William Blake Books

I read this book expecting to see the same information on Prince William that every other book has printed since that boy was born. But I was wrong. The thing that makes this one stand apart from the rest is its portrayal of him. This is the first book I've read (and I've read quite a few) to show him for what he is: a young man trying to not only figure out who he is but also trying to accept WHAT he is as well, and where he will fit in to the world. It also offers a more realistic picture of what his relationship with his mother was like. I never really bought that whole she was the center of his universe story, and now I see why....it was never that realistic. It had to be more complicated then that. Any teenager will tell you that their relationship with their parents is one that's constantly blowing hot and cold....especially at the age he was when Diana died. I was always worried about how this boy was going to break out of his mother's shadow...especially because he looks so much like her. And, all things considered, he seems to finally be coming into his own. It'll be interesting to see what happens next.

Works of William Blake. (80+ Works) FREE Author's biography and poems in the trial version.

This is a wonderful collection to own. The ebook is neatly organized and easy to navigate, making the section you're looking for a snap to find.

My 3 stars might be a little low for a review of this book - Its a good reference for everything Netscape. Having bought the book for Javascripting help, I was a bit dissappointed with its handling of syntax. The Javascript object model provides a logical way to access most any element within an HTML page but the Netscape ONE book failes to specifically cover the object hierarchy syntax. Events and Methods are listed but very few of them are fully described with examples. Also, although some thought was given to cross-platform compatibility, there are some glaring problems that don't seem have solutions. One such problem involves Netscape's method for checking if windows are open and giving them the focus if they are instead of attempting to open a new window. While this works in Netscape, it does not in Internet Explorer - a fact not touched on

This book covers a lot of ground, but is out of date with the newest Netscape servers (just try and use SiteManager). I'd like to see a 2nd edition with less intro on Javascript and Java (I think there are over 200 other books that cover the same introductory material) and more in depth coverage of advanced Java, JavaScript, and server-side programming.

I found the book to be packed with useful examples. With so many useful examples I don't believe the previous reviewer even read this book! The book covers a lot of ground and is a book for developers.

This book fails to meet some standards for a reference it assumes to be. The source codes and examples are not in accordance, the book is full of useless examples and errors are abundant. Of course it is superior to "Dummies...", "Idiots ..." and similar books but I expected more.

This book is supposed to be a reference but since it suffers of many errors and tend to be overall confusing - for example it is trully unbelievable how the authors, writing such an exhaustive treatise, could not figure out better way to match source codes and topics. Some examples really make no practical sense at all, other are unclear or unprecise, the reference is incomplete or mistaken and in general it is hard to count on the book as a guide. I believe the second edition is badly needed to improve the style and clarity of the first.

Gorgeous poetry and illustrations by Blake. A must have for your library and a treasure to share with your children.

William Blake is known for some very mystical hard-to-understand poetry, but his "Songs of Innocence" and "Songs of Experience" is very different from that other work. Here in beautiful, almost child-like simplicity, he describes happy things like childhood and purity, as well as the darker realities of corruption and disillusionment. These poems are always spiritual and lyrical, full of heart and soul. The style is simple, yes, but the words and metaphors are profound and so is the wisdom, like in "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.

David Rehak
author of "Poems From My Bleeding Heart"

There are larger, more luxurious graphical editions of Blake's two most popular works but the Oxford SONGS OF INNOCENCE AND OF EXPERIENCE is perhaps the most affordable and convenient.

After a short introductory piece which makes the reader expect a pastoral mood, SONGS OF INNOCENCE opens with "The Shepherd", and the reader is immediately acquainted with Blake's style: deceptively simple, but filled with metaphor and allusion. Many of the poems speak of the solace of Christianity, but Blake shows a more universal and tolerant tranquility found through appreciation of simple human virtues. In "The Divine Image", he writes: "And all must love the human form, / in heathen, turk, or jew. / Where Mercy, Love, and Pity dwell, / there God is dwelling too."

