wordlists

While still working through the S-Z wordlist of potential misspellings in Blake/An Illustrated Quarterly, I have found myself amidst a list of “Un-” vocabulary. Almost exactly a year ago, I reflected on the isolation of “self” and its implications as I remediated words that required a hyphen, separating “self” from terms like “alienation,” “complicating,” “defeating,” and “deluding” by adding a hyphen that the OCR had mistakenly removed. And now that I’ve reached the end of my list, I reflect again on what this work teaches me about William Blake scholarship, and about language more generally.

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BAND

BAND: A Healthy Difference in Academic Work

This week was my first week back in The William Blake Archive offices in over a month having taken a hiatus from work in order to study and take my PhD qualifying exams. This was the longest break I have had away from the archive since starting graduate school, and the first day back in the office helped me appreciate the healthy difference between my archive work and my research work.

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BATS

The Oxford Comma and the Rogue Apostrophe: Editorial Principles and Punctuation in the Blake Archive

The Oxford comma is having its moment in the spotlight in recent news, after it was used to clinch a legal case in favor of the five drivers in O’Connor v. Oakhurst Dairy who, according to the interpretation of policy in the absence of the comma, were therefore found to be eligible for overtime pay. And grammar geeks on the side of the Oxford comma have been rejoicing.

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BATS

Blake’s Aniconic Arboreals

“What if God was one of us?” asks singer-songwriter Joan Osborne. It’s actually not that hard to imagine God as a person. Many are familiar with the image of God as the deity appears in Michelangelo’s The Creation of Adam: an old, imperious man with flowing hair and beard. For many raised in Judeo-Christian traditions, the portrayal of Alanis Morissette as God in the movie Dogma is as far from that image as the imagination strays. Beyond this narrow anthropomorphism, however, lie countless aniconic representations of divinity.

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