Blakespotting: Blake news for May and June 2019

One of the most unusual appropriations of Blake’s works in recent weeks has been a cabaret show loosely based on The Marriage of Heaven and Hell: Ian Schrager, the hotelier and former Studio 54 co-founder, opened a new Weimar-esque cabaret, the Paradise Club, at the Times Square Edition hotel with a floor show – “The Devouring”, which The New York Times described as “a high-concept reimagining of a William Blake poem and features half-clothed acrobats, ballerinas and an operatic cover of “Closer” by Nine Inch Nails. The overall effect is somewhere between Cirque du Soleil and a Super Bowl halftime show, reimagined by Twyla Tharp.”

Elsewhere, an exhibition at New York’s Morgan Museum and Library shows how theatrical designs for stagings of Maurice Sendak’s work often took their inspiration from William Blake as well. Famous for Where the Wild Things Are, Sendak also sought to put his work on the stage in theatrical performances and even operas, and as a Blake collector the Romantic’s vision affected his own art work. “Drawing the Curtain: Maurice Sendak’s Designs for Opera and Ballet” is on at the Morgan from 14 June to 6 October, and Artnet observed that in 1981 Sendak’s work was displayed alongside that of Blake and Mozart, both of whom were important sources of inspiration for him.

Books and games drew attention to two Blake sightings in May and June. A review in The Irish Times of Peter Linebaugh’s story of Catherine and Edward Despard – which takes its title, Red Round Globe Hot Burning from Blake’s Visions of the Daughters of Albion – observes that the barbaric hanging of Despard in 1803 in front of a crowd of 20,000 draws upon a dual vision of the words as representing the human heart and the globe of the world. In his book, published in March, Linebaugh describes Blake as having “the prophetic power to imagine a different world, and a different heart.” (p.2) Meanwhile, Asobo Studio/Focus Home Interative released A Plague Tale: Innocence in May. A survival game, it’s connection to William Blake came from a promotional trailer in which Sean Bean recited the poem from Songs of Innocence, “The Little Boy Lost”. Unlike DMC5 (reviewed here), there doesn’t seem to be a more profound connection to the Romantic poet, but hearing Sean Bean recite Blake’s words is something definitely worthwhile. The gaming website Kotaku summed it up best with the headline: “Sean Bean Reading William Blake is My Kind of PR Stunt”.

 

Finally, Ed Simon offered a thoughtful piece for JStor Daily at the beginning of June outlining why Blake’s religious and spiritual perspective made him a much more effective abolitionist in the anti-slavery cause, especially in his illustrations for John Gabriel Stedman’s The Narrative of a Five Years Expedition against the Revolted Negroes of Suriname, that often racist Enlightened philosophers such as as Voltaire and Jefferson.

Blakespotting: Blake news for April 2019

The start of April saw Tate Britain ramping up the publicity for its new Blake exhibition that will open in September. Among the stories carried in the national press, themes tended to emerge around the importance that will be given to the role of his wife Catherine – The Guardian wrote that it will celebrate her creative influence, while The Telegraph said that she would be placed at the heart of the exhibition – and the inclusion of the only self-portrait by Blake. Senior curator Martin Myrone told the Evening Standard that the portrait had a “jewel-like intensity” and The Daily Mail reported that this would be the first time it has gone on display in the UK. William Blake: The Artist will be on show at Tate Britain from 11 September until 2 February.

While the opening of the Tate exhibition will be the biggest event of the year, the most important event of the month was the world premier of Allen Bevan’s Ancient of Days on 15 April. Performed by the Edmonton Metropolitan Chorus at the Winspear Centre for Music in Alberta, the opera was a multi-media work for chorus and orchestra, much of it spoken word and drawing extensively on Blake’s poetry, ideas and visual art. Toronto-born Bevan had completed his Masters at Edmonton and he himself conducted several of the parts on the night. The Edmonton Journal described it as a “verbal drama with incidental music”, with Timothy Anderson and Dawn Sadoway playing the parts of Blake and his Emanation, the whole comprising a “thoughtful work” and “an effective introduction to Blake.”