Even within SONGS OF EXPERIENCE, the most pessimistic and cynical half, Blake maintains a his childlike style in order to bring the truth of human experience to anyone at all, young and old. In "A Poison Tree" he writes: "I was angry with my friend: / I told my wrath, my wrath did end. / I was angry with my foe: / I told it not, my wrath did grow", concisely summarising the effects of pride and ill-will on one's soul.

Blake was by profession an engraver, and his engravings for SONGS OF INNOCENCE AND EXPERIENCE are so closely bound to the text of the poems that a photocopy edition is really the only way to enjoy the poems as they were meant. In this paperback edition, the original engraving can be seen along side a typeset text, presented in a size large enough that the words can be relatively easily made out and, perhaps more importantly, the reader can see Blake's mythological characters. These personages, such as Urizen and Lothos, are key to understanding Blake's larger metaphysical work, for which the Songs present a good introduction.

This edition is especially valuable as it contains a photocopy of the engraving of "A Divine Image", a poem intended for SONGS OF EXPERIENCE which Blake subsequently left out because of its savage pessimism. The poem survives on an uncolored plate which is not found within many collections of the poet's work.

If you are intrigued by poets who transcend mere beautiful words to present a complete worldview, Blake is certainly worth reading. The Oxford Paperbacks edition is, in my opinion, the best place to get started with this deep and tricky, but fulfilling and fascinating poet.

Sorry, all, I'm not much of a poetry fan. I like "Tyger," "Garden of Love," and a few others, but I can't add to the scholarship on his verse.

I am, however, fascinated by his use of relief etching in creating these pages. It's a rare process even now, and was revealed to Blake in a vision (plus a lot of painstaking experimentation). It's the process by which he shaped each letter, reversed, in the printing plate, plus much of the 'illumination' on each page.

The preface is vague and the reproduced images are hard to read, but Blake printed the lettering and line work on each page, then hand-decorated with watercolors. The preface says that Blake went on to create color printing processes, but what they were or whether they're used here is not explicit. I tend to think not, unless a few pages were printed with one or two more plates to emphasize the dark areas. If these illustrations really are true size, then inking on the plate would have been tedious, imprecise, and would not have given the results seen here.

There's much to say about his illustration. That includes an odd conflict, between figures fully drawn even under clothing and the androgyny or sexlessness of so many, an ambiguity that appears in the poems as well. I'll leave that commentary to others, though. The thing that impresses me about these editions is their artistic intensity. Each individual copy of the book was printed and decorated on demand, for a specific buyer. Blake had full control of every part of the creation, the words, images, and reproduction.

It is a rare mind that can master visual and verbal arts, both, then the craft of creating the book that carries them. Perhaps I miss parts of the presentation, but I very much admire the parts that I understand. Four stars because better reproduction would have served his visual art and craft much better.

//wiredweird

These are Blake's most popular and accessible works, by far. The poems combined with the wonderful drawings make powerful and memorable statements that stay in your heart and mind. Several, such as "The Tyger", "The Chimney Sweeper", and "London", are very well known. Each of us has our own personal favorites and love turning to them again and again.

One of issues in buying an edition of these works is that they exist in a variety of colorings, and orders. I would recommend this edition for several reasons. The selection of the King's College Copy is one of the most uniformly delightful or the copies Blake (or his wife) colored. Also, the reproduction is of very high quality. Each plate is on a right hand page with the text in print on the left hand page (in case you have problem reading the plate). Even thought the book is in a large format, the plates are reproduced in their actual size (which is surprisingly modest).

There are also a dozen plates provided from other editions. However, I would recommend that you pick up other editions based on other copies. The variety of schemes Blake used in coloring the plates is quite interesting and, well, illuminating.

The second half of the book is commentary on the 54 plates of this copy. There is an introductory essay and a list of works cited in the commentary.

It really is a beautiful reproduction and a joy to have on my shelf.

I became acquainted with Nancy Willard's poetry when I found a review for "The Sorcerer's Apprentice" in the listing of another Amazon reviewer. The present book, copyright 1981, won the John Newbery Medal for tne most distinguished contribution to American literature for children. I would hesitate to recommend an age group. I turn 70 next week, and I enjoyed the poems. The poems can be read to younger children, or read by older children. There are large, full color illustrations. There are 34 pages of text and illustrations (starting on page 12), including the introduction and the closing page with Blake's Advice to Travelers.

