Today's Topics:
Re: Testimony 2
Re: culture and democracy
Re: In Mourning
On-line Blake Concordance
10th-century Foucault? (was Testimony 2)
Quote
Re: culture and democracy
Re: 10th-century Foucault? (was Testimony 2)
Re: In Mourning
Re: culture and democracy
"On my American plains.." (America plate 4)
Blake sighting
Re: Ginsberg Testimony
Re: "On my American plains.." (America plate 4)
Re: culture and democracy
Re: culture and democracy
Re: Blake sighting
Blake admin note (was: Re: culture and democracy)
------------------------------
Date: Wed, 9 Apr 1997 09:00:30 -0500
From: tomdill@wc.stephens.edu (TOM DILLINGHAM)
To: blake