Paradise Club in New York held an event early in April entitled “The Devouring: A Marriage of Heaven and Hell”. A cabaret night where participants were invited to paradise and inferno, the show itself was performed by the Brooklyn collective House of Yes with a “theatrical feast” created by John Fraser. Hosted by Nik Alexander, The Telegraph described it as “not your usual theatre experience”, the organisers intended the burlesque to be a celebration of “what it means to be human”.

Finally, as April drew to a close, the music organisation WordSong, based in Boston, hosted Tyger Circus, a set of fifteen different compositions based on Blake’s poem “The Tyger”. Taking place on 26th, Krista River, Keith Phares, and Linda Osborn performed work by Adele Dusunbury, Howard Frazin, and Benjamin Pesetsky at the First Church in Boston, at an event that also marked the tenth anniversary of Wordsong. The month also saw the launch of Peter Linebaugh’s Red Round Globe Burning Hot, which begins with the execution of Colonel Edward (Ned) Despard after a plot to overthrow George III. Tracing resistance to the loss of commons throughout the eighteenth and nineteenth centuries, Linebaugh draws upon Blake’s imagery throughout the book to draw attention (as he explained in an interview for Counterpunch) to how “Blake’s moment of truth is upon us”.

 

Blakespotting: Blake news for March 2019

March was a fairly quiet month for Blake news, with the big splash being the release by space-folk duo, Astralingua, of their new album, Safe Passage. A beautiful piece of work which has already garnered very favourable reviews, you can read my thoughts about the album in the Zoamorphosis review, in particular of their first single, an adaptation of Blake’s “A Poison Tree”.

Other musical news for March included the thirteenth year for Outside the Box, an annual music festival at Southern Illinois University. This year’s event included a virtual reality exhibit, “Fool’s Paradise”, combining music, poetry and art. According to festival organiser, Christopher Walczak, the Digital Museum of Digital Art “commissioned a number of visual artists and composers to create a virtual world full of art based on the works of William Blake”, with the event running from 27-30 March.

The stage performance of David Almond’s classic for children, Skellig, at the Nottingham playhouse was reviewed by a number of newspapers. Blake’s poetry appears throughout the novel and the stage play, adapted by Trevor Nunn, manages to retain some of the Romantic poet’s work in its depiction of the encounter between two children, Michael and Mina, and the creature that is part human, owl and angel. The Times described it as capturing “a spirit of adventure and magical realism”, while LeftLion called it a “soaring production”.

The Blake-Parry hymn “Jerusalem” features in Arcadia, a film by Paul Wright stitched together from BFI footage and which was first shown on BBC4 on 7 March. According to a review in The Financial Times, it mingled lush pastures, clopping horses and country churches mingled with inevitable weirdness and occult hints. Arcadia doesn’t “trace a simplistic journey from innocence to corruption”, and while much of the English countryside may have been lost, so also the sense to retain what many people have has also grown.

 

Blakespotting: News about William Blake in February 2019

February was a busy month for Blake-inspired music. Reviews began to appear for the most significant launch of the new year, Fearful Symmetry: The Songs of William Mac Davis, which was released by Centaur Music. Performed by Lynda Poston-Smith (soprano) and Robert Carl Smith (piano), the album comprises a series of eight songs drawn from Blake’s Songs of Innocence and of Experience, as well as additional pieces that take their lyrical inspiration from Christopher Smart and various other poets and lyricists. World Magazine described it as a series of melodies that “command immediate attention”, particularly as sung by Poston-Smith.

Other releases were somewhat more allusive rather than being direct settings of Blake to music. Thus the new single from These New Puritans, “Anti-Gravity”, was inspired by Blake’s quote that “the imagination is not a state, it is human existence itself” according to reviews such as those in DIY Magazine. Likewise, Hearbreak (for now) by Roman Lewis includes a track, “Rose”, that references Blake’s “My Pretty Rose Tree” and can be heard at Clash. Somewhat more substantial is An Attempt to Draw Aside the Veil by Jim Jarmusch and Josef van Wissem. Jarmusch is famous for his Blakean movie, Dead Man, and this new collaboration with van Wissem, according to an interview with Pitchfork, draws upon Helena Blavatsky as well as William Blake to perform an occult meditation on apocalyptic visions.

