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.

Blakefest 2018

With Bognor Regis gearing up for its annual Blake-inspired arts festival tomorrow, Blakefest director Rachel Searle shares just a few of the highlights. Blakefest has become a unique cultural experience by the sea, featuring international art, poetry, political discussion panels. As Rachel says, "in all honesty, it's very pleasingly different and eclectic in its approach, and perfectly mirrors the creative magpie approach, showcasing the whole spectrum of art forms."

The presence of William Blake as a resident in my hometown of Felpham has always been a catalyst for me wanting to create a cultural legacy in Bognor, that both honours him but also celebrates new art and contemporary visionary artists, as well as bringing in artists that embrace his rebel spirit and political resistance. We are really excited by the acts we’ve managed to secure this year and the breadth of the programming.

BlakeFest, part of the Big Blake Project, has its roots in Blake’s vision of Beulah, perhaps best understood as a window on earth into heaven itself: In Felpham, Blake penned “Heaven opens here on all sides her golden gates” and the words to Jerusalem. In the “spirit of Blake’s poetic genius”, BlakeFest is a synthesis of original music, poetry and audio-visual art and includes talks on issues of ‘the imagination’ and social justice. Our over-riding aim for BlakeFest is to be an agent of regeneration in Bognor Regis through the exploration and celebration of William Blake.

Before the main programme

While the main programme starts tomorrow, there is a question-time style panel debate tonight. Building Jerusalem is a public meeting, being held as part of BlakeFest 2018 at Chichester University, involving talks and a panel discussion exploring the relevance of William Blake’s poem/hymn Jerusalem, and wider philosophy, to the Israeli-Palestinian conflict and Britain’s potential role in finding a solution to it. The event is an inter-faith and truth-seeking initiative and there will be no promotion of ideological or religious views that favour one faction of humanity over others. 

Building Jerusalem was inspired by the community poem – ‘We’ll Do It’ – crafted by Stella Bahin during her time as BlakeFest’s Poet-in-Residence. For me,’We’ll Do It’ reveals the heartbeat of Blake’s Jerusalem in the people of Bognor Regis today. With Blake’s own visions of both Beulah and Jerusalem, the idea of an inclusive inter-faith panel discussion emerged. This was followed by a sobering trip to Jerusalem and the West Bank. The highlight of the trip was meeting Dareen Tatour who used her precious last hours of freedom to give us a tour of her beloved Nazereth.”

Blakefest: music, poetry and talks

Our daytime programme starts at midday on Saturday with local and national talent. And the South Downs Poetry Festival has converged with Blakefest this year, curated by local bard Barry Smith — placing jazz and poetry alongside each other, weaving in and out of the musical acts throughout the day.

In keeping with Blake’s anti-establishment spirit of personal freedom, the acclaimed 1970s pop icon Lene Lovich headlines in the evening, with second headliner the All Things Must Pass Orchestra; led by Alex Eberhart, this is a celebration of the music of visionary Beatle, George Harrison. 

Mikey B Georgeson has been a major mover and shaker with BlakeFest, in capacities ranging from musician, exhibition curator, speaker and generally inspiring those around him. This year, he brings his Silent Disco, an art installation called An Actual Occasion and then performing as Mr Solo: an eclectic range of original, very individual, material taking inspiration from Bowie, the Beatles and Blake. A riveting and highly eloquent performer, this promises to be another highlight of BlakeFest 2018.

Vincent Gray will be unveiling and available to discuss an exciting possible sculpture for Bognor Regis, Albion Rose. Vincent recently completed a Keats sculpture now permanently installed in Eastgate Square, in Chichester.

The evening event at the Alexandra Theatre is being opened by a talk on Blake and the 60s by the accessible and scholarly Tobias Churton. The internationally-recognised and respected Churton, a very erudite orator, will be shedding light on Blake’s enduring contribution to our culture, focusing on the resurgence of his popular influence through the 1960s which still resonates across the arts, philosophically and spiritually.

