Finding Blake, Looking Back and Forwards

Six months on from our website’s launch, Finding Blake creator and driving force, filmmaker James Murray-White offers this update on work to date and to come, focusing on those elements which will form part of the full Finding Blake film next year.

 


I wanted to update all our many readers and subscribers with what’s going on with Finding Blake, particularly since the great ceremony in August to unveil the new gravestone at William Blake’s burial site, which had been a big event to focus on. It was such an experience to be there on the day, with so many Finding Blake supporters and other Blake devotees!

The Lark, watercolour over traces of black chalk
Artist: William Blake
Source: The Morgan Library & Museum www.themorgan.org

I’m now wading through the many wonderful hours of footage I have. You can see many of the clips at the Finding Blake films at a glance page in our Bleakean Archive. Some of the highlights for me include: 

Finding Blake, documenting his new memorial

I have great memories — caught on film — of visiting Jordan’s Mine to see where the stone was cut; accompanying master letter-cutter Lida Kindersley as she chose the stone; being with her in her workshop for much of the process, as she bevelled the stone, then drew the letters for the inscription — and then the lovely long, slow process of the letters being cut. Amongst all that, there is an interview with Lida about Blake, talking from the heart as she cuts the letters that would soon mark his final resting place!

Leading wonderful interviews

Finding Blake has brought us opportunities to meet and talk with so many fascinating people with a shared passion for Blake:

  • Poet David Whyte, giving it to us from his heart in the depths of the Ashmolean Museum in Oxford (a special day that really felt like we had Blake on our shoulders!);
  • Psychotherapist Carol Leader, talking to us from her consulting room in London;
  • Writer and priest Malcolm Guite, in his study at Girton College, Cambridge;
  • Rapper Testament, delivering his powerful reflections on Blake’s influence on him, speaking on the streets outside a London theatre;
  • Blake Society chair Tim Heath, talking about his passion for Blake in Blake’s only surviving rooms in London

Participating in Blakean events

We’ve filmed at a number of talks by leading experts in different fields, including:

  • Carol Leader’s stimulating lecture in Oxford on Satanic Error – the value of William Blake’s mythology for clinical practice and everyday life;
  • William Blake, Biblical Prophecy and Jesus, a pair of talks in a Cambridge church by Reverend Malcolm Guite and Reverend Christopher Rowland, both vicars with an interest in exploring Blake from religious perspectives;
  • the Unveiling Ceremony itself, with all the wonderful speeches, candle-lighting, and personal responses, including an as yet unidentified African song, by the grave!

Creating original performances

William Blake’s creative vision speaks to many people and appeals to the genius of other creative practitioners and performers. We’ve been very fortunate in the generosity of talented actors in offering their interpretations of the man’s poems on film. 

  • Finding Blake invited actor Matt Ray Brown to read several of William Blake’s poems on location in Blake’s rooms at South Molton Street, London, including Jerusalem, The Tyger, and The Little Black Boy;
  • During our interview with David Whyte at the Ashmolean in Oxford, David delivered his reading of The Garden of Love.

Bringing personal projects into harmony with Blake

During the cutting of Blake’s new gravestone, Lida and I agreed a barter: she would make a memorial stone for my lovely mum’s ashes, and I would film it. What a wonderful trade! I’m editing that project now, whittling down many hours of beautiful conversation and cutting, as well as the sounds of the workshop, and silence too. Naturally, the conversations flowed between Blake and many aspects of creativity: including Lida talking about her late husband David, the master of letters and steeped in the craft’s heritage from Eric Gill and beyond. It’s a lineage that is so present within the workshop today, in the work of Lida and her two sons Vince and Hallam, and expert cutter Fiona (who completed mum’s memorial stone), plus a range of apprentices — and former apprentices who come in to help on other jobs as and when.

So I wanted to share with you here two outtakes from that other project (which might possibly be used in the Finding Blake film but, if not, can happily rest here on our project page) which give another flavour of the creative work:

‘Reaching the golden vein’ outtake 1 from James Murray-White on Vimeo.

‘Bank it up’ outtake 2 from James Murray-White on Vimeo.

Next steps for Finding Blake

So I’m working through all this material, and more, making notes and beginning the edit. And I’m now thinking hard about the third option within the film: either dramatic recreations of some of Blake’s art, or an element of animation, or projection. Possibly a combination of all three!

