Interview with William Blake

Me:  Mr. Blake, I apologize for interrupting. I have just seen your exhibition at the gallery above. I want to thank you. It is truly inspiring. It made me think about so many things, first and foremost, your take on creativity.

Blake:  Ah, a kindred spirit! Creativity, my dear, is not a mere parlor trick. It’s the fiery forge of the human soul! It’s seeing past the veil of the mundane and perceiving the immortal.

Me:  Some might say imagination is a flight from reality.

Blake: Reality! What they call reality is a cage built of reason and doubt. True reality lies in the realm of the imagination, where tigers dance with angels, and fiery visions illuminate the path to truth!

Me:  But how does one tap into this realm?

Blake:  By casting off the chains of logic! Embrace the innocence of a child who sees the world anew with unclouded eyes. Let your passions ignite, let your visions take flight on the wings of inspiration!

Me:  What about technique? Doesn’t skill play a role?

Blake:  Technique is the horse, but imagination is the rider. A skilled artisan can mimic the world, but only the visionary artist can breathe life into it!

Me:  Your words are powerful, Mr. Blake. Is there anything that can impede creativity?

Blake:  The greatest foe is doubt! The moment you question the validity of your vision, its flames begin to flicker. Nurture your inner fire, for it is the source of all creation!

Me:  Mr. Blake, this exhibition upstairs is titled “Visions,” which seems fitting for your work. What’s your take on it? Do you think it accurately captures the essence of your artistry?

Blake:  “Visions,” you say? Well, it’s certainly an apt descriptor. The realm of dreams and the unseen has long been my muse. If this exhibition manages to evoke that ethereal essence, then I suppose the title serves its purpose.

But let’s not stop there. My art is about more than just visions. It’s about challenging the status quo, igniting imaginations, and advocating for a better world. Perhaps “Visions” could be a springboard for deeper exploration into these themes.

Me:  Your perspective is intriguing, Mr. Blake. What are these visions like for you? What’s your process when inspiration strikes?

Blake:  Visions are like vivid bursts of imagery that engulf my mind. It’s as if another world unfolds behind my eyelids, teeming with symbolic figures and landscapes begging to be captured. They’re hard to put into words. Sometimes they come to me in dreams, blurring the lines between reality and reverie. Other times, they arise during deep meditation, when I’m in a heightened state of awareness.

Me:  You’ve crafted a rich mythology filled with intriguing characters. What do these figures represent in your worldview?

Blake:  Ah, my mythology—a tapestry woven with archetypes embodying the depths of human experience. Take Los, for example, the embodiment of creative fire and passion within us all. Then there’s Urizen, the personification of rationality and the shackles of materialism. And let’s not forget Orc, the rebellious spirit fighting against oppression, or Enitharmon, the beacon of feminine wisdom and inspiration. Each character serves as a lens through which to explore the eternal struggle between imagination and reason.

William Blake’s Relationship with God

Me:  Mr. Blake, your perspective on God greatly intrigues me. Your statement that “He is the only God. And so am I and so are you” particularly resonates with me and earns my complete agreement. Could you please elaborate on your relationship with God as you understand it?

Blake:  Indeed, your inquiry touches upon the very essence of my spiritual and artistic explorations. My view of God is not confined by the orthodox dogmas that so often constrain our experience of the divine. Rather, I see God as an infinite and omnipresent spirit that resides within us all. This is not merely a theological statement, but a deeply personal conviction, informed by visions and spiritual insights that have been a constant throughout my life.

In my works, I often depict God not as a distant, wrathful patriarch, but as an ever-present force that embodies creativity, imagination, and human potential. To say that “He is the only God. And so am I and so are you” is to express a truth about the divine spark that exists within each of us—a truth that empowers us to create, to see the world through the eyes of our imagination, and to break free from the mental chains imposed by society and conventional religion.

My relationship with God, then, is one of deep intimacy and profound mystery. It is a relationship that is both personal and universal, allowing each individual to experience and express the divine in their own unique way. It is through our creative acts, through our imagination, that we come to know God and to participate in the divine nature. Thus, the divine is not something to be worshipped as external and supreme but to be understood as the very essence of our deepest self and our highest aspirations.

Me: Mr. Blake, your depiction of Nebuchadnezzar is deeply haunting. What specifically drew you to this story from the Book of Daniel?