February also saw a number of live performances, such as the Martha Redbone Roots Project, which played in New Jersey at the Lackland Performing Arts Center, and Mike Westbrook who performed some of his Blakean pieces as well as others at Ronnie Scott’s in London.

In contrast to new musical releases, February was quiet in terms of the literary and visual arts, but previews appeared for a major video game release due in March that makes considerable use of Blake’s words. Plenty of commentators noted that the protagonist of Devil May Cry 5, V, cites Blake throughout the game, The Independent observing that the game is probably the best in series so far, and Videogamer announcing more simply that it is “bloody brilliant”. Theories began to appear on Reddit that the game draws upon The Book of Urizen, but my favourite comment is that, apparently, V has “a dedicated button to recite William Blake poetry during combat“. Less impressive was the new movie Burning Men, a virtual straight-to-streaming release in which the lead for the band Burning Men, Ray, also quotes Blake regularly. According to Cath Clarke in The Guardian, however, the whole experience is rather dreary and depressing.

Finally, Blake made a couple of other, interesting appearances during February. The first was as inspiration for the poet and model Wilson Oryema who, in a poem written for The Guardian‘s fashion section, said that his inspiration was William Blake and Nayyirah Waheed. Blake was also the source for a debut collectino, SS19, from the fashion brand maharishi, which drew on quotations from The Marriage of Heaven and Hell to demonstrate “a balanced interaction of opposing forces” in its new range.

Blakespotting: News about William Blake in January 2019

One of the most impressive examples of Blakean inspiration to start off 2019 was his use by Refik Anadol, whose astonishing immersive installation, the Infinity Room, was showcased during the Winter Gallery Crawl in Pittsburgh. Created using a series of lasers, the room draws upon Blake’s quotation – later cited by Aldous Huxley – that “If the doors of perception were cleansed everything would appear to man as it is, infinite.” Born in Istanbul and currently living in Los Angeles, the small cube – each side 12 feet in length – contains mirrors on the floor and ceiling to support, according to an interview with TribLive, “the idea that there is no gravity”.

A significant new literary release at the end of 2018 and which began to receive reviews in January was the fourth novel by Mexican writer, Adriana Díaz Enciso. Entitled Ciudad Doliente de Dios (“The Doleful City of God”), it tells the story of Cristina, a girl abandoned in an orphanage by her parents, who has mystical visions that lead her to a knowledge beyond her years. With an image of Los englobing the fallen body of Urizen as a huge drop of blood for its cover, the book is framed in the cosmogony of William Blake, and a post giving an insight into her thoughts on the Romantic poet and artist can be found at Finding Blake.

Musical sightings and performances included a profile of Martha Redbone for Berkeleyside, whose 2012 album The Garden of Love: Songs of William Blake, remains one of the best Blakean compilations ever recorded; she also performed at the Weill Hall, Sonoma State University, on January 24th. Jim Jarmusch (whose 1995 film Dead Man cast Johnny Depp in the role of accountant in the wild west, William Blake) and Jozef Van Wissem, announced a new album – An Attempt to Draw Aside the Veil – which draws upon the ideas of Blake, Swedenborg and Helena Blavatsky and is to be released in early February. Another announcement was the new album Inside the Rose by These New Puritans: due out in March, some of its music including the titular track claim the inspiration of William Blake.

The month ended with a performance by Patti Smith at the Camden Roundhouse that attracted rave reviews. Appearing in London at the close of January, Smith’s set included a series of her own music, cover versions of artists such as U2 and Midnight Oil, and recitals of readings of her own work, Virginia Woolf, Robert Burns, and, of course, William Blake. Ellie Porter, writing for theartsdesk.com, remarked on her “ceaseless energy”, while Emily Finch at CamdenNewJournal described her as a “booming bright light”.

“A Blakean Year”: 2018 in Review

2018 began in spectacular fashion with the opening of an exhibition at Petworth House in Sussex on January 13. Entitled William Blake in Sussex: Visions of Albion, the exhibition concentrated on Blake’s experiences and art from 1800-1803 when he lived at nearby Felpham, as well as other works subsequently created by him for the Earl and Countess of Egremont who lived at Petworth. It was for Elizabeth Ilive that Blake produced one of his most ambitious works, A Vision of the Last Judgement, which rightly formed the centrepiece of this display of some of his most exceptional paintings and prints.

