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The Process of the Gravestone

Finding Blake's James Murray-White says "It has been a wonderful journey so far to be closely involved with the production of this new gravestone honouring William Blake, and it is only part way through! From visiting the stoneyard in January with Lida and Hallam to choose the huge piece of Portland stone that the slab would be cut from, to recently seeing it cut, cleaned, bevelled - and now upright in the studio with the letters drawn and the cutting underway - is an intricate, intimate knowledge of a process. I’m filming it, and I hope I can also convey the pleasure I’m having in visiting once a week or so, talking and listening through each stage, and recording it, and making short clips to illustrate it."

Triptych of images taken by James Murray-White while filming Lida cut more of Blake’s new gravestone at her Cambridge workshop: May 2018

I thought here I’d set out the process in its entirety, as explained by Lida:

  1. The gravestone is cut and cleaned at the stone yard, and then delivered to the Kindersley Workshop
  2. The stone is bevelled. This process takes a week, entirely done by hand
  3. The stone is put upright over the special area of the workshop designed for such large projects, with a hole in the floor to give full access.
  4. Freehand drawing of the letters upon the gravestone.
  5. Spellcheck: members of the Blake Society committee visit to check and approve spelling and design.
  6. Cutting begins.
  7. Washing the gravestone after letters drawn: final painting, staining, building completed.
  8. Preparation of the ground at Bunhill Fields: paving blocks, stone setting, landscaping etc.
  9. The ceremony! August 12th, 2018. The Blake Society are planning a beautiful ceremony with readings and a choir. Further details will appear here and on the Blake Society website nearer the time.

And Finding Blake will be there to make a special short film of the event. In the meantime, snapshots of the creation of the gravestone and of Finding Blake activities continue to be added to the project timeline in Our Story Continues.

We will midway through the process sit down and do a more formal interview about how she came to be commissioned, and her reflections on Blake, on letter-cutting, and the specifics of this stone, with much philosophy in-between, and I look forward to filming, editing, and sharing that.

An additional process to the creation of the stone was carried out by Lida and Hallam on behalf of the Blake Society: cutting chips of the surrounding discarded stone, to be given as mementoes to all who donate an amount to cover the cost of commissioning the stone and having it set. You can find out more about that on the Blake Society website.

The Human Abstract

We continue our special series of exclusive readings of some of Blake's poems. Like the others, this video of actor Matt Ray Brown reading The Human Abstract -- filmed by Finding Blake's Jonnie Howard -- was recorded in William and Catherine Blake's South Molton Street home in London.

The Human Abstract

 Pity would be no more,
 If we did not make somebody Poor:
 And Mercy no more could be,
 If all were as happy as we;

 And mutual fear brings peace;
 Till the selfish loves increase.
 Then Cruelty knits a snare,
 And spreads his baits with care.

 He sits down with holy fears,
 And waters the ground with tears:
 Then Humility takes its root
 Underneath his foot.

 Soon spreads the dismal shade
 Of Mystery over his head;
 And the Catterpillar and Fly,
 Feed on the Mystery.

 And it bears the fruit of Deceit,
 Ruddy and sweet to eat;
 And the Raven his nest has made
 In its thickest shade.

 The Gods of the earth and sea
 Sought thro' Nature to find this Tree
 But their search was all in vain:
 There grows one in the Human Brain


Finding Blake team member Linda Richardson says of this poem: “The Human Abstract ricochets between dualisms — pity and poverty, mercy and sadness, fear and peace, cruelty and care — and examines how the seed of dualistic cause and effect takes root in the mind, causing the flourishing of a deceitful tree deep within our brain. Grounded in Biblical vision and the natural elements, Blake’s poetry always sips in this ground, delighting and appalling our senses but having the capacity to illuminate corners of our mind and wake us up to our condition if only we have the ears to hear.”


Notes

Matt Ray Brown reads eight Blake poems for Finding Blake and appeared in the original film for our Crowdfunder video. You can find all Finding Blake videos, as they are posted, on the Finding Blake Films at a Glance page in our Blakean Archive section. You can explore Matt’s work as an actor, including his showreel at Mandy.com, ‘the world’s largest creative community of actors, film and TV crew, theatre professionals, child actors, voiceover artists, dancers, singers, musicians, models and extras.’

My Streets Are My, Ideas of Imagination

Niall McDevitt is a walking artist who specialises in the revolutionary poets of London, particularly Blake, Rimbaud, Shakespeare and Yeats. Who better, then, for Finding Blake to ask to share a post with us on finding William Blake on the streets? 

If Blake was telling the truth when he said ‘My Streets are My, Ideas of Imagination’, then we should look for William Blake in the streets.

As well as the great writings and the magical paintings, there is an infinity of Blake sites in London, Britain and the wider cosmos. 