Jamie Leeming will headline an afternoon set of live music sessions. He’ll also be accompanying the Southdown Festival Poets, culminating in Sasha Dugdale’s vocalising of Catherine Blake. Joy: Poetry & Jazz features Sasha Dugdale, Niall McDevitt, Naomi Foyle, Barry Smith and Jamie. The genre-crossing compositions of Jamie Leeming — with strong roots in the jazz tradition, but with folk-influenced imagery and textures  — meet the Blake-inspired words of South Downs poets!

Ciaran O’Driscoll and Margaret Farrelly with John Davies (aka Shedman) can be trusted to bring their lyrical Celtic music and humour to the afternoon. Probably the biggest contemporary name in Irish literature, Ciaran has won several awards and formally recognised by the Irish Arts Council as making an outstanding contribution to art and literature.

Alongside the wonderful musical lineup, free Silent Disco and performance poetry, there will be a graffiti art exhibition and bitesize talks on: Graffiti, Ginsberg and Blake; Blake and the Divided Brain; Female Revolutionary Figures

There is also an event in William and Catherine Blakes’ Cottage on Sunday and a guided walk.

Bognor Regis is a town poised at the brink of regeneration following similar projects in Margate, Hastings and Liverpool, with proposals including a major ‘William Blake Theatre’ — channelling local culture and arts to enrich their current heritage and touristic allure.


Notes

BlakeFest 2018 is taking place over the weekend 14th-16th September with the main focus being the all-day Live Music Festival on Saturday 15th at The Regis Centre/Alexandra Theatre from noon onwards. The Fringe Events on Friday and Sunday have limited numbers and payable separately.

The event is sponsored by Chichester University & Chichester Observer

You can find more information and booking details at the Blakefest website. This video shows events from last year’s festival.

 

Divine Madness

We're excited to welcome another new voice to Finding Blake. James Fox shares the story of his accidental discovery of William Blake and, through his works, the key to a treasure that is a vision of the future - of humanity at home in the world.


It all began for me with one of those accidental discoveries made whilst randomly browsing in a second-hand bookshop in Glastonbury. Not looking for any special subject in particular – and Blake was certainly not on my mind – I somewhat apathetically pulled out a book simply entitled William Blake. It was written by John Middleton Murry, the prolific author of more than sixty books and editor of the Adelphi magazine. He was married to Katherine Mansfield and was part of a scene that included the likes of D. H. Lawrence, T. S. Eliot and Aldous Huxley, the latter portraying him as Denis Burlap in Point Counter Point.

Like Nietzsche’s discovery of Schopenhauer in a bookshop in Leipzig, opening the covers of William Blake was like parting the Doors of Aurora. As I read the opening sentences, then the first page, a spiritual sun began to glow inside me. Almost immediately I sensed the presence of treasure, or at least the key to treasure, of something I knew not what that I’d been searching for, explicitly for the last ten years (and which had taken me to some troubled regions), maybe my whole life. Ironically, or perhaps not so, it was in those troubled regions that the Countenance Divine had shone forth for me in a green and pleasant grove on the edge of Dartmoor. But that experience had evaporated like a mirage, the treasure locked away as a mere memory. But I quickly saw in those opening pages of William Blake that Middleton Murry himself had experienced the Countenance Divine; and when I later began reading the book properly was satisfied that it was this, what he terms ‘spiritual sensation’, and all its psychological and philosophical aspects and ramifications, that is at the core of Blake’s work.

