A short piece on William Blake’s “To Spring” from Poetical Sketches.
The schedule has now been set and registration is open for William Blake’s Manuscripts: A One-Day Symposium. This symposium will be held at the Huntington Library on June 7th, 2013, and the list of Blake luminaries speaking include (in alphabetical order) Luisa Calé, Mark Crosby, Morris Eaves, Alexander Gourlay, Steve Hindle, Rachel Lee, Joseph Viscomi, Angus Whitehead, and John Windle. Attendance costs $31.50 and includes lunch, introductory remarks, two plenary sessions, two panels, and closing remarks by Mark Crosby (lunch is optional: conference registration alone is $15.00 and free for students). I would encourage anyone interested in Blake and able to travel to San Marino, California in June to take advantage of this opportunity.
Sarah Haggarty. 2010. Blake’s Gifts: Poetry and the Politics of Exchange. New York: Cambridge UP. $99.00. x+256 pp.
Sarah Haggarty’s engaging and original study, Blake’s Gifts: Poetry and the Politics of Exchange, examines the theme of the gift in William Blake’s poetry and personal letters. Blake’s notion of the gift is considered in five areas from which each chapter takes its title: economy, patronage, charity, inspiration, and salvation. Because relatively little Blake scholarship is focused upon this topic, she theorizes her study by comparing Blake’s notion of the gift to either Derrida’s The Gift of Death or Given Time: 1. Counterfeit Money, Marcel Mauss’s The Gift: The Form and Reasons for Exchange in Archaic Societies, and Bourdieu’s titles on practice and cultural production. Most often siding with Mauss contra Derrida, Haggarty affirms that Blake’s notion of the gift maintains the idea of the gift as freely given in dialectic with the gift as the inauguration and sign of a relationship, seeking to contextualize Blake’s works within “the transactions of the world those works exist in” (p. 12). “Politics” in Haggarty’s title may be therefore slightly misleading unless construed in a very broad sense: Blake’s notion of the gift, according to Haggarty, often serves the purpose of elevating his works and his relationship with his patrons and readers above economics and politics in their narrower senses, or transforming and redeeming politics and economics as they are normally practiced. Rather than emphasizing the language of price, debt, and experience in his notion of the gift, Haggarty argues, Blake preferred the language of “treasures, rewards, gold, talents, and riches” (p. 12), extending his readers‘ conception of economics beyond the acquisition of material wealth. Haggarty’s well-written monograph isolates one of Blake’s less-regarded golden threads and rolls it up into a substantial, complex study that sheds valuable light on a number of themes important to Blake scholarship.
by James Rovira
Michael Phillips’s beautiful and professionally-bound University of Chicago edition of The Marriage of Heaven and Hell appears to be a cover to cover facsimile of the Bodelian’s copy. I mean “cover to cover” quite literally: the image posted on Amazon and the publisher’s website is a full-color photographic reproduction of a nineteenth-century binding. Upon opening the book you will find a full-color reproduction of the inside cover. The next page — which is a blank page in the original — is again reproduced exactly — so that the cover shows wear marks, and front matter shows ink marks, book stamps, water stains, and all.
This edition, then, is an exact reproduction of Copy B of Blake’s Marriage from cover to cover, with the addition of Phillips’s extensive introduction, textual transcription, notes, commentary, a checklist of copies, and bibliography. There’s simply nothing quite like it; not even the edition published by the William Blake Trust for the Illuminated Books series. Owning this book is as close to owning an original copy of the Marriage as possible.
The William Blake Archive does reproduce Copy B of the Marriage with a textual transcription, so that you can preview the specific contents of the reproductions in Phillips’s edition there. This edition, however — being a full, cover to cover reproduction of the book owned by the Bodelian — includes some additional images that are not part of the same sequence of images available on the Blake archive website, though these are available elsewhere on the site. These additional images include reproductions from nine copies of what is Plate 14 in the Bodelian copy with alternate copies of a few other plates such as “A Song of Liberty” and one of the memorable fancies, in addition to a copy of “Our End is Come” preceding the text of Marriage. More details about Copy B are available on the William Blake Archive website.
Overall, this edition of Blake’s Marriage of Heaven and Hell is well worth the price and a good purchase even if you already own the William Blake Trust’s edition, both for its originality of presentation and for Phillips’s notes and commentary. This volume may represent the future for reproductions of Blake’s works: professional, full-color facsimile editions of each individual copy.