The first site I encountered was his baptismal font. I’d had the honour of having an early poem included in a display by London Buses. Friends of the Earth organised it and Roger McGough chose the poems. Off-Duty was my first mature poem (though I’ve written many immature ones since.) It was displayed on routes 38 and 73 for a year. Apparently there were 7 million passenger journeys in that period so I could lay claim to a vast readership. At the end of the year we were given laminated editions of our poems and went on a mystery tour by bus. 

The destination turned out to be St James’ Church, Piccadilly. The church is a Wren masterpiece and the marble baptismal font by Grinling Gibbons is a masterpiece within a masterpiece. Blake was baptised there on December 11th, 1757. It was probably the first occasion on which he saw images of Adam and Eve. 

The busload of poets were invited to read their poems in turn by the font. As well as mine, I sang an acapella version of Blake’s London

After that experience I was hooked on Blake and Blake sites. London was transformed. It was as if I had been baptised again and had a new guardian angel. Not bad for a lapsed Catholic. 

William Blake in ‘The Spirit of Soho Mural’, squeezed in between John Logie Baird and William Hazlitt.
Photograph: Max Reeves © 2018

Since then I’ve gone on to develop a series of William Blake walks as well as many other poetry-related walks. ‘The William Blake Walk’ became well known, was written about by the author Nigel Richardson, and ended up included in an article on The Great British Walks. In the year of Blake’s 250th anniversary, I went round the route with a BBC sound technician. They didn’t tell me exactly what they had in mind. 

On November 27th – the day before Blake’s birthday – The Poet of Albion was broadcast, featuring such luminaries as Iain Sinclair, Peter Ackroyd, and Tom Paulin. The show was presented by Jenny Uglow and interspersed with chunks from my walk, booming from the very streets Blake had lived, studied, worked and died in. There was perhaps only one drawback about The Poet of Albion: a preposterously jolly tribute to the hymn Jerusalem by none other than Boris Johnson, whom I think of as a kind of Urizen in nappies. 

Jeremy Reed with Helen Moore and Niall McDevitt performing at the site of Blake’s birth, William Blake House.
Photograph: Max Reeves © 2018

Other walks I have invented are The William Blake / Wat Tyler Walk which commences where Blake died and finishes at his burial place. En route, it takes in the Peasants’ Revolt of 1381 and the Gordon Riots of 1780. The latter was the major London insurgency of Blake’s lifetime, and he was an eyewitness to its defining moment, the burning of Newgate Prison, which was like a ‘storming of the Bastille’ nine years in advance. 

Looking south, I have developed another exploration which fuses two areas and two poets. The Rimbaud Blake Waterloo Lambeth Walk tells the stories of French poet Arthur Rimbaud living in Stamford Road in 1874, and of Blake’s decade in Hercules Road from 1790-1800. The big question is: could Rimbaud have known of Blake, or seen a Blake illuminated book, or even read Blake? The Marriage of Heaven and Hell by Blake and A Season in Hell by Rimbaud are two of the greatest prose poems in the western tradition. 

A monument to Blake’s friend John Flaxman on the site of Flaxman’s house where Blake attended lectures by the philosopher Thomas Taylor.
Photograph: Max Reeves © 2018

After a West End walk, an East End walk, and a southern peregrination, the last of the four directions is north. I am currently researching a walk ‘From Tyburn to Primrose Hill’, as well as a Hampstead walk specially commissioned by The Idler

One of the sites I am looking for is the site of The Jew’s Harp Tavern, cited in the prophetic book Jerusalem. Its footprint is probably in Regents Park, above Portland Place. It might be near the bottom of the Broad Walk, or on the Redhill Street of today. Did Blake have a glass of porter there? All I know is, it will be hard work finding the exact spot, but no pub will be there to quench my thirst. 

Niall McDevitt in Bunhill Fields.
Photograph: Max Reeves © 2018

Notes

Niall McDevitt is the author of three critically acclaimed collections of poetry, b/w (Waterloo Press, 2010), Porterloo (International Times, 2013) and Firing Slits: Jerusalem Colportage (New River Press, 2016). He is a walking artist who specialises in the revolutionary poets of London, particularly Blake, Rimbaud, Shakespeare and Yeats. He blogs at poetopography.wordpress.com

You can find a 2009 piece that Niall wrote for BBC London on William Blake as Urban Shaman and Psychogeographer in the Blakean articles page of our Blakean Archive. And you will find details of the various literary walks — including the Blake Walks — that Niall leads, at the New River Press site.

The line ‘My streets are my, Ideas of Imagination’ comes from Jerusalem: the Emanation of the Giant Albion — one of Blake’s prophetic book, which “tells the story of the fall of Albion, Blake’s embodiment of man, Britain or the western world as a whole. The poetic narrative takes the form of a ‘drama of the psyche, couched in the dense symbolism of Blake’s self-constructed mythology.” (Wikipedia)

I behold London; a Human awful wonder of God!
He says: Return, Albion, return! I give myself for thee: 
My Streets are my, Ideas of Imagination.
Awake Albion, awake! and let us awake up together.
My Houses are Thoughts: my Inhabitants; Affections,
The children of my thoughts...