This book is so funny because of the character's attitude. It even has strong words, like "makintosh".But I like it best because it has poems that rhyme.

In this book, the author has written a collection of poems about William Blake and a magical inn he runs. This book was read to me when I was a child and I hadn't felt any need to look at it since. This is probably due to the fact that as a kid I just couldn't get into the story. Hoping to see what my nine year-old self couldn't, I decided to give Ms. Willard another go. Rereading it now, I can see where my frustration came from. The plot is very loose, the poems nice but unconnected, and the pictures beautiful but flat and without motion. Frustrations I experienced as a child included things like seeing the Man With a Marmelade Hat illustrated with a hat that clearly wasn't the color of marmelade. Also, I was quite certain that the poems in the book MUST have been written by Blake. Confusingly, they are actually written by the multi-talented Nancy Willard with nary a Blake quote in sight. Though a winner of both the Newberry Medal and a Caldecott Honor, I get the feeling that this is a book that adults would enjoy much more than children. Undoubtedly there will be some children out there that prove me wrong. But I feel this book is meant to be read by adults for adults. It is beautiful and nice to look at. Just make sure you're over 15.

This book contains a collection of poems written to honor poet William Blake. The setting is an inn run by Blake and Willard captures the style of Blake in her poems. Two dragons that cook and bake, two angels that do the housekeeping and a rabbit that escorts the guests to their rooms manage the inn. Illustrations accompany each poem and they are excellent, the inn is a splendid place to spend the night. The guests include the Man in the Marmalade Hat, the King of Cats and sunflowers who request a room with a view.
This book is subtitled, "Poems for Innocent and Experienced Travelers" and in it we are taken on an imaginative journey that will delight all readers. An image of Blake appears in nearly every illustration and he is clearly enjoying himself.

Readers, here is your chance to be transported to a world of poetic delights, inspired by "the fearful symmetry" of William Blake's writings. Author Nancy Willard interprets his poems in the marvelous 'stage setting' of "William Blake's Inn"...an imaginary, very British hostelry. It is inhabited by a "man in the marmalade hat" and the King of Cats who breakfasts among the chimney pots of London.

Willard's own verse does cartwheels, lifting the reader out of stodginess into the stratosphere of Imagination - or at least as high as those London roof tops pictured by Alice & Martin Provensen. Their award-winning artistry beckons readers to cut the ties of convention and truly accept fantasy in color and phrasing...Explore the stars while "Blake leads a walk on the Milky Way" and enjoy the sunflowers that "took root in the carpet where topaz turtles run."

This book says "ENJOY" and I say Thank You, Nancy Willard, for the world you have revealed to us in your FIVE ***** BOOK! To rephrase your words: "If WE should dream before WE wake, may WE dream of William Blake."

The writers reviewed here in this work are great men of faith and explorers of truth. If you want to become mildly acquainted with these men, this is an ok start--but little more than an expanded wikipedia biography. These writers are worthy enough to be looked at directly, not through this sort of heavy filter. Go buy their books, not this one.

This is an excellent read, especially for those not familiar with the writings of the people discussed. It is a kind of survey, an easy way to be exposed to a wide range of beliefs on spirituality. However, keep in mind that "spiritual wandings" is only one aspect of each person; there is much more than that to each. If one reads the writings of all these people, one will realize that there is much more to each, and some are very complex. For example, you would have to read a lot by Tolstoy to begin to really understand what his thoughts were, which covered many aspects of life and thought beyond spirituality. I suggest you read the book, then buy others on someone you especially like. Perhaps read a bit about them (the internet is a good source) before reading a bit by them.

That's the value of this classic. It gives you a sophisticated introduction to several great thinkers and prophets who searched for God. Muggeridge was, as others have noted, himself a prophet of the madness of his century and the twenty-first century. Here we have the sort of sensitive and perceptive introduction to great thinkers that induces us to read their original works. For a detailed review, see my blog above for Oct. 3, 2006. (Note: the older hardcover edition I read did not include Dostoevsky.)