Blake: The tale of Nebuchadnezzar strikes a chord on multiple levels. At its heart, it serves as a stark warning against the perils of unchecked power. Nebuchadnezzar’s hubris, his belief that he stood above divine law, ultimately leads to his profound humiliation. This narrative is a potent reminder to all in positions of power that deviation from the path of righteousness can bring even the mightiest to ruin.

Moreover, there is a profound element of redemption in Nebuchadnezzar’s journey. Following his descent into madness, he eventually regains his sanity and recognizes the supremacy of God. This cycle of pride, punishment, and potential for redemption resonates deeply within my work. It offers a beacon of hope, affirming that even those most lost to darkness can find their way back to the light.

Me: Mr. Blake, your “Satan Exulting Over Eve” is a captivating yet unsettling piece. Can you elaborate on the scene you’ve depicted? What message do you hope viewers take away from it?

Blake: Ah, “Satan Exulting Over Eve.” It indeed captures a critical moment. Here, the serpent, emblematic of forbidden knowledge, entwines Eve while flames of temptation edge the scene. It serves as a reminder that knowledge often comes with a price. Eve’s decision irrevocably changes humanity’s path. Yet, is it solely a narrative of darkness? Perhaps the knowledge gained, despite its perils, is a necessary stride in our evolutionary saga.

William Blake’s Printing Innovation and the Marriage of Words and Images

Me:  Mr. Blake, your illuminated works are stunning. Can you tell me a bit more about your printing technique? It seems so unique in how the text and image blend so seamlessly.

Blake:  Ah, thank you! What I’ve developed is called ‘illuminated printing.’ This technique lets me create both the text and the illustrations on the same copper plate. Unlike traditional etching, where the design is sunken into the plate, I use a method called relief etching. This means I etch away the background, leaving the text and image raised. It’s akin to a woodcut but offers the detail and control of copper.

Me:  Fascinating! Did this technique come about all at once, or did it evolve over time?

Blake:  It definitely wasn’t an overnight revelation. I experimented for years, wanting to find a way to fully integrate my words and pictures. Initially, the focus was on replicating the feel of pen and brush on the metal plate. But it evolved! I found I could achieve a wider range of effects with relief etching, which led to a shift in how I approached the final product.

Me: A shift? How so?

Blake:  In the beginning, the emphasis was on creating a printed page. But as the technique matured, I realized the potential for something more akin to a painting. The colors became bolder, richer, and the hand-coloring process became more integral to the final artwork.

Me:  That’s incredible, Mr. Blake. It sounds like you’ve truly pushed the boundaries of printing. But with your work being so heavily text-driven, do you consider yourself more of a poet or a printer?

Blake:  That’s a thought-provoking question. Honestly, I don’t see a clear divide. The words and the images work together, each informing the other. The poetry sets the scene; the imagery brings it to life. They’re two sides of the same coin, both crucial for conveying the message I want to express. But, to be fully honest, while I love the technical aspects of printing, the true heart of my work lies in the words. The poems are the foundation, the driving force. The printing technique simply allows me to present them in a way that amplifies their meaning. So, in that sense, I suppose I’d lean towards being a poet who utilizes the power of the printing press.

Me:  Your Divine Comedy series explores a grand, external journey, while your Job series focuses more on an internal struggle. What about the story of Job compelled you to create a series around it?

Blake:  That’s a keen observation. The story of Job is a profound exploration of human suffering and faith. The way he grapples with immense loss and questions the divine plan resonated deeply with me. I wanted to explore these themes visually, depicting the depths of despair and the search for meaning amidst hardship. Job’s unwavering faith in the face of unimaginable trials is inspiring. His story is a testament to the human spirit’s capacity to endure. Through my series, I aimed to capture the resilience of the human soul and the possibility of finding solace even in the darkest times.

Me:  Your Book of Job engravings share some similarities with the work of the German printmaker Albrecht Dürer. Was he an inspiration for you?

Blake:  Ah, Dürer! Yes, you have a keen eye. His work, especially his engravings, was indeed a significant inspiration for my Job illustrations. I greatly admired his meticulous attention to detail and his ability to capture the drama and emotion of a scene. Beyond that, we both shared a passion for exploring the human condition through powerful imagery. His Melencolia I, for instance, resonated deeply with me. In my Job engravings, I tried to capture that same melancholic introspection, grappling with existential questions. Perhaps you see a reflection of his work in mine, albeit filtered through the lens of my artistic sensibilities.

Me:  Mr. Blake, your art is remarkable, though it didn’t find much commercial success. How did you keep going despite that?

