Blake List — Volume 1998 : Issue 32

Today's Topics:
	 Re: what happened?: NASSR:calling Keri Davies, Jen Michael, Paul Yoder
	 gouging jerusalem
	 Re: gouging jerusalem: sublimely opaque
	 palimpsest of city
	 Re: gouging jerusalem: sublimely opaque
	 conflicting sublimes
	 Re: palimpsest of city
	 the sublime
	 Re: palimpsest of city
	 Re: conflicting sublimes


Date: Fri, 29 May 1998 06:11:12 -0500 (CDT)
From: (susan p. reilly)
Subject: Re: what happened?: NASSR:calling Keri Davies, Jen Michael, Paul Yoder
Message-Id: <>

Looking at the 1998 NASSR schedule I see that Keri Davies, Paul Yoder, 
and Jennifer Davis Michael, all sometime (late?) of this list, are 
giving papers at NASSR--

I wonder whether the 3 of you might be persuaded to send abstracts to 
the list.

Paul is talking on "Gouging _Jerusalem_",  Keri on "Alexander Tilloch:  
Original and Stereotype", and Jennifer on "Blake and the Palimpsests of 
the City".

Susan Reilly

You wrote: 
>I want my Blake!  What happened to him?


Date: Fri, 29 May 1998 09:10:21 -0600
Subject: gouging jerusalem
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It is nice to see that Seth's fears of impending doom for the list have not
been realized.  Apparently Blake online is still online.

In answer to Susan Reilly's request, here is the proposal I submitted for
my NASSR/BARS paper. It all grows out of my obsession with the question of
"what happens" in *Jerusalem* and why "what happens" is so hard to figure

Gouging *Jerusalem*: Reading Blake's Erasures

The opening plates of William Blake's last major poem, Jerusalem the
Emanation of the Giant Albion (1820), are marked by several "erasures" of
text.  On the frontispiece, for instance, Blake deleted 11 lines of poetry
written onto the stone of the Gothic arch into which Los steps.  Perhaps
more revealing are the passages literally gouged out of plate 3 of
Jerusalem when, as Morton Paley puts it, Blake "attacked the copper plate."
In the former instance, the lines inked over on the Gothic arch had been
pronouncements on "Half friendship," the "Void outside of Existence," and
the "Sublime & Pathos" and "Reason" of Albion; in the passages gouged from
copper plate 3, Paley says that Blake "wanted to remove all traces of
personal intimacy and spiritual communion with his readership."  Indeed,
Paley suggests that the gouges in plate 3 make it a "'broken te