Eternity's Sunrise

Starred review from August 24, 2015
Damrosch (Jonathan Swift) extends “an invitation to understanding and enjoyment” of poet William Blake (1757–1827) by bringing to life the inner logic and “imaginative reality” that governs his body of work. This exemplary study begins with a primer on reading Blake’s verse, presented alongside his engravings, and goes on to explicate the artist’s “dynamic, not iconic” recurrent symbols, revolutionary ideas, and “personal myth” that over his lifetime grew “challengingly complicated and increasingly strange.” At ease with the complexities of the historical period as well as his subject’s inward torments, Damrosch leads the reader through Blake’s life and work with thoughtful clarity and frequent affection, exploring the well-studied poems and making accessible more abstruse works such as The Four Zoas, Milton, and Jerusalem. Damrosch’s readings are nuanced, sensitive, and deeply perceptive, touched with wonder at the poet’s originality and alive to the ways that Blake’s beliefs presented “a wide-ranging challenge to orthodox morality.” With generous illustrations, including a gallery of breathtaking full-color plates, Damrosch’s study will build an appreciation among scholars and general readers alike for Blake’s “vast, complicated myth” and reinforce his place in the Western canon as a “profound thinker” and creative genius “not in a single art but in two.” 40 color plates and 56 b&w illus.

Starred review from August 15, 2015
Acclaimed scholar and biographer Damrosch (Literature/Harvard Univ.; Jonathan Swift: His Life and His World, 2013, etc.) brings decades of study to this analysis of William Blake's art, poetry, religion, and philosophy.Those with little experience with the 18th-century poet will probably benefit the most from this fascinating work. As the author writes, Blake's poems are undeniably strange, and his genius has always challenged the focus of his readers (he was overlooked during his lifetime). Especially difficult is tracing the complications of the unpublished poem "The Four Zoas" and their feminine emanations. Blake's outlooks on the divine, which is contained in all nature, and institutional religion, which he loathed, show in his invented symbols and unique myths. He sought the incarnation of the divine spirit of the human in the everyday, and he looked at conventional marriage as institutionalized prostitution and conventional religion as theatrical performance. In "London," nothing is sacred as Blake indicts church, law, monarchy, property, and marriage. He produced his own engravings and writings, and those who bought them tended to ignore the text. The author's study of the man and clear style make this much easier to read and tempt readers to seek out more. Blake was a complicated man, given to visions and paranoia, and he often heard voices, and Damrosch guides us through the paths of Blake's mind to ease our journey. Blake's poems and art were used to challenge and inspire, never to preach, and his first works had a social message. His long prophecies were not epics, however; a better analogy is music, as they resembled oratorios with key changes and tempo contrasts. Damrosch expertly navigates Blake's "question imagination," which "has never ceased to startle and inspire." General readers looking for a challenge will love this book and will dive into Blake's work. Many will find him just too far off the beam, but they, too, will enjoy the many color illustrations included in the text.

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