Blake:  True, mainstream success eluded me. But I was fortunate to have a supportive circle of patrons who believed in my vision. With their backing, I could keep creating without bowing to commercial pressures.

Me:  Your wife, Catherine, was a constant presence in your life. Did she influence your creativity and spirituality?

Blake:  Catherine was my muse, my rock. She stood by me through thick and thin, bolstering my confidence in my work. Her insights and encouragement fueled my creative process. We weren’t just partners in life; we collaborated artistically, with her input shaping many of my projects. Catherine was my wife, yes, but also my artistic ally.

Me: Your illustrations for Dante’s Divine Comedy are magnificent. What inspired you to undertake such a monumental project?

Blake: Dante’s vivid portrayal of sin and its consequences struck a chord with me. He fearlessly confronts the realities of human actions, exploring unseen realms, the eternal battle between good and evil, and the transformative power of faith. I saw an opportunity not only to depict scenes from the poem but also to provoke moral contemplation in the viewer.

Me:  Mr. Blake, you lived through a period of great political upheaval, from the American Revolution to the French Revolution to the riots in London. Which period of unrest frightened you the most? And how did these revolutions shape your views on society and government?

Blake:  Frightened? Perhaps both revolutions, in a way. The American cause held such promise, a chance to build a new nation free from tyranny. Yet, the seeds of inequality remained. The French, for all their talk of liberty, ended up mimicking the very structures they sought to dismantle. It revealed the deep rot within the system itself.

Me:  Did you see any positive outcomes from these revolutions, despite your concerns?

Blake:  Positive outcomes, eh? A thorny question. One must sift through the ashes to find the embers, wouldn’t you say? The American rebellion, for all its flaws, did plant a seed of liberty. The notion that a people can govern themselves, that’s a powerful ideal, even if the reality falls short. Perhaps it’s a spark that will ignite a true conflagration of freedom in the years to come.

As for the French, their revolution exposed the festering wounds of inequality, like the abolition of feudal dues. It may have been a bloody spectacle, but perhaps such a drastic cleansing was necessary before a new and just order could rise from the flames.  While the initial enthusiasm resonated deeply, the descent into violence and mob mentality was chilling. It showed the dangers of unchecked passion, the ease with which a righteous cause can veer into tyranny.

A Conversation on Letting Go

Me: My friend Mark recently showed me a piece of paper he keeps in his wallet with your words on it. It reads:

“He who binds to himself a joy

Does the winged life destroy;

But he who kisses the joy as it flies

Lives in eternity’s sunrise.”

This is from your poem “Eternity.” I wonder, what do you mean by “He who binds to himself a joy / Does the winged life destroy”?

Blake: Ah, “Eternity.” A wonderful poem, wouldn’t you say? The line you mentioned speaks to the importance of embracing the fleeting nature of joy. If you cling too tightly to a particular pleasure, you stifle it, clip its wings. True joy, like a bird in flight, thrives on freedom. It’s in the act of letting go, of savoring the moment as it passes, that you connect with a more enduring sense of joy, a state akin to “eternity’s sunrise.”

Think of it this way: If you hold onto something too possessively, you become closed off to new experiences. Joy, like life itself, is a journey. By clinging to one specific pleasure, you miss the countless others waiting to be discovered. It’s in embracing the constant flow of experience, in kissing joy as it flies by, that you find a richer, more fulfilling existence.

Me: You know, Mr. Blake, when I left the gallery, I felt a dark weight. I’m not sure if it was the intensity of your art that seemed to exude a fragrance of Melancholy or if it’s an echo of my own inner turmoil, especially having come from a war zone just a week ago. I wonder, your thoughts?

Blake: Ah, that is a profound reflection. My art indeed challenges the viewer, aiming to confront and perhaps even disturb, for it reflects not only the visions that have frequented my spirit but also the very depths of human experience—both dark and light. The darkness you felt might indeed mirror your own recent experiences, as art often serves as a mirror, revealing not only the artist’s intentions but also the inner landscape of those who view it. My works are intended to evoke, to stir, and to question, not to settle comfortably upon the eye or the heart. Whether they are dark or not may depend as much on what you bring to them as on what I placed within their creation.

Me: I will take it to heart. It was such an honor to converse with you, Mr. Blake. Thank you. I wish you a joyful afternoon of drawing.

Reading Recommendation 

William Blake vs the World, By John Higgs