Titlebook: William Blake‘s Manuscripts; Praxis, Puzzles, and Mark Crosby,Josephine A. McQuail Book 2024 The Editor(s) (if applicable) and The Author(s

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“minutely Appropriate Execution”: Variation and , in Blake’s Title Pageson inspiration over an aesthetic reliant from memory. Blake also advocates an immediacy of artistic practice, where ., or first thoughts, are rendered “with a bounding line” seemingly without revision. In the title pages of Illuminated Books and two manuscript works, evidence of variation and ., or

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The Page Embodied in ing. Through the medium of paper, pen, and ink Blake could have explored compositional possibilities beyond the artisanal execution afforded by copper, quills, and acid. What one often encounters across . is instead the body and mind of an engraver. The conception of graphic forms seems to echo elem

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Graphing ,: Toward a Dynamic Editionns to other works—not to mention its more abstract, non-documentary fields, like its linguistic and semiotic fields. Indeed, editors in the past have grappled with these features of it but because they’ve worked with inadequate technologies have either come up short in fully representing them or abs

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“All that we See is Vision”: William Blake’s , Manuscript and Multispectral Imaging (MSI)rus Project. Through this project, the Blake Archive has begun to incorporate multispectral imaging in the development of a new kind of digital scholarly edition. Such an edition leverages the interactivity of web-based design along with the expanded vision of imaging science to create a digital mod

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“O what a scene is here”: Visual References in Blake’s Cynic”. This chapter explores the possibility that he may also have been making allusions to several works of art, mostly by using very short, at times almost epigrammatic, parodical ekphrases. . is notorious for the amount of cryptic hints and inside jokes that Blake used, and so his references to

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“Composite Gender” as the Book of Oothoon: Dress, Drag, and the Transgender Marygold Flower-Nymphrench Revolution, I establish a background that supports a drag/trans- reading of Blake’s .. Traditionally, commentators on Blake’s illuminated poems dismiss female characters as “emanations”—but what if Blake’s “ego” figure is neither Albion nor Los, but Oothoon? Blake’s illuminated poems, Robert E

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“By the Voice of the Servant of the Lord”: Blake’s New Jerusalem and Swedenborgianism in the Work ofk of Thomas Hardy, as well as her conversion to Catholicism in later years. In her posthumous autobiography, ., Kaye-Smith also revealed that William Blake was the third of her “l(fā)ifelong companions” (along with George Borrow and Jane Austen), and the profound influence he had on her thought and spir