Other exhibitions from the beginning of the year included Faith Wilding: Fearful Symmetries at Carnegie Mellon University, where Wilding formerly taught, and demonstrating her multiple influences, including Emma Goldman, Virginia Woolf and, of course, William Blake. Also on show from February to April was “Tales of the Unseen”, work by Siggi Ámundason, whose large-scale pen drawings reference William Blake as well as eighties anime, Goya and Francis Bacon.

Musically, the big news at the beginning of 2018 was the announcement of U2’s £xperience + Innocence tour to accompany their 2017 album, Songs of Experience. More affecting to me personally was the death of Mark E. Smith, frontman of post-punk band The Fall, in January, whose life was probably best summed up by the headline “Mark E. Smith Was a Complicated Bastard“. He was also something of a fan of William Blake, demonstrated not least by his cover of “Jerusalem” for the album I Am Kurious Oranj. Other releases in winter and spring included two albums that referenced Blake songs – Shawn Colvin’s The Starlighter, and Jóhann Jóhannsson’s Englabörn & Variations, including the tracks “Cradle Song” and “Holy Thursday” respectively. There was also, in March, a new version of “Jerusalem” released as Team England’s official anthem for the Gold Coast Commonwealth Games, as well as the premiere of Daniel Kidane’s Songs of Illumination in April.

Blake-influenced publications in early 2018 included the quite astonishing comic, Her Infernal Descent, which was released in five parts throughout the year. A reinterpretation of Dante’s Divine Comedy, a middle-aged woman is led through hell by Blake as her spirit guide, offering satire and commentary on life in the twenty-first century as well as a rather profound portrayal of loss. This was joined in April by the publication of Polaris Ghost by Eric G. Wilson, a collection of short stories that reference Blake throughout, as well as Patti Smith’s The New Jerusalem, a new collection of prose poems that offered her response to the election of Donald Trump among other things. Julia Fine’s wonderful debut novel, What Should Be Wild, offered Blakean elements of horror and fantasy in the style of an Angela Carter fairy tale.

2018 was, as ever, a busy one for The William Blake Archive, which saw a number of new publications, including new copies of JerusalemUrizen, and Visions of the Daughters of Albion, as well as entirely new additions in the form of Blake’s Descriptive Catalogue and his Notebook. The major addition, however, was Vala, or The Four Zoas, which now makes widely available the fragile manuscript of Blake’s most ambitious epic poem.

The middle of the year saw a number of Blakean citations in film and television, not least the Criterion Collection of reissue of Dead Man for blu-ray, which prompted a number of retrospective reviews, such as this at Glide Magazine. Much more controversial was the release of Lars von Trier’s The House That Jack Built, a bloody serial killer movie that notes Blake’s “The Tyger” as a model and which, frankly, did not receive great reviews. By contrast, more people were impressed by the fact that season two of Westworld offered multiple quotations from Blake’s Auguries of Innocence as a running theme for its depiction of mankind’s inhumanity to robot. Will Franken’s Red, White & Blake sought to rescue the Romantic poet from bland, liberal academics such as myself, offering a heartfelt plea to return Blake to his position as national writer and artist.

Significant news was Tate Britain’s announcement of a huge forthcoming Blake exhibition, and there was a truly wonderful piece of Blake-inspired art by Jack Handscombe, a student at Edinburgh College of Art, who produced an installation of a figure dressed in racing leathers, entitled “After Blake’s Newton (After Paolozzi)”. Elsewhere in the arts, a new piece of choreography and music inspired by Blake, entitled Apolión and directed by Jerónimo Búffalo, was performed at the Art Centro de Arte UNLP in Buenos Aires. In London, a new show in London was announced, Wirework (originally written by Daleen Kruger in Afrikaans in 2009 but translated into English this year) at the Tristan Bates Theatre. Telling the story of The Owl House, a remarkable piece of outsider art by Helen Martins and Koos Malgas, Wirework explores how they created an extraordinary museum, taking their inspiration from Omar Khayyam, the Bible and William Blake.