I’ve always felt passionate that we could bring Blake’s images to life on-screen, in addition to the spoken words and other elements. This feeling has been particularly over the past year as I’ve stood in front of a Blake image, be it in the Fitzwilliam in Cambridge or Tate Britain in London, or at the magnificent show at Petworth House in Sussex; many of these images shine out and dazzle with their bright illumination and their sprite vision.

So, I’m in discussion with several folk on these ideas, and we are awaiting some responses to funding applications, and further discussions.

I have been talking with an institution about possible screenings of the finished film late next year, which I will announce hopefully when finalised. We have agreed to a showing of a rough-cut of the film, or pieces of the film, with The Blake Society, at Waterstone’s Piccadilly, in January. We’ll post about that nearer the time …

In the meantime, I’m back on the edit, and the numerous other projects that consume my days.

Linda Richardson has kindly donated her canvas of Tyger, which she painted with children at a primary school in her village (see her post here with the children’s Bleakean art too!) so that Finding Blake can auction this to fundraise for the project: more details to come soon. We thank Linda for that generous gift.

Imagination, Experience and the Limitations of Reason

Finding Blake is a project that explores the relevance of the work and life of William Blake to us, here and now. And what could be of greater relevance than the question of the balance between reason, experience and imagination in how we see ourselves, our world and its problems and promises? In this post, Kevin Fischer -- author of the book Converse in the Spirit: William Blake, Jacob Boehme & the Creative Spirit -- takes us to the heart of the matter.

Blake saw how reason can be limiting when it is too prominent, and too disconnected from our other vital faculties and capacities. As he wrote in Jerusalem, when “the Reasoning Power in Man [is] separated / From Imagination,” it encloses “itself as in steel, in a Ratio / Of the Things of Memory.”

In his recent and very important book on the workings of the left and right hemispheres of the brain, The Master and His Emissary, Iain McGilchrist casts light on this. Imagination is primarily at work in the right hemisphere, while rationalism has a tendency to dominate in the left. McGilchrist writes, “in almost every case, what is new must first be present in the right hemisphere, before it can come into focus to the left.” It “is only … the right hemisphere that is in direct contact with the embodied living world: the left hemisphere is by comparison a virtual, bloodless affair.”

The left hemisphere, McGilchrist goes on, “deals with what it [already] knows … This process eventually becomes so automatic that we do not so much experience the world as experience our representation of the world … a virtual world, a copy.” Ultimately, the mind can become “disconnected from everything that is outside it.”

Breaking out of the already known

As Blake saw, the ‘Reasoning Power’ is an “Abstract objecting power, that Negatives every thing”. He wrote of those who are isolated and alienated by it: “Beyond the bounds of their own self their senses cannot penetrate” and “He who sees the Infinite in all things sees God. He who sees the Ratio only, sees himself only.” For all its claims to be our primary means of gaining access to reality, this ‘Reasoning Power’ can therefore distance us from full, living knowledge and understanding; and the more it functions in isolation, in an enclosed ‘virtual’ world, the more it can slip into solipsism and fantasy.

Blake saw imagination as something profoundly different from fantasy. Contrary to common conception, this imagination is not about make-believe, the creation of the fantastical, nor is it wish-fulfilment. Blake regarded it as an essential part of life, a means of breaking out of the ‘dull round’ of the ‘ratio’ of abstract reason, of the already known, and through to that which is other than and beyond ourselves. It is a means of putting us more in touch with — and more into — the world, acting as a bridge between the experiencing individual and that which is experienced. It helps root us in living experience.

While imagination helps place us more fully in the world as it is, its relationship with that world is at the same time creative. Blake understood that true Art is a spiritual activity, a creative life that every individual should pursue: “The whole Business of Man Is The Arts & All Things Common” and “Christianity is Art.”

