Blakespotting: News about William Blake, April 2018

Among new releases in April, the first part of the graphic novel series, Her Infernal Descent, appeared. Written by Lonnie Nadler and Zac Thompson, with art by Kyle Charles, it offers an update on Dante’s journey through the underworld as a woman is taken in search of her family with William Blake as her guide. I reviewed the first issue and the next installment is due in May. Another major event was the premiere of Daniel Kidane’s Songs of Illumination at the Leeds Lieder festival on April 22, and again you can read the review of that performance on Zoamorphosis.com.

The end of the month saw the publication of Blake’s A Descriptive Catalogue on the Blake Archive. Printed in a small run, the Catalogue was written to accompany his one-man show of 1809-10 and the one review, by Robert Hunt, branded the exhibition the work of a lunatic. You can read about the history of the Catalogue on the Blake Archive blog and view the work itself under Manuscripts and Typographic Works on the Archive.

Sadder news was the death of Alice Provensen, at the age of 99, on 23 April. 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. During the period that she worked with Martin they produced illustrations for a number of children’s books, including the wonderful A Visit to William Blake’s Inn by Nancy Willard. She is survived by her daughter, Karen, and you can read her obituary at The New York Times.

In other news, the Glasgow International this year included Mark Leckey’s Nobodaddy, described by The Guardian correctly, I think, as a “deeply troubled figure” and obviously based on Blake’s character of the same name. Meanwhile, a show by Alec Lewis at Tenby Art Gallery, West Wales, called The Painted Word demonstrates the influence of William Blake’s art and poetry – as well as that of Dylan Thomas and Leonard Cohen – and runs until June 10. At Union College in Schenectady, NY State, the exhibition “Blake@Union: From Print to Digital” is on display in the Lally Reading Room. Curated by Caitlin Williams, it shows the College’s collection of Blake works and will run throughout the summer.

A number of reviews of Jim Jarmusch’s 1995 film, Dead Man, started popping up – such as this one at Slant Magazine, due to the release of the film on Blu Ray. If you haven’t had chance to catch up with this classic, which is a great surreal western as well as an homage to William Blake, then now is your chance. There was also some musical news with a new album, Hollow Ground, by the group Cut Worm (named after Blake’s proverb, “The cut worm forgives the plough”), although the other event was another death, this time of Bob Dorough, who wrote “Conjunction Junction” and worked with Allen Ginsberg on that poet’s album of Blake songs set to music.

And finally, Blake provided another pop culture reference in the form of HBO’s new season for Westworld, its dystopian vision of a future world of slavery and violence. In a reddit Ask Me Anything, director Jonathan Nolan cited a line from Auguries of Innocence, “A Robin Red breast in a Cage Puts all Heaven in a Rage”. As Cindy Davis remarked in a review of the new season, “if that doesn’t say it all, I don’t know what would.”

Blakespotting: News about William Blake, March 2018

March ended with something of a bang in terms of Blakespotting, with the public unveiling of the new arrangement of Team England’s theme for the Gold Coast 2018 Commonwealth Games. Recorded by Tokio Myers, the current champion of Britain’s Got Talent, and The Voice star and Commonwealth silver medallist, Jazmin Sawyers, their new version of Parry’s “Jerusalem” attracted a huge amount of attention during the month. As well as having a remarkable voice, Sawyers (who won silver in the Glasgow 2014 games) also attended the 2018 events to participate in the long jump. Team England announced the version mid March, and the British newspapers carried a fairly typical series of stories, with plenty of explanations as to why the song is performed instead of “God Save the Queen” and, my personal favourite, The Sun explaining why “This is… the right anthem for England“. If you haven’t heard it already, the link to the new version appears below.

The exhibition at Petworth House, William Blake in Sussex, continued to attract attention in March. There is a straightforward notice in The Argus and I shall note my own review of the exhibition and catalogue. The highest recommendation, however, is for an extremely thoughtful review by Esther Chadwick is available at Apollo Magazine, in which Chadwick also notes how Blake “was drawn to the patron of [his] strange work”, A Vision of the Last Judgement. Certainly the National Trust attracted a great deal of attention for the event, with it being sold out on the day that we attended and showing off Blake to his best effects.

In other news, Eric G. Wilson, a professor at Wake Forest University, published a collection of stories, Polaris Ghost, which offers the intriguing claim to connect “the dots between William Blake and David Lynch”. It’s available on sale now and in the near(ish) there will be a review on Zoamorphosis, along with another book published in January but only recently available in the UK, Jeremy Limn’s The Auguries of Lost Lilacs. The Scoundrel & Scamp stage in Tucson, Arizona, also saw a performance of Mickle Maher’s 2011 comedy, There is a Happiness that Morning Is, in which two lovers and academics give their views of life as based on the work of William Blake. Kathleen Allen of the Arizona Daily Star called it a “stellar production.”

In music, Englabörn & Variations by the Icelandic composer Jóhann Jóhannsson, was released on 23 March and includes a version of the poem “Holy Thursday” on its second disc. Jóhannsson was famous for his film work, having composed the score for The Theory of Everything as well as a number of movies by Denis Villeneuve and had tragically died, aged 48, in February. Englabörn had originally been recorded in 2002 as his first solo album, and so the re-release with additional material (including the Blake track) was the first record to be issued after his death. “Holy Thursday” is particularly beautiful and makes his sudden death even more poignant. You can listen to it at Spotify.

The end of the month also saw the announcement of a new exhibition to open in April at the Hyde Collection in Glen Falls, New York State, featuring a local artist, Rockwell Kent. Kent is not an artist I have been familiar with, but apparently studied Blake alongside Nietzsche and his politics and private mores “scandalized family, friends and adversaries” according to a preview in The Post Star. While his work has passed me by so far, one image that has been used to publicise the exhibition – Flame – is so clearly Blakean in its inspiration that my own curiosity has been stimulated to explore his works more fully. The show, the first comprehensive one since 1974 after his death in 1971, opens on Sunday 8 April and runs until July 22.