I made the mistake of listening to the news first thing this a.m. Sigh! Silly me. So off I go to Gretchen’s blog for a bit of peace and sanity. Sharing it with you. Enjoy!
The title page of America a Prophecy, copy A (printed 1795), collection the Morgan Library / Public Domain
He was the loom’s loom, spinning the fiber of revelation; offering songs of social injustice, the sexual potency of nature, and the blessedness of the lamb. Patti Smith
Like in a rocking chair on the edge of time,
this painting an overture to freedom, a ladle of love,
a luminous nest of linking ladders. Each level going up united.
It’s for to cherish this visual calmness as Blake’s visionary glory.
While his poetic prophecy may seethe with crackling doubt and dissent,
revolutionary odes, contentious acts of history and deceit,
This, the first painting with his name spelled out.
Blake fondly calls these sweet colors “illuminated paintings”
where he lays out his revolutionary love in peopled play.
It’s as though we’re inside an urban subway station
looking up. With Blake, it’s always some kind of looking.
People and how they do what matter in Blake’s sight.
Here, people spread about touching everywhere
in the kind of gentle that cooperation brings.
Fallen warriors in medieval garb, nude woman pointing to this poem.
Women reading, consoling, kinding.
This poetic prophecy one of Blake’s cosmic mythologies:
Orc’s refulgent passion grazes Urizen’s linearity.
Blake charts a new course for mental liberation.
The newspaper-like headline compels because it hearkens
a linking, a jumping up above and caring down below.
The prophetic poem contains fierce strife among nations and type.
But this sweeping image unfolds sweet closeness.
A new, all American revolutionary delight.
As Blake writes: “the fair Moon rejoices
in the clear & cloudless night.” And what a new light!
How lovely the people together democratic,
concentrating in peace, as though Thomas Paine bathed them
in common sense, and faith, hope, and charity.
Aware of the novelty of cultural freedom, Blake affirms,
“Let the inchained soul shut up in darkness and in sighing,
Rise and look out, his chains are loose, his dungeon doors are open.
Like Walt Whitman, for Blake, the sacred “loom’s loom,” the center sphere,
this image affirms a new vision of democracy, of human affairs:
a belief that “For everything that lives is holy, life delights in life.”
I am delighted to let you know that Linda Chown’s Narrative Authority and Homeostasis in the Novels of Doris Lessing and Carmen Martín Gaite(Routledge Library Editions: Modern Fiction) is now available through Amazon in hardcover and Kindle. Linda tells me a budget-wise paperback edition will be available in six-to-eight months.
This study, originally published in 1990, assesses a shift in the presentation of self-consciousness in two pairs of novels by Doris Lessing and Carmen Martín Gaite: 1) Lessing’s The Summer Before the Dark(1973) and Martín Gaite’s Retahílas (1974) and 2) Lessing’s The Memoirs of a Survivor (1974) and Martín Gaite’s The Back Room (1978). Three major structural divisions facilitate examining implications of the novels for 1) feminism 2) literary narrative and 3) the lives of people-at-large. / J.D.
Jamie Dedes. I’m a freelance writer, poet, content editor, and blogger. I also manage The BeZineand its associated activities and The Poet by Dayjamiededes.com, an info hub for writers meant to encourage good but lesser-known poets, women and minority poets, outsider artists, and artists just finding their voices in maturity. The Poet by Day is dedicated to supporting freedom of artistic expression and human rights and encourages activist poetry. Email thepoetbyday@gmail.com for permissions, commissions, or assignments.