The biggest event of the summer, however, was the unveiling of a new gravestone, 191 years after his death on the spot where William Blake was buried in Bunhill Fields. At an event promoted by the Blake Society as an apocalypse (or revelation of Blake’s final resting place), crowds far larger than those expected by the organisers gathered to hear Blake enthusiasts offer a celebration of his life and work and to pay their respects to the memory of one of London’s most famous sons.

Celebration of Blake’s life and work was also a reminder of some of the other figures, as well as Mark E. Smith, who had been influenced by Blake in some way and died in 2018. These included Alice Provensen – who lived to the glorious age of 99. For some forty years she had worked with her husband, Martin, on illustrations until his death in 1987, before continuing a solo career into her nineties. Her books included the wonderful A Visit to William Blake’s Inn by Nancy Willard.  She was followed shortly afterwards by Bob Dorough who helped Ginsberg set Blake to music and was more famous as the composer of Conjunction Junction. Likewise, the artist and writer Æthelred Eldridge passed away at the age of 88. Æthelred, born James Edward Leonard Eldridge, had served as associate professor of painting at Ohio University from 1957 to 2014, and was directly influenced by Blake. Eldridge, who ran the site Albion Awake, referred to Blake constantly in his art and was even the founder of a Church of William Blake (which, as Roger Whitson tells in his article on Zoamorphosis, burned down in 2001).

As the year turned to autumn, mid September saw a return of the three-day celebration of Blakean arts, Blakefest, which took place on 14th-16th in Bognor Regis. Blakefest has become a fairly regular cultural and artistic festival, with Lene Lovich and a tribute to George Harrison headlining at this year’s event. Other art shows included an exhibition at the Levy Gorky gallery in New York, featuring a selection of works by Robert Ryman, Cy Twombly, Lee Bontecu and Jaspar Johns. Entitled “Intimate Infinite: Imagine a Journey”, the full show included work by 27 artists and unfolded over three floors in a pattern that was inspired by Blake’s Auguries of Innocence.

The autumn also saw publication of one of my personal favourites, the translation of Olga Tokarczuk’s Drive Your Plow Over the Bones of the Dead. Taking its title from one of Blake’s proverbs of hell, the novel was originally written in 2009. Described by Sarah Perry at The Guardian as “an extraordinary display of the qualities that have made Tokarczuk so notable a presence in contemporary literature”, it is one of the most profoundly Blakean novels ever to have been written.

The year ended with a series of Blake-inspired music: the exemplary pianist, Harriet Stubbs, released her debut album, Heaven and Hell: The Doors of Perception,  which opens with an arrangement by Stubbs of “Phrygian Gates”. Composed by John Adams in 1977-8, this is the most overtly Blakean of all the tracks due to the narration by Marianne Faithful which brings together multiple extracts from The Marriage of Heaven and Hell. This was followed in December with a new musical adaptation of “A Poison Tree” by the space-folk duo Astralingua, comprising Joseph Andrew Thompson and Anne Rose Thompson. The track is also to be included on their forthcoming album, Safe Passage, due out in March 2019. And, just squeezing in before the near year, was Johanna Glaza’s wonderful Albion EP, a setting of parts of Jerusalem, The Emanation of the Giant Albion to music, which we’ll be reviewing later in 2019.

Anything I’ve missed? Let me know in the comments below.

 

Astralingua: A Poison Tree

Friday 6 December saw the release of a new musical adaptation of William Blake’s song of experience, “A Poison Tree”, by the space-folk duo Astralingua, comprising Joseph Andrew Thompson and Anne Rose Thompson. Based in Denver, Colorado, their music features mandolins, cello and ghostly harmonies in a mixture of classical, folk and psychedelic sounds. The track, which you can hear below (and see the accompanying video), is from their forthcoming album, Safe Passage, due out in March 2019.

Here they tell Zoamorphosis some of the ways in which Blake has influenced them and their music.

Joseph:

I’ve been interested in Blake’s work since I was about 16 years old. A friend lent me a copy of Songs of Innocence and Experience and it amazed me. At first glance, it reminded me of the illustrated rhyme and story books I’d read as a child, which endeared it to me. It then became quickly apparent how rich it was in poetry, metaphor, craft, and vision. I bought a pocket copy by Penguin books and carried it around with me for quite some time. I would also go to the local bookstore and pore through whatever Blake collections they had, trying to find the best prints of his artwork.