Muggeridge gives almost an insiders view of what shaped the lives of these great men of the faith. Its almost like he was there witnessing their lives and tagged along with them in their "good times and bad times".

Honestly, I didn't finish this book. I didn't even get very far. It sounds wonderful, a book about some of the greatest Christian minds. It reads like a 4th-graders research paper. Muggeridge inserts so much of his own thoughts and experiences its almost like we're reading his biography. His bios of these brilliant men are muddled, not described chronologically or in any other apparent order. If you want a VERY basic overview of these men, maybe this book is for you. If you actually have the intelligence to read anything written by any of them - this book is far beneath you.

This is an excellent fictionalized account of the Kansas-Missouri war during the Civil Way. Though cowboys are on the cover there are no cowboys inside. The gorilla warfare was unheard of on the scale it was carried out by both sides during the Civil War in MIssouri. By following the life and times of William Anderson --Blake introduces the reader to the context and rationale behind these act. The events that take place in the book are accurate --and unbelievable. The correlations with the IRAQ conflict are undeniable. Be warned this a blunt accurate account. Nothing is left out or glossed over. Excellent.

All i can say about Wildwood Boys is that it made me want to fight the Unioners and rustle horses and roam to the great wild west.

Blake saddles you up and sends you out riding and raiding with Quantrill's Raiders and Bloody Bill Anderson's Gang. It was hell. The political situation was all screwed-up and the worst type of border warfare erupted all over. You'll see it all first-hand as only Blake can tell it. You'll ride like hell, fight like hell, stink like hell, and hell, some of you won't make it. Saddle up!

THIS WAS AN EXCELLENT BOOK. I LOVED IT. IT TOOK ME BACK TO THAT TIME AND PLACE, AND GAVE ME A LOOK AT A GREAT HISTORICAL STORY. ONE REVIEWER WAS SO BIAS, I AM SURE HE WAS FOR THE OPPOSITE SIDE IN THIS STORY. HE MUST BE VERY UNHAPPY AND COWARDLY IN HIS APPROACHES TO NOVELS.

I hate to be the dissenting voice to all the gushing reviews for this book, but I thought it was weak at best. The plot was thin, the dialogue sophmoric, the character development was forced, and the overall portrait of the war was unrealistic. For example, the bushwackers that form the core of the book are almost invincible except at times that aid the story. In battles with even seasoned federal calvary, they rarely lose more than one or two men while wiping out dozens of enemies. They never suffer from hunger, even at a time when many farms were burned.

But, setting aside the lack of historical credibility, the book never evokes the feelings of the war or its human impact in a way that Charles Frazier did (I only bring up the comparision b/c of the quote on the paper edition). Bill, our main man here, never develops as a character- he just sort of lurches from phase to phase.

I wouldn't bother with this book- there are so many other novels of the Civil War worth your time.

"Black Mischief" is not a safe book; it delves into racial and political divides as wide now as then and lets you know its author isn't aboard for any of that 21st-century sensitivity rot. Despite or perhaps because of this it is a good book, perhaps a great book, and worthy of your time.

In the island nation of Azania, just off the coast of East Africa, Oxford-educated Emperor Seth attempts to force his backward, war-torn nation to emulate the West. Help arrives in the form of a British ne'er-do-well, Basil Seal, "a man of progress and culture" as Seth styles him. This of course means Seal is trouble as well.

As I read deeper into "Black Mischief", I was struck by two things. One was how easily it flowed, not only with Waugh's always elegant prose but the plot itself. Waugh isn't ordinarily so clean a scenarist. The other was how like Joseph Conrad's "Nostromo" this is, making the same points about First World meeting Third World. Except where "Nostromo" was clumsy and dry, Waugh sells his message with wit and surreal humor.

He even goes to the trouble of mapping out Azania, which helps a lot given it is a nation entirely of Waugh's own imagining. As the characters cross its expanse, I found myself referring back to the map in front and enjoying how well it matched up with the narrative.