His vision is dynamic and imaginative, because reality is not fixed, finished, and unchanging, and thus capable of being fully and finally understood and explained. Rather, it is ongoing, evolving, ever-expanding. Blake thus stresses the need for each individual to encounter and interpret anew the truths that ‘reside in the human breast’. From the liberating possibilities of this understanding, Blake’s character Los asserts:

I must Create a System, or be enslav’d by another Mans
I will not Reason & Compare: my business is to Create

Jerusalem The Emanation of the Giant Albion, Plate 100
William Blake
Source: The Blake Archive

Accordingly, his work is created with a view to opening … 

the Eternal Worlds, to open the immortal Eyes Of Man inwards into the Worlds of Thought: into Eternity Ever expanding in the Bosom of God, the Human Imagination.

The eye of imagination not only looks outward, as it were, and so places us more firmly in the world around us, but also within. In many respects, Blake’s writings provide a profound insight into the workings of the human mind. That which is other than ourselves, beyond the ‘ratio’ of our reason, is also within us, and imagination is an important means of putting us in touch with it.

Reason and the exile

Vitally, Blake understood that there are profound capacities latent in each individual that for the most part remain unexplored and unrealised: immense possibilities that are naturally inherent within us, our birthright. He wrote that “Man is Born like a Garden ready Planted & Sown”, and “I always thought that the Human Mind was the most Prolific of All Things & Inexhaustible.”

The sublime riches of the inner life are

Shadowy to those who dwell not in them, meer possibilities:
But to those who enter into them they seem the only substances.

A great deal of Blake’s work is addressed to the ways in which human beings are shut off from awareness of all the potential that lies within them: “man has closed himself up, till he sees all things thro’ narrow chinks of his cavern.”

In The Book of Urizen, he writes of those who cannot “rise at will / In the infinite void,” but are “bound down / To earth by their narrowing perceptions.” In Europe, the faculties of such persons are “Turn’d outward, barr’d and petrify’d against the infinite.” Blake equates this exile with the Fall of Man. Disembodied rationalism is a major source of this loss: “the Reasoning Spectre / Stands between the Vegetable Man & his Immortal Imagination.” The Spectre is “a false Body: an Incrustation over my Immortal/Spirit; a Selfhood.”

The Book of Urizen, copy G
William Blake
Source: The William Blake Archive

Ultimate authority resides in the infinite potential within the individual, for 

in your own Bosom you bear your Heaven And Earth, & all you behold, tho it appears Without it is Within In your Imagination of which this World of Mortality is but a Shadow.

Blake sought to awaken the mind from its usual, often habitual modes of understanding and perception, to a real and living awareness of the limited terms in which life can too often be lived. One such limitation is the assumption that we simply see things as they are, that our eye faithfully and fully sees what is there in the world, when in fact reality as we understand it is filtered through us. Again, Blake believed that life is not given and fixed. Man is not merely a tabula rasa on which reality writes itself. As he stated, “As a man is So he Sees.” When cut off too much from our imagination and the profound possibilities within us, the world that is seen and experienced shrinks:

If Perceptive Organs vary: Objects of Perception seem to vary:
If the Perceptive Organs close: their Objects seems to close also.

With this, reductionism is born, “comprehending great, as very small.” Exiled from the best part of his inner nature, man shrinks accordingly. Blake repeatedly writes of his characters, “they became what they beheld.”

Cleansing the imagination

Conversely, when the imagination is properly at work in the outer and inner worlds, both come more to life. To put this in another way, through imagination we experience more; and what we experience — and so understand — grows, expands. This true, imaginative life looks out at the end of A Vision of the Last Judgment:

I question not my Corporeal or Vegetative Eye any more than I would Question a Window concerning a Sight … I look thro it & not with it.

The inner, spiritual self looks out and sees through the outer. When this imaginative eye is engaged with the world, that which has been drained of life by habit and over-familiarity, by the ‘ratio’, the ‘dull round’ of what we already know, is seen and experienced anew, as if for the very first time:

If the doors of perception were cleansed every thing would appear as it is: infinite.

Through imagination we experience a far greater sense of the full reality of existence — that is, we truly see, feel and know how astonishing, how utterly extraordinary it is to be alive in the world. And as the outward world is not shut off from the imaginative and creative life of the inward, the reality of the world comes more to life. As “every thing that lives is Holy”, the outward world reflects back the life of the spirit.

The Marriage of Heaven and Hell, Copy H, Plate 14
William Blake

In Blake’s poem Europe, a Fairy evokes this living interplay. The narrator asks, “What is the material world, and is it dead?” Having sung of “the eternal world that ever groweth”, the Fairy promises “I’ll … shew you all alive / The world, when every particle of dust breathes forth its joy.”