His artwork was strange, anachronistic, and singular. I saw so many different genres of modern-day art reflected in his works from 200 years earlier – fantasy paintings, storybook illustrations, comic books, and animation. Blake exaggerated proportions, movement, and faces to create effects that I saw in all sorts of pop culture’s artwork. Figures sometimes seemed detached from their surroundings (Nebuchadnezzar), or as if leaping from the canvas. In many, there were layers upon layers of images, blended together like psychedelic paintings. Those were just my first impressions – the exciting things that grabbed my adolescent attention. As time went on, and I came to better understand and appreciate the fine arts, I realized what a master painter Blake was, how capable and detailed, and began to admire him even more.

They say Blake was considered “mad” in his time. I must be “mad” too, as I speak his language and he speaks mine. I imagine I like Blake for the same reason that a lot of artists do. His works weren’t popular in his age but it did not deter him. He didn’t change his style to suit the day. He painted and wrote his truth and vision. Because of that, there’s such pureness and honesty in his creations. His paintings and prints are filled with excitement, passion, and exuberance, and one senses in them the desire to communicate. When looking at his illustrations or reading his poems, you feel Blake’s earnestness. And when you take all this together, you get a sense of his likely isolation and loneliness, his reaching out for someone with whom to connect. In the end, you take his work personally, even though he’s communicating Universal Truths. Plus, his poetry makes you smile.

Rhymed and metered poetry takes work. You have to be more selective with what you say. No word or line can be wasted and you have fewer words from which to choose. A lot of poets have great command of rhyme, but their poetry is lacking. Other poets have beautiful ways of describing unique insights, but all without rhyme. Blake was a master of both. He was so joyfully playful. In his craft, more than just rhyming, he uses alliteration, plays with syntax, mixes and matches lines and schemes. There is such wealth offered to the reader.

Anne:

One thing that stands out to me about Blake, especially in his artwork, is how pure and defined his subjects are, both in emotion and physique. Looking at anyone he depicts, you see beauty, grace, grief, horror, shame, pity, strength, longing, and weakness all expressed – whatever characteristic it is, it is abundantly clear and undeniable.It makes his works so striking and evocative, and I think that’s often missing in modern art, music and media. Our culture now seems to embrace a nebulous, almost non-committal attitude, and characters are often aloof, vague, and undefined. Much the same with our emotions, where there is a prevalence of numbness, disaffection, and distraction. We’re overstimulated to the point of boredom. Maybe that’s why people fall for Blake the way they do when they discover him finally – they see the human experience expressed with such richness and in such volume, much louder and stronger than we are encouraged to experience it. Everything is full of passion and energy. He reminds us of our human capacity for real feeling.

 

“A Poison Tree” is available on Bandcamp, with Safe Passage also available for pre-order.

You can also see Astralingua’s video using Blake’s art on YouTube.

Blakespotting: News about William Blake, November 2018

The main event of November was the anniversary of Blake’s birth, with at least one celebration taking place at the Theodore Bullfrog in London, where members of the Blake Society gathered to sing, play music and recite the poet’s words for an evening of entertainment. Elsewhere, plenty of Blake’s poetry appeared online, as with an article dedicated to his best poems in The Week. The magazine Town Topics also ran a piece on encountering Blake through Patti Smith and Allen Ginsberg as a meditation on the Romantic’s birthday.

On a sadder note, the artist and writer Æthelred Eldridge passed away at the age of 88. Æthelred, born James Edward Leonard Eldridge, had served as associate professor of painting at Ohio University from 1957 to 2014, and was directly influenced by Blake. His most recognisable work, the Siegfried Hall Arch, was first completed in 1966 but then redesigned in 1987 and, according to WOUB, restored in 2015 (illustrated above). Eldridge, who ran the site Albion Awake, referred to Blake constantly in his art and was even the founder of a Church of William Blake (which, as Roger Whitson tells in his article on Zoamorphosis, burned down in 2001).