Urizen the emissary becomes master

With Middleton Murry’s book behind me I read an edition of Blake’s complete illuminated books and from previously being bemused on account of being unable to make any sense of Blake’s writings I now found myself in a series of excursions into worlds and landscapes in which difficult and elusive existential concerns and psychological forces and states were brought into plain sight by means of the theatre of poetry and imagery. I encountered Urizen – a menacing presence, yet also a sad one. He is our rational faculty; but when he is wrongly placed in our psyche, when he ceases to be an instrument of our creative, active forces and, in Iain McGilchrist’s words, ceases to be emissary and assumes the role of master, then he tries to direct our lives through knowledge of the ‘best way to live’. This ‘ethical’ knowledge of right and wrong action either originates in some omniscient source (God the Father) or has to be worked out by the human intellect. Being a philosopher trained in the Western tradition, and not subscribing to the notion of God the Father, I set out to know, in some form or another, the incontrovertible nature of the universe, myself and their relationship – that I might obtain this knowledge of right living.

It has been said that (Western) philosophy, ultimately, is asking the question: how should we live? Fortunately most philosophers don’t apply this to their own lives, preferring to confine it to the study or the classroom. I, on the other hand, like a madman, threw myself into reading whatever philosophy, religion or science I thought might deliver me of that ‘incontrovertible’ knowledge of how to live (for the best). Coming as this did on the back of a recently completed PhD on the history of philosophy, it is no wonder that I found myself under mental strain and began to suffer from insomnia – although the cause of this was not apparent to me at the time. Finding myself awake in the middle of the night, agitated, my mind whirring, but impelled by some subterranean imperative (to know the All), apprehensive of the tiredness that would plague the day to come – I realised that I had a problem. And the way you solve problems is by the intellect, by thinking things through. And so the knot of threads that was my mental state was pulled yet tighter.

Months passed before moments of realisation came, and went, that the root of my problem lay in obsessive thinking. When this realisation possessed me, the urge to think abated, and the world became a calm and present place. But, like one possessed of a demon, sooner or later the imperative ‘to know’, like a flywheel that can’t shed its momentum, would hijack my mental life-energy until once more I found myself in the same dark cave, wide awake, pulling on that tangled knot.

But one day I found William Blake in the cave beside me when, reading Milton, I heard him say:

To cast off the idiot Questioner, who is always questioning
But never capable of answering, who sits with a sly grin
Silent plotting when, like a thief in a cave.

When reading There Is No Natural Religion I heard:

More! More! Is the cry of a mistaken soul; less than All cannot satisfy Man.
If any could desire what he is incapable of possessing, despair must be his eternal lot.

In Jerusalem I came across the tyrannical monster of Urizen poised over the spontaneous creative life force of Los:

Spectre over Los, Plate 6 Jerusalem: The Emanation of the Giant Albion by William Blake Copy E
Source: The William Blake Archive via Wikimedia

And I saw in that monster the nature of my own obsessive thinking.
But in The Book of Urizen I came across this mental tyrant in a different guise:

The First Book of Urizen, Plate 12 (Bentley 22), William Blake
Source: Yale Center for British Art Paul Mellon Collection

Here was a tormented creature, eyes closed, wrists and ankles shackled, imprisoned in a world of his own in-turned psychical nature – and I saw myself in this creature. And my anger towards him melted into sadness: he had never intended to unleash this misery and despair; he had not set out to be a tyrant and suppressor of the joy, meaningfulness and vitality of life. If it had not been for his emergence into our psyche during the last Ice Age we would not be here today. Yet, something had obviously gone wrong. And this was something to do with the magnitude of the psychical energy that this Urizenic rational faculty had drawn upon and bloated itself with, and which had resulted in an excessive preoccupation with shadowy abstract materials and a shutting out of the direct sensing of the presence of the world. Thus:

He who sees the Infinite in all things, sees God.
He who sees the Ratio only, sees himself only.