The same vision is expressed in Auguries of Innocence:

To see a World in a Grain of Sand And a Heaven in a Wild Flower Hold Infinity in the palm of your hand And Eternity in an hour.

Imagination creates the bridge between — and makes possible awareness of the inter-relationship between — the human and the divine. Blake wrote that “God only Acts & Is, in existing beings or Men.” As the figure of the Saviour says at the beginning of Jerusalem:

I am in you and you in me, mutual in love divine … I am not a God afar off, I am a brother and friend; Within your bosoms I reside, and you reside in me: Lo! We are One.

In particular, imagination is vital because it helps put us in touch with that which is other than ourselves, in the outside world, not least other people. Empathic, it connects us with other human beings. It is that in which, as Blake perceived, ‘All/Human Forms’ are ‘identified’:

He who would see the Divinity must see him in his Children One first, in friendship & love; then a Divine Family, & in the midst Jesus will appear.

When reason is too shut off from all of the other human faculties and capacities, it can abstract us from our humanity. As Blake puts it, in “Attempting to be more than Man We become less.” Compassion, for instance, has to be experienced, felt, lived, with an imaginative connection with others. Without it, morality becomes theoretical, legalistic, oppressive and, too often, hypocritical. Embodied imagination humanises us, and places us very much in the world as human beings. And when this happens, true Reason can function.

Exploring our potential through imagination, Blake both encourages and urges us to make new discoveries and to create new forms for the life of the spirit. Reality is inexhaustible, and, when imaginatively engaged with, continually reveals new possibilities: there is “no Limit of Expansion … no Limit of Translucence.”


Notes

Kevin Fischer is the author of Converse in the Spirit: William Blake, Jacob Boehme, and the Creative Spirit (Fairleigh Dickinson University Press, 2004). He is working on a novel about a visionary artist, which takes as its theme spiritual exile and homecoming. This post is based on the lecture William Blake & Jacob Boehme: Imagination, Experience & the Limitations of Reason, which was given at the Temenos Academy, and is published in the Temenos Academy Review 20 (2017). The full paper can be found here.

Iain McGilchrist’s The Master and His Emissary was published by Yale University Press in 2009. You can download the introduction to the book, and discover much more, at Iain McGilchrist’s website. And you can read a 2015 interview Iain McGilchrist gave at Interalia Magazine. 

Iain McGilchrist gave the 2016 Blake Society Lecture, The Infinite Brain and the Narrow Circle.

 

Strange Mystery Flower

Finding Blake welcomes songwriter and musician Roger Arias, whose Strange Mystery Flower adaptation of four of William Blake's poems featured in the Other Blakean Artefacts section of our Blakean Archive. Here, Roger describes how this musical project arose from his personal encounter with Blake's poems and from the journey these accompanied him on.

This is the story of the birth of a musical project, Strange Mystery Flower.

It all begins in Ferrol, a port city located in Galicia, on the northwest of Spain, some time in early 2014. One of the many musicians who live in this run-down and quaint city comes home after a night of partying and, after a small discussion with his girlfriend, he takes the first book he finds in his humble library and goes to his room. Needless to say, he was so wasted that his eyes closed before opening a miserable page. The next day, with the foreseeable hangover, he opens one eye and finds a small cover in front of his face that reads like this: William Blake: Songs of Innocence and Experience. He begins to flip through it and immediately perceives and senses something that connects him with those verses. Some melodies begin to play around in his head. Curiously, he does not remember having acquired that book and it does not belong to his girlfriend either; the explanation of how it got home, which for sure exists, is still a mystery today. The name of this musician is Roger Arias.

Travelling with a Blakean spirit

Returning to the subject in question, from that first encounter the book accompanies him everywhere and Roger becomes more and more familiar with the Blakean spirit. On those days, the first two songs arise, inspired by the poems Spring and Night. Already fully aware of the powerful connection he is feeling at a deep, almost spiritual level, he decides to shelve the book for another, more timely, occasion.