When I picked up "Black Mischief", I was concerned about the obvious racial aspects. Waugh was capable of writing hurtful things about blacks as well as other groups Waugh experienced from a distance. "Remote People," published in 1931 just one year before "Black Mischief", presents Africans in the role of bloody-minded savages.

Well, there are plenty of savages in "Black Mischief", too, only most of the ones we get to know best and like least are European. Seth begins to go wrong when he tries to imitate his imagined betters, picking up and dropping one faddish craze after another, whether it be autogyros or universal contraception. "THROUGH STERILITY TO CULTURE" reads one banner.

"He'll discover every damn modern thing if we don't find him a woman damn quick," an accomplish of Seal complains. Not that Seth's gullible. The West is just too full of bad ideas.

Take a couple of middle-aged animal-rights activists who walk through Azania's impoverished streets throwing scraps for dogs and complain when children try to make off with them instead: "Greedy little wretches."

Not all the jokes go over. Waugh does hit the same points over again, like the dense senior British envoy Sir Sampson and his scheming French opposite number M. Ballon. The notion of Azania as a plaything for Western mediocrities is a worthy one, central to Waugh's point regarding former colonialists suddenly opting to lead their ex-charges on the road of improvement. I just wished he was more subtle at it, or tied that part of the story better to the rest.

But there's nothing really bad in here, at least not anything like I expected, and there's quite a bit good, even brilliant. The first chapter alone packs enough intrigue and suspense for Frederick Forsyth, and the Conradian mood, though limned with humor, stays intact throughout. There are gulp-inducing moments, and laugh-inducing ones, and the marvel is not only how often these come up but how closely together.

The only humor today that even comes close to that of Black Mischief, is ironically, that of the outrageous, black comedians- otherwise Waugh rules.
The whole concept of the British in exotic countries is a farce, and when mixed with Waugh's equally lunatic native characters face to face with bizarre and inexplicable Western civilization- whew- anything could and does happen. There are no noble characters, of course, but redeeming fools, which is about as good as one can get in a Wauvian satire. My favorites are the animal rights ladies who come to Africa to see that the natives are treating their livestock well. These ladies, one named Miss Tin, land in the midst of a revolution and have to hit a driver in the head with a brandy bottle to get a ride to the English settlement. They followed a fellow anti-vivesectionist cleric who led the ministry of our `dumb chums.'
There is every kind of European religion stirring up trouble and as usual, the British are completely sequestered amongst themselves preoccupied with their gardens and other habits in blissful and selfish ignorance. The leader of these Imperialists is described as "a self-assured old booby." One of the titled females is named `Lady Everyman.'

The political relevance is so acute that it seems impossible that this was written in 1932. Waugh even seems to have some political consciousness in this book, certainly, he is gentler, on the whole while being enduringly funny. I would definitely place this as my second favorite Waugh. It has a gripping end and is a statement less of bigotry, (of which he probably was one, but who wasn't,) but also of the need to reevaluate what in the name of God all of the colonizing was about.

I suspect this classic novel is out of print in the US for reasons of misguided political correctness, which is a great shame for this is probably Waugh's finest and funniest novel. (Penguin Books in the UK publish a copy which is available on the www.amazon.co.uk site).

Black, Oxford-educated Seth ("Emperor of Azania,Chief of the Chiefs of Sakuyu, Lord of Wanda and Tyrant of the Seas, Bachelor of the Arts of Oxford University")attempts to reform his backward, corrupt African nation with the aid of an amoral Englishman, Basil Seal. This being Waugh, all ends hilariously tragically. All the usual Waugh-like elements are here: the "disappearing hero" (ie non-active protagonist); the comic but desperately tragic fate of the main characters; the utterly misogynistic & unsympathetic view of all mankind; and all written with his usual, biting, elegant, hilarious satire. This novel is not racist. It may be a trifle politically incorrect to our enlightened generation (political correctness of course meaning that we think it but don't say it)but as with all novels more than 20 years old we have to read it in the light of the attitudes and opinions of the era in which it is written and this novel is a very accurate and funny reflection of the attitudes of the 1930's.

