That Every Child May Joy to Hear: A Musical Adaptation of "A Poison Tree"

The Blake Quarterly has published checklists and reviews of musical settings of Blake’s works in almost every genre. Today...

The Artist, the Poet, and the Proofreader

The relationship between vivid, poetic language and visual art has always intrigued me. As an undergrad, I majored in...

Publication: Pencil Sketches 1779-1790

The William Blake Archive is pleased to announce the publication of a digital edition of forty-three pencil drawings produced by Blake...

"I heard a Devil curse": Blake and Halloween

It’s about time for Halloween for the Northern Division of the Blake Archive, and as the numerous Victorian houses...

Blake Quarterly (autumn 2018)

“Every word and every letter is studied and put into its fit place”—Blake might have been describing our carefully...
Blake Quarterly
That Every Child May Joy to Hear: A Musical Adaptation of "A Poison Tree"
BAND
The Artist, the Poet, and the Proofreader
Publications
Publication: Pencil Sketches 1779-1790
BAND, Digital Humanities, Holiday
"I heard a Devil curse": Blake and Halloween
Blake Quarterly
Blake Quarterly (autumn 2018)
BAND

Visual Poetics & Blake’s Afterlife: Florine Stettheimer

New York saloniste Florine Stettheimer (1871-1944) was born nearly fifty years after William Blake’s death. Yet this wealthy American woman produced a body of artworks that bear remarkable resemblances to Blake’s illustrations. The two share many qualities: both were equal parts poet and visual artist, both produced works with highly idiosyncratic pictorial styles, and both had reputations as unconventional individuals.

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BAND

The Artist, the Poet, and the Proofreader

The relationship between vivid, poetic language and visual art has always intrigued me. As an undergrad, I majored in studio art and English, and naturally see the two creative disciplines as more alike than they are different. Coming from this interdisciplinary perspective, I’m fascinated with Blake’s unique body of work but was surprised to find that, until the late 20th century, research on Blake was generally divided between art history and literary studies (“Plan of the Archive”).

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BAND, XML

A Few (Small) Hiccups with the Receipts

It’s been a while since the last update on the “Receipts Project,” and so I thought I’d share a quick summary of what we’re up to with these strange scraps of paper, which throw up the most unexpected of challenges despite their modest size. As the receipts are scheduled for publication early next year, we’re currently at the stage of proofing and revision, and trying to deal with the following issues:

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BAND

What I learned from Blake’s account of the Scofield Incident

Transcribing and proofing literary work for digital publication can be a lot like translating. You get to know the content far better than you would from even an extremely slow and careful reading, because you’ve seen every sentence so many times. This was the experience I had several years ago when learning to translate Dostoevsky’s Хозяйка (The Landlady) for my language exam, and it was the experience I had this spring and summer while proofing a new batch of Blake letters for eventual publication. Throughout this process, William Blake’s August 16th 1803 letter to Thomas Butts became a particular favorite of mine (Find the complete text here: http://erdman.blakearchive.org/#b15).

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Blake Quarterly

Review: Allen Ginsberg, The Complete Songs of Innocence and Experience

This review will appear in the autumn 2018 issue of Blake. The reviewer, Luke Walker, completed his PhD on “William Blake in the 1960s: Counterculture and Radical Reception” at the University of Sussex, and has published various articles and book chapters relating to this topic. His most recent publication is “Beat Britain: Poetic Vision and Division in Albion’s ‘Underground’” in The Routledge Handbook of International Beat Literature (2018). His next major Blake project will be a study of Blake’s influence on modern children’s literature.

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