In her previous posts, Adriana Díaz Enciso recalled how finding Blake on a family shopping trip out of Mexico sparked a series of puzzling encounters with the poet and artist and eventually caused her to embark on her own Blakean novel. Ciudad doliente de Dios would take her from horrific events in Mexico and a writing residency in the USA to Blake’s London. Here, Adriana completes the series, discussing her role in the work of the Blake Society, the publication of her novel and the meaning of Blake’s art as both path and goal.
Around the time I started rewriting the novel, I finally decided to get close to the Blake Society. So close in fact, that I became a Trustee for several years, then its Secretary. This is not the space to say what went wrong, which is documented elsewhere. I’d rather focus here on what nurtured me, what I learnt and what I enjoyed.
It was a joy and a source of renewed inspiration to see how Blake’s work and spirit are still alive for many people, including younger generations. I’ve found amazing, amusing or even daunting the passions that he can still stir — and I am fully aware that some might make similar comments regarding my own passion for Blake. Wondering who he really was in his homeland is very different from doing so in Mexico. The approach back there is by necessity more sober, focusing mainly on his work. Here in Britain, there are layers upon layers of symbolic dimensions touching on the aesthetic, the religious, the philosophical, the metaphysical, the social and the political.
Of course, all these were issues Blake touched upon through his life and work. And it says much about the power with which he did so that so many years after his death, throngs of people are still seeking his meaning, finding new interpretations… sometimes with such a fierce feeling of appropriation of Blake that it borders on worship. I’ll get there later.
Blakean encounters and wounds
In the Blake Society I got to hear the most wonderful talks … and the most bizarre as well. Involved in organising several events, I’ll always be grateful for the chance to channel through them my wholehearted enthusiasm. There was a walk I led in Peckham Rye looking for Blake’s angels on trees; a midnight vigil in Blake’s surviving home in South Molton Street, waiting for our own Visionary Heads to appear as we echoed Blake’s gatherings with artist and astrologer John Varley; then there was the spirit of Orc, embodied in poet Jeremy Reed at the Occupy London encampment on a freezing December evening outside St Paul’s Cathedral; or taking children from Kids Company to read The Tyger to the tigers in London Zoo, the nonstop rain never dampening the children’s zeal.
There were also projects which met failure, such as that of founding Golgonooza, the City of Imagination built by Los, in the streets of London. I had envisaged having Blake’s images projected on buildings all over the city, making true his never materialised dream of being commissioned to paint murals. Then London would be, albeit briefly, a true visionary city. A completely unaffordable project, it was transformed into an illuminated talk at King’s College Arts and Humanities Festival: Golgonooza as the sacred city of the imagination; as the human body; as a reflection on failure. I said goodbye to the Blake Society, inviting Maitreyabandhu, a Buddhist poet of great insight, to talk about Blake and about the imagination as the supreme human faculty.
To be involved in all these projects in Blake’s London was a joy, and a privilege — something I would have never imagined possible when I bought that Penguin edition in a noisy shopping mall. And for that, I am grateful.
It’s impossible not to mention here as well the 2014 Blake Cottage appeal. Part of its leadership, I gave myself to it with full devotion and hope. It was a beautiful project; the support it received from the public was the most poignant certitude that Blake’s spirit is still alive and touching many. Working on it, I am sure, kept me alive during rather trying times.
Part of the plan was to make Blake’s cottage in Felpham, Sussex, a ‘house of refuge’ for persecuted writers. This, I thought, would be quite a concrete way of honouring what Blake stood for — and precisely in the place where he was accused of sedition. The appeal’s original conception meant for the cottage to be the materialisation, through collective effort, of what Blake believed in as a man and an artist.
True, things didn’t go that way, and the problems that ensued nearly killed me (in compensation, perhaps, for the project having kept me alive for a long while?). Yet I don’t regret one bit having invested so much of me in the dream. I believed in what we were doing, and as far as my own experience goes, the path walked with faith becomes the destination. The ordeal also gave me the chance to have a first-hand experience of a Blakean prophetic poem unfolding live, with all its acute drama. It might have been trying, but no one can say it wasn’t interesting. If I lost my Innocence in the Blake Society and the Blake Cottage appeal, I gained loads of Experience. I am therefore grateful.
Finding Blake again: Ciudad doliente de Dios
For a while, the wounds were so bad that I couldn’t even hear William Blake mentioned without my stomach hurting, and so I walked away from him for the first time in over thirty years. My Blakean novel was finished but not published, and finding a publisher was proving hard. But healing came. I knew I’d be alright the day when, out of the blue, I decided to visit Bunhill Fields again. I sat there, by the fig tree and the old stone with its chipped corner — a place which has become hallowed by the pilgrimage of so many — as I had often done while writing the novel. I wasn’t thinking of anything in particular. I just sat there, watching the trees, the pigeons flying, people passing by. It was a very happy day.