Despite the novel's title, the satire is aimed at all races and ethnic groups, with the white British Legation (portrayed as ignorant, inane, out-of-touch idiots) coming in for the bitterest attacks. Indeed, if our sympathies lie anywhere, it is with the well-meaning, likeable but ultimately ill-advised black emperor, Seth. Waugh was possibly the greatest and sharpest satirist of the 20th Century and this is possibly his greatest and sharpest novel.As an Englishman, I feel it is very sad that American readers are denied access to this classic work. ("If we can't stamp out literature in the country we can at least stop it being brought in from outside" - Evelyn Waugh, 'Vile Bodies')

Such advocates of political correctness should perhaps adopt Seth's own slogan for his doomed campaign "We are Progess and the New Age. Nothing can stand in our way." Read this novel - order it from the UK site if necessary - & judge it for yourself. I guarantee you a good read.

BLACK MISCHIEF is the sixth Waugh book I've read, and it's one of his funniest. The plot concerns goings-on in the fictional African empire of Azania (which is supposed to be off the coast of present day Somalia). Civil war has just erupted, and an English educated Azanian named Seth ends up the victor. He gets caught up with the British legation, including frivolous Basil Seal (an acquaintance of the recurring Waugh character - Lady Metroland). Basil is made the Minister of Moderization and has Seth's constant ear. Naturally, things spiral downward from there. BLACK MISCHIEF starts off a bit slow, and the first 75 pages are a bit tedious and confusing. However, things really take off afterwards. Waugh is always funny, but this book has more laugh-out-loud moments than most of his novels. Highly recommended for fans of Waugh and good satirical novels.

The only humor today that even comes close to that of Black Mischief, is ironically, that of the outrageous, black comedians- otherwise Waugh rules.
The whole concept of the British in exotic countries is a farce, and when mixed with Waugh's equally lunatic native characters face to face with bizarre and inexplicable Western civilization- whew- anything could and does happen. There are no noble characters, of course, but redeeming fools, which is about as good as one can get in a Wauvian satire. My favorites are the animal rights ladies who come to Africa to see that the natives are treating their livestock well. These ladies, one named Miss Tin, land in the midst of a revolution and have to hit a driver in the head with a brandy bottle to get a ride to the English settlement. They followed a fellow anti-vivesectionist cleric who led the ministry of our `dumb chums.'
There is every kind of European religion stirring up trouble and as usual, the British are completely sequestered amongst themselves preoccupied with their gardens and other habits in blissful and selfish ignorance. The leader of these Imperialists is described as "a self-assured old booby." One of the titled females is named `Lady Everyman.'

The political relevance is so acute that it seems impossible that this was written in 1932. Waugh even seems to have some political consciousness in this book, certainly, he is gentler, on the whole while being enduringly funny. I would definitely place this as my second favorite Waugh. It has a gripping end and is a statement less of bigotry, (of which he probably was one, but who wasn't,) but also of the need to reevaluate what in the name of God all of the colonizing was about.

The editors of this text did a fine job. I've noticed especially their choice of page breaks and quotations on the more difficult poems (the Prophetic Books) are admirable. They've made the poetry from our beloved William Blake accessible to a wider audience by editing his text to decrease the chance of confusion through mere ambiguity.

This is a book is quite good as most Norton Critical Editions are. It has a lot of what is needed by students for a course on Blake or, more likely, a course that spends part of a term on Blake.

It has some biographical material and some maps of England and London at the time Blake lived. There are also a good helping of black and white as well as color plates of Blake's illuminated works. The color plates are only good - the color is not produced beautifully. The student will only get an impression of the true power of Blake's artistry. However, a good teacher will point the student to the Blake Archive at:... so the students can see the works more completely with variants and in better color (if you have good video cards and monitors).

One of the best parts of this book begins on page 176 where working drafts are shown and compared to the final versions. There is also a nice selection of critical writing on Blake - criticism from Blake's time through the present. There is also a useful bibliography.

In some ways this is "Erdman Lite", but it is much more portable than Erdman and for an introductory course on Blake it is probably sufficient. I am glad that I have it in my library.