Strange Mystery Flower Cover design: Mario Feal © 2018

That time would be September 2014. Roger acquires a complete anthology of Blake’s poetry entitled See a world in a grain of sand and prepares a small suitcase with clothes. These two things, as well as a guitar, a sleeping bag, some other books and some records (among which were some compilations of acid folk that a good friend had recommended), are his only companions on a trip that he decides to make to the north of Italy.

From poetical to musical sketches

Once this trip starts, and after making several stops in the north of Spain (specifically in Asturias and the Basque Country, where he meets old friends and plays a few gigs that help him defray the cost of the trip), he arrives in a small village located in the Odesa National Park in the Pyrenees, a natural border between Spain and France. There he opens for the first time the recently acquired book by Blake. He finds, at the very beginning, Blake’s Poetical Sketches, which include a short poem entitled Song first by a shepherd, whose first and timely verse is “Welcome, stranger, to this place … “, and immediately a melody emerges as a ray of light to accompany these verses in the most appropriate environment, the high Pyrenean mountains. There also arose Miss Gittipin’s second song.

Song first by a shepherd

It is only the beginning. After several weeks, the protagonist of this story has musicalized twenty-four poems! As well as his first song in Italian, although this is another story… Most of the songs that emerge over the next few days do so in situations analogous to the content of the poem, as in the aforementioned Song first by a shepherd. For example, at a certain moment that Roger needs to rest from driving all day, he leaves the highway and arrives at a charming little town called Colle di Val d’Elsa. In a small park located on a hill in front of the village and the bell tower of its church, the musician sits on a bench to regain strength and watches how a lady takes care of a boy and a girl playing in the field and the swings. After a while, Roger opens the book and finds a poem titled Nurse’s song. The melody appears immediately.

On another occasion, wandering around inner Tuscany, he arrives at a town called Tarquinia, in the heart of Etruria. After having dinner in a tavern of the village, where he is talking for a while with the innkeeper (a nice man who even showed him the Etruscan tombs located in the basement of his bar) he goes to sleep in his car, as usual. After an hour of rest, loud noises awaken him; it seemed like the sky was falling on Tarquinia. It is one of the typical end-of-summer storms in Tuscany. At that moment he decides to spend the night in a tunnel near the town that he had glimpsed in his walk before dinner. In that tunnel, that night, Roger opens the book and a new song is born, The Little Vagabond.

Strange mystery flowering

In the same way, many more songs emerge from the inspired mind of this “little vagabond” throughout his journey through the transalpine country. Genoa, Modena, Siena, Florence, the Mediterranean coast, the Adriatic side, Foligno, Assisi and a few other places are some of the ones Roger visit and where many of these songs are created. It is a magical journey, in all senses, which emerges from a strong intuition and in which certain energies that surpass reason and understanding accompany and shield the musician along this adventure; or so he feels. At the end of it, he realises that he has a treasure worthy of being shared with his family, so when he gets home he locks himself up for a few days to register and record these songs with his guitar and voice. It would be nice enjoying them with his family and friends.

Roger Arias
Photograph: Oscar Millarengo © 2018

Shortly after, he decides to record four of them in a more complete and professional way with the help of his sister, Amparo Arias, as second voice of the project and the musician / arranger Raúl Diz, as well as other punctual collaborations, such as the cellist Macarena Montesinos or the bassist Íñigo Uzarmendi.

And that’s the way this EP of four songs was born, accompanied by the desire to be shared with the world thanks to this project, once dreamed by Roger, and in which Blake and other great poets of humanity will be sung. I do hope it has a long and intense journey ahead: Strange Mystery Flower


Notes

Roger Arias is a musician, singer, songwriter and independent producer from Galicia. But above all he is a lover of the nature and the sea, a researcher of the weaknesses of the heart, a portrayer of the society we live in, a passionate reader, an inveterate cinephile, an intrepid traveler, a unique bohemian… activities that have had a strong influence in his music and art through all his albums, videoclips and concerts. Recently he has published a joint album with the Madrid musician Charlie Mysterio, with the name of Os Peregrinos and published by Elefant Records. 

You can find four of Roger’s Blake-inspired songs for Strange Mystery Flower on YouTube and on Bandcamp

NB: This post originally contained a link to an article which we suggested was about Strange Flower Mystery, but as Roger himself quickly pointed out was referring to another band! See our Corrections page.