I’m now ready for Blake again.
Which is a good thing, because, after a long wait, Ciudad doliente de Dios was finally published last December in Mexico, by Alfaguara, a Penguin Random House imprint, in co-edition with the National Autonomous University of Mexico. Things therefore became quite intense. The novel had to go to print in October, which gave me the shortest time I’ve ever had to read the proofs of a book of mine (and this is my longest one).
It being a book I finished five years ago, I was at moments tempted to rewrite again. It wouldn’t have been wise though, as it would have meant more destroying than building. On the whole, I decided to trust the writer I was then. It has been twenty-one years since I started working on this novel. I believe it has indeed reached the point when it has to go out into the world.
On reading the proofs, I was reminded of what a strange novel it is. I liked that. As a dialogue with Blake’s prophetic poems the visionary mattered more than any conventions of modern fiction, and it feels right to have been loyal to that intent.
I was struck too by the degree to which this is a Christian book, in the sense that Blake was Christian (I hope!). I felt somewhat melancholic. I’ve talked before of how I’d been a Christian who responded to the symbolic power of the myth while struggling with the dogma. Precisely in the years I was finishing the novel, I started to walk away from the remnants of my identity as a Christian, as I discovered Buddhism. There aren’t so many contradictions, and I even find much that sounds utterly Buddhist in Blake himself. Ultimately, the quest of my characters for the meaning of the cross and the figure of Christ is a quest for understanding of suffering, and it’s moved by compassion. The questions in it remain utterly genuine and alive for me.
Another matter I pondered on while reading the proofs is the extent to which the tragedies endured by the country where I was born take centre stage in the novel. Set on the visionary rather than the mundane side of reality, it doesn’t take place in any ‘real’ geographical spot. Its characters walk towards the sacred city, led by an image of St Paul’s Cathedral. However, the unfathomable suffering of a country called Mexico has been woven around the cosmogony of William Blake, in an effort to understand and to find meaning. I do hope, therefore, that Ciudad doliente de Dios honours all the people who have endured such suffering with courage and even — as is the case of the community Las Abejas, members of which were the victims of the Acteal massacre — with hope.
Blake: art as path and goal
It must be clear by now, the importance that William Blake has had in my life, as a writer and a human being. He’s an artist and poet who talks to me. One whom I honour and admire for the way he lived the extremely hard battle it was his lot to fight. A sublime and truly inspired but misunderstood artist who endured mockery, incomprehension and poverty.
However, William Blake is not a saint, and in coming closer to some other people’s appreciation of him, I believe that the kind of fanaticism encountered around him now and then is a great loss: a deviation of what really matters in his legacy.
There is no doubt that he lived an exemplary life, as a courageous human being who remained steadfastly faithful to his call, his passions and his principles, against all odds. He believed in the power of art and the imagination to transform human life by helping us break through the veils which hinder our awareness of transcendent reality. And he considered this power the essence of divinity in human existence. He devoted his life to that vision, and therefore to create beauty and meaning. What else can we possibly demand from him?
He gave us more than enough, and like any true artist, he demands in turn our full regard for his work, our full responsiveness. Any other extraneous meaning whimsically projected onto him is a deviation from this. Blake’s belief in being able to communicate with certain spirits (his brother Robert’s; the sages he saw on the shores of Felpham; and his angels) wouldn’t be more interesting than any other person’s perhaps unusual beliefs, had he not linked that faith to a greater, encompassing one: his faith in the human spirit, capacious enough to hold within it God, the universe and all the questions hence derived.
Furthermore, he was adamant about art’s paramount importance in the life of man, believing that a society which stands with its back to the arts is impoverished, lame and crass. Art was, to him, the vehicle, the path and the goal: what he dedicated his life to. If we make any claim to having accepted his gift for posterity, it is to his images and his poetry that we must turn — and they are certainly not for the literal-minded.
We live in times of confusion, when the arts are often understood either as a commodity, novelty, entertainment, a sorry mirror for the vacuous existence of the consumer society, or (with good but misguided intentions) as a by-product of sociology, which then becomes surreptitiously an instrument for social engineering.
All these approaches strip art of its transcendent principle, and when that happens, art is dead. The death of art means the death of a society’s spirit, of human freedom. That is why artists such as William Blake are important, and it is a thing to celebrate that there are many individuals in younger generations who understand this and want to make Blake’s art and poetry a part of their lives.
The art and the poetry of a man who lived on earth. Nothing more and nothing less.
Adriana Díaz-Enciso is an author of poetry and fiction, as well as a translator. She was born in Mexico, and has been living in London since 1999. She has been a Trustee and Secretary of the Blake Society. Work she has written on William Blake can be found on her website: diazenciso.wordpress.com.
Adriana’s novel, Ciudad doliente de Dios (Doleful City of God), is published in Mexico by Alfaguara, a Penguin Random House imprint, in co-edition with the National Autonomous University of Mexico.