But please don't stop here!

Nice book, but too bad its front picture cover is defaced by Norton's double-layer of big gold stickers with high-tack adhesive that makes them impossible to remove without adhesive remaining on the cover.

This is absolutely the best compendium of Blake's work which articualtes an outstanding range of his vision. This edition acknowledges the poetry and color paintings of a consumate craftsman of the imagination on high quality, acid free paper and is nylon stitched and bound in signatures to last a lifetime. Books are rarely made this way but the Norton edition is a beautiful rendering of the first, and perhaps, primary British Romantic poet.

William Blake is one of those soaring pioneers of the human imagination whose visions and their scope make you feel rather humble at times. His works are quite diverse and his output during his life very considerable. Blake's longer poems, such as 'Jerusalem' or the 'Four Zoas', would easily make large books of their own in any edition of his works.

This Norton's edition contains selections from several of Blake's major works, including his Songs of Innocence and Songs of Experience, his visionary poems, as well as his political poems. The book also contains many scholarly aids including a chronology of Blake's life, critical essays by leading Blake scholars, and colour pages showing Blake's beautiful illustrations to some of his works (as well as being a great poet Blake was also a painter and engraver of very considerable ability). While critics never seem to really reach any consensus on what Blake's poems really 'mean' (Blake is read variously as a Gnostic by Harold Bloom, a revolutionary critic of England during the industrial revolution by Terry Eagleton, or as a disciple of Swedenborg and Boehme by others) Blake's poems contain incredible beauty and visionary power and polyvalent symbols energised with multiple meanings. I think if one consistent theme can be read from Blake and his poems, and I think this was his own intent, was that the power of the human imagination and what it produces in art transcends any attempt to 'bracket' or reduce it to a dead and static system of lifeless scientific symbols; I imagine Blake would class many critics of his work as agents of Urizen, trying to carve out of the fiery energized cosmos of the living human mind the perfect frozen archetype which orders all things perfectly but in doing so, misses the whole point.

Blake's poems then should be read not by trying to impose what you want to see in them but by trying to let them speak to you and perhaps, ignite your own spark of imagination, as Blake has done with many brilliant poets from Yeats to Allan Ginsberg and many others.

William Blake is probably my favorite poet. The Songs of Innocence and Experierence are lauded in every school but it is the lesser known writings that are what made him a Master of the Letter. The proverbs of Heaven and Hell for instance won't come up in conversation or at the University, but they will reside within your heart when the brisk winds of fortune and misfortune hit hard in each day, anew.

"The eagle never lost so much time as when he submitted to lean of the crow."

His beauty spreads out like spilt ink and while he is known as a poet he also wrote about politics and metaphyics. The book "The Complete Works of William Blake" is great to have around but weighs about as much as a eight normal length books, so along with any of his other collections, a portable book is good to keep, unless you can memorize "The Augeries of Innocence" completely.

Though I firmly support the general consensus that Shakespeare is our greatest poet--the more one reads, the more this becomes apparent--I am equally firm in stating that there has been no greater visionary poet than Blake, not even Milton.

William Blake lived and wrote almost entirely ignored during his time, regarded, if at all, as an eccentric painter. This speaks not to the quality of his works; it speaks to how ahead of his time he was. Nobody knew what to make of him, and I must confess that even now it is difficult to cement his place.

One can say for certain, however, that he is one of the greatest poets; aside from the Bard, Keats (whom I adore), and Milton, he has no companions in this uppermost echelon. Reading Blake is sometimes overwhelming. The power of his vision and the vivacity of his language sometimes overpower the faculties, and makes one nearly break down into tears. His poetry is beautiful; it is complex; it is at times incomparably deep and more powerful in force of language than perhaps any other, even Shakespeare's.