Los at home in the world

I recall awakening in the middle of the night in a flat in Kentish town, whilst in London to attend a meeting of the Blake Society. The final image of Jerusalem appeared before me as the visually realised solution to the problem of Urizen:

Two forms of Los with Enitharmon, Plate 100 of Jerusalem, William Blake
Source: The William Blake Archive via Wikimedia

Los stands with a hammer in one hand and dividers in the other. The hammer is the creative spontaneous life force of the Imagination; the dividers are the measuring, partitioning rational faculty indispensable for day-to-day life. But now, the two are in harmony: now, the ratio is the instrument of art and imagination. Los is at home in the world, at one with its divine presence that shines forth in its elemental modes: solid land, trees; the flowing river, the Moon; the fiery Sun; the translucent air through which the stars and the universe are seen.

I had been trained in the Western philosophical tradition before my interests turned to mystical doctrines, which I then studied at the theoretical and practical level for some years. However, I had not been able to concert all that I had imbued or tried out into any kind of satisfying and productive outlet. Though not claiming to have read exhaustively in the world’s mystical treatises, I have found in Blake’s work the most profound account of mystical experience – an experience we are told is ineffable – and a philosophy that treats of and makes sense of most of the ‘major questions’ concerning the human condition: issues which academic philosophers continue to churn over as they have for more than two thousand years, often in a rationally pompous yet bloodless and boring fashion. Blake, on the other hand, can say in a few lines of poetry, and say it better, what most academic philosophers cannot say in a book.

On the mystical:

To see a world in a Grain of Sand
And a Heaven in a Wild flower.

On the ontological:

That an Eternal life awaits the worms of sixty winters
In an allegorical abode where existence hath never come.

On the epistemological:

If it were not for the Poetic or Prophetic character, the Philosophic &
Experimental would soon be at the ratio of all things
& stand still, unable to do other than repeat the same dull round over again.

In poems such as The Chimney Sweeper Blake can also show us – and in affecting ways – the lived personal experience of those who suffer due to the absence of the spiritual in our day-to-day world.

Countenance Divine

For me, Blake is foremost a spiritual visionary; his poetic works and art are the means by which he shows us his vision. This vision is of a future in which we have awakened from our present human condition of being shut out from the sense of being at home in the world, and instead find ourselves in a state in which the world we live in day to day is experienced as suffused, more or less, with the Countenance Divine; in which we have ceased to experience ourselves as separate, finite beings, trembling and sick in fear of the annihilation we suppose is inevitable, and instead experience all things, creatures and human beings, the Earth and the heavens above, as suffused with divinity: as radiant, at one and timeless. And from this springs inevitably the sense of the preciousness and beauty of the planet upon which almost everything we know and experience and live for is located; a desire naturally wells up that instils in us a sense of care towards our precious environment, and a compassion towards all creatures and human beings.

We cannot return to the Stone Age, before Urizen became misplaced: we cannot remove from the world or our memory all that our excessive and misplaced ratio has brought about. But we can re-place him, and in so doing allow ourselves to wake up spiritually: to feel at home in the world once more; to open ourselves to the creative forces of the imagination which provide us with our purpose, joy and vitality; to feel at one with and hence to wish to care for our natural environment and other creatures; and to use Urizen, now as instrument, in the service of this new mode of being.

Finding Blake has spurred me to try to develop some sort of nature-based mystical philosophy and shaman-like practice for today that will help to bring about this kind of spiritual awakening and avert the increasing psychological, social and environmental damage that our misplaced Urizen is causing. A keystone in this endeavour would be Blake’s work. I’d be very interested to hear from anyone who shares this vision or is working in this area. May the spirit of Blake guide me! 


Notes

James Fox is a philosopher and former researcher at the Open University and is a co-author of A Historical Dictionary of Leibniz’s Philosophy (Scarecrow Press, 2006). He is now mostly interested in mystical texts, especially pantheistic nature-based doctrines and practices which he sees as key to transforming our conception of ourselves in relation to the world: a transformation that can lead to the spiritual experience of total at-homeness in (at one with) the natural environment and hence to the feeling of a reverence and duty of care towards that environment. Prior to pursuing philosophy, he held a position in a climate research department at the UK Meteorological Office.