Among the visual arts, November saw the opening of Extreme Nature! at the Clark Art Institute in Williamstown, Massachusetts. Largely dealing with excessive visions of landscapes and the natural world, this would appear unfamiliar territory in which to encounter Blake, but the curator Michael Hartman has the Times Union newspaper, taken a fantastical view of the world that allows him to include the Romantic artist’s illustration of Behemoth and Leviathan from the Book of Job to be included. The exhibition runs at the Institute until February 24, 2019.

A delightful artistic detail was the launch of a collection of plates designed by Richard Ginori and Ippolita Rostagno (the latter more famous for jewellery design). Called “The Road to Heaven is Paved with Excess”. According to Rostagno:

The collection ‘The Road to Heaven is Paved with Excess’ is inspired by the poet William Blake. The concept is that you never know what is enough until you know what is more than enough. I love this idea because it wraps up exuberance and restraint into a constant dynamic, which is perfect for this moment in which maximalism reigns.

With each plate starting at £85, the collection is not cheap – perhaps fitting for the excess of maximalism. You can purchase the collection at Artemest.

On a more serious note, The Japan Times included a short but very welcome piece on Kenzaburo Oe, the 1994 Nobel Prize winner for literature whose novel Rouse Up O Young Men explores how the writer engages with his profoundly disabled son through the work of William Blake. The Romantic is quoted extensively throughout the novel which, as Damian Flanagan observes, provides a means to “probe the hinterland of the unknown not merely by rational analysis”. Along with Joyce Cary’s The Horse’s Mouth and the recently translated novel by Olga Tokarczuk, Drive Your Plow Over The Bones of The Dead (reviewed here), Oe’s book is a work that is deeply indebted to Blake.

Blakespotting: News about William Blake, September and October 2018

The big event in August was the unveiling of a new grave stone to mark the actual resting place of William Blake in the cemetery at Bunhill Fields, and which was covered on Zoamorphosis at the time. While most news stories about the new stone appeared by the end of August, in the Church Times, Lucy Winkett, the Rector of Blake’s parish church, St James’s, Piccadilly and who spoke at the ceremony, offered a reflective essay on what William Blake would have to say to us today as a prophet for both his times and ours.

Mid September saw a return of the three-day celebration of Blakean inspiration, Blakefest, which took place on 14th-16th in Bognor Regis, the town next to Felpham where Blake lived from 1800 to 1803 and where he wrote his famous poem, “And did those feet…” Blakefest has become a regular cultural and artistic festival, with Lene Lovich and a tribute to George Harrison headlining at this year’s event. Organiser, Olivia Stevens, told the Chichester Observer that Blake “was the inspiration for so much that has happened since” and that the festival would bring “a lot of great art and music and culture to Bognor”.

One extremely significant release in October was a translation of Olga Tokarczuk’s Drive Your Plow Over the Bones of the Dead. Taking its title from one of Blake’s proverbs of hell, the novel was originally written in 2009 and is now available in English, following the success of her 2007 novel, Flights, which was translated last year and won the Mann Booker prize for best translation. The novel, described by Sarah Perry at The Guardian as “an extraordinary display of the qualities that have made Tokarczuk so notable a presence in contemporary literature”, is quite simply one of the most Blakean novels ever to have been written. An offbeat whodunnit centred on Janina Duszejko, it is extremely funny, suffused with references to Blake’s works, and we’ll be carrying a review of it here soon.

Art shows during September and October included an exhibition at the Levy Gorky gallery in New York, featuring a selection of works by Robert Ryman, Cy Twombly, Lee Bontecu and Jaspar Johns. Entitled “Intimate Infinite: Imagine a Journey”, the full show included work by 27 artists and unfolds over three floors in a pattern that was inspired by Blake’s Auguries of Innocence. As Gorvy told Robb Report, the aim of the exhibition which ran from September 14 to October 24, was “to look intensely at each grain of sand and find within it a whole universe”. The end of October also saw the publication of forty-three pencil sketches by Blake on the Blake Archive, showing his “early debt to academic standards of precise copying and to the neoclassical emphasis on outline” according to the blog of the Archive.

Elsewhere, Blake made a brief appearance via his poem “The Tyger” in Joe Martin’s Us and Them, although that film will probably disappear without trace. There were also some musical interludes: “Jerusalem” was, as ever, a staple of Last Night of the Proms in September and U2’s tour of eXPERIENCE + iNNOCENCE tour wound to a close at the O2 stadium in London. More significantly, during October, the passing of Winston McGarland Bailey, better known via his stage-name, Shadow, saw a celebration of his life during which he was called “the William Blake of Calypso“. Bailey was a musician and songwriter who was born in Tobago and won numerous awards for his music, and was awarded a doctorate by the University of the West Indies for his music. Harriet Stubbs released a new album, Heaven and Hell: The Doors of Perception, which we’ll be reviewing soon,  and there was a great profile of Martha Redbone, who set many of Blake’s poems to music on The Garden of Love, in LexGo magazine.

Apocalypse: The unveiling of William Blake’s new gravestone

191 years after his death, a new gravestone was unveiled on the spot where William Blake was buried in Bunhill Fields. At an event promoted by the Blake Society as an apocalypse (or revelation of Blake’s final resting place), crowds far larger than those expected by the organisers gathered to hear Blake enthusiasts offer a celebration of his life and work and to pay their respects to the memory of one of London’s most famous sons.

Blake had been buried at Bunhill Fields after his death on 12 August, 1827 in an unmarked grave, one of eight bodies to occupy the plot, with three corpses below him and another four above him. A gravestone was placed 20 metres away marking that the remains of William and Catherine lay “nearby”. It was Carol and Luis Garrido who discovered the precise location of Blake’s grave in 2006, using records of co-ordinates to find the spot and leading the Blake Society to begin an appeal to gather the funds for another, more accurate marker. The gravestone, carved by Lida Cardozo, was then unveiled on the anniversary of Blake’s death.

The ceremony itself began at 3.00 pm, with a crowd that reports were estimating at between 400 and 800 people and certainly a much larger number than the Blake Society had estimated. Blake Society trustee, Gareth Sturdy, told the BBC that “more and more people are beginning to realise how central Blake is to the national culture”, and certainly the celebrations on Sunday demonstrated the great affection in which Blake is held.

Among those who spoke at the event were the poet, singer-songwriter, priest, and academic Malcolm Guite, who argued forcefully for the church to recognise Blake as a prophet who spoke to the nation’s deepest spiritual concerns, the poet and convener of the William Blake Congregation (and former contributor to Sniffin’ Glue) Stephen Micalef, Lucy Winkett, the rector of St James in Piccadilly, the church where Blake was baptised, and comedian Will Franken, who gave a rousing speech intended to shake the attentive crowd from their slumbers in true Blakean style. The star turn, however, was provided by Bruce Dickinson, who demonstrated that his love of Blake ran much deeper than his 1998 album The Chemical Wedding, offering a vision of how the spirit of the Romantic had touched and transformed his own music. Like most speakers there, when standing before the mortal (or, as Blake would have it, vegetable) remains of the artist, Dickinson refused to accept that he was anything other than very much alive, declaring him “one of the greatest living English poets”. For anyone else, this would have been a mistake, but not for the man who once wrote of himself: “William Blake, one who is very much delighted with being in good Company. Born 28 Nov’ 1757 in London and has died several times since.” Philip Pullman, who had also intended to speak to the assembly, had unfortunately been taken ill the previous night in Edinburgh.

Musical accompaniment was provided by the band Blake, who sang their namesake’s most famous hymn, “Jerusalem”, while a new composition came from Chris Williams: drawing its inspiration from the lines carved on the gravestone – “I give you the end of a golden string; Only wind it into a ball, It will lead you in at Heaven’s gate, Built in Jerusalem’s wall” – the very beautiful piece of music was sung by Sansara, although Williams himself was not able to be there due to visa difficulties.

The end of the ceremony included people laying flowers beside the new stone, along with a further opportunity to pay respects through the placing of 191 candles to represent one of each of the years since Blake’s death. While other inhabitants such as Daniel Defoe and John Bunyan have been commemorated much more visibly at Bunhill than Blake, it is more than fitting that, as Gareth Sturdy has also remarked, his final resting place is now marked in a spot of green grass where children will be able to play in the summer.