Many restrict their reading of Blake to his accessible and delightful lyrics SONGS OF INNOCENCE AND OF EXPERIENCE (which must be read side-by-side to fully appreciate what he is doing!), but to do so is to bind oneself in a nutshell. Read THE MARRIAGE OF HEAVEN AND HELL, as an introduction into his vast vision. Go on to read THE BOOK OF URIZEN, MILTON, JERUSALEM, etc., but take it slowly. Blake is one of the most difficult poets; he is infinitely complex. He creates his own, metamorphosing mythology, which parallels Biblical mythology and that of Milton, and expounds it throughout his poems. To fully appreciate them, one must not only read, but also study his works. I highly recommend doing so--William Blake is infinitely rewarding.

A note: The Penguin edition reviewed here is good, but, if possible, try to acquire an illustrated copy of Blake's work. Blake wrote most of his great poems in the style of illuminated manuscripts (he is actually the precursor of the graphic novel genre), and his illustrations are profound and beautiful. It seems to be increasingly difficult to acquire his illustrations in book form, so if you cannot, at least view them at blakearchive.org. They are magnificent!

I don't know upon what planet this poet was born, but it certainly wasn't earth. Blake is the ultimate Gnostic, the ascendent correspondent, the bringer of truth from regions we have no knowledge of. The core of his philosophy can be summed up in his assertion in "The Marriage of Heaven and Hell:" Thus men forgot that All deities reside in the human breast...Isaiah answer'd. I saw no God, nor heard any, in a finite organical perception; but my senses discover'd the infinite in every thing, and as I was then perswaded, & remain confirm'd; that the voice of honest indignation is the voice of God."

Blake is the poet of true revolution, true Romanticism and true spirit. This is the definitive volume of his life-work, without, it is true, the illustrations that augmented his genius. Yet there is no real necessity for etchings here, as the genius of his poetry will etch its own image in your mind if you are receptive to his universal symbolism. Blake was the first truly modern poet, prefiguring Mallarme, D.H. Lawrence, Baudelaire, in particular. He was also a great mythologyzer, the precursor of Campbell, Frazier, and even Alan Watts in many respects. The Penguin Edition is not illustrated, it's true, but there is so much to be mined here that one can easily lose oneself in the labyrinth of Blake's excavations.

Recommended without reservations. A truly paradigm shifting poet and artist. Seek out his illustrative, divinely inspired watercolors, as well. A true visionary, if there ever was one!!
BEK

It is the shorter poetry of Blake, that of the 'Songs of Innocence' and 'The Songs of Experience' that lives for me, and I suspect for most others. Though Northrop Frye the master literary critic saw in Blake's longer poems a key to reading the whole universe of Literature, I strongly suspect those long- lined abstraction filled 'visions'are outside the interest and staying power of most readers.
Blake was one of the great aphoristic poets, and along with the mystical visionary lines, there came lines like lightning sudden flashes of the mind which strike us strongly and remain with us.
Here is one of the most well- known Blakean lyrics
:
And did those feet in ancient time
Walk upon England's mountains green?
And was the holy Lamb of God
On England's pleasant pastures seen?

And did the Countenance Divine
Shine forth upon our clouded hills?
And was Jerusalem builded here
Among these dark satanic mills?

Bring me my bow of burning gold!
Bring me my arrows of desire!
Bring me my spear! O clouds, unfold!
Bring me my chariot of fire!

I will not cease from mental fight,
Nor shall my sword sleep in my hand,
Till we have built Jerusalem
In England's green and pleasant land.

Blake was the lunatic lover one of the great madmen of poetry who according to his wife gave her little time as he most of the time was 'in Paradise'.
Each reader will going through the Collected Poems stop and select what they find congenial for themselves.
In the Collected Poems of Blake there is very much to stop for, including many of the most memorable lyrics and lines Poetry in English has given the world.

" Little Lamb who made thee, Dost thou know who made thee?"

"Tiger, Tiger, burning bright in the forest of the night/ What immortal hand or eye/ Dare frame thy fearful symmetry?/

blake's poems are not black ink on these newsprint pages...blake's poems are engraved plates wild and colorful...

but it's fantastic anyway blake is not The Lamb and not The Tyger

tirzah los orc urizen enitharmon vala rahab urthona, all divided and united in the cruelties of holiness...jerusalem the four zoas the book of urizen the song of los...echoing our cries.