Today sees the online publication of our spring issue (vol. 52, no. 4).

Detail of “Christie’s Auction Room,” aquatint by J. Bluck after A. C. Pugin and T. Rowlandson (Ackermann, 1808). Image from the Metropolitan Museum of Art.

The issue will be open access for about a week—until the end of April—before it becomes subscription based.

It contains:

  • Robert N. Essick, “Blake in the Marketplace, 2018”
  • Jason Whittaker, “‘Jerusalem’ Set to Music: A Selected Discography”
  • Reviews of
    Mark Crosby, ed., “William Blake’s Manuscripts,” Huntington Library Quarterly 80.3 (autumn 2017), by Bruce Graver
    G. A. Rosso, The Religion of Empire: Political Theology in Blake’s Prophetic Symbolism, by R. Paul Yoder

In the latest edition of Jason’s podcast, William Blake: The Man and the Music, we play and discuss our reactions to some of the versions of “Jerusalem” on his list.

Whenever we publish a new issue, a previous issue always emerges from the five-year subscription paywall. This time it’s spring 2014 (vol. 47, no. 4), with the annual sales review by Bob Essick, notes by Mary Lynn Johnson on Thomas Butts and Paul Miner on Francis Quarles, and reviews of Steve Clark, Tristanne Connolly, and Jason Whittaker, eds., Blake 2.0: William Blake in Twentieth-Century Art, Music and Culture (by Grant F. Scott) and Sibylle Erle, Blake, Lavater and Physiognomy (by Tristanne Connolly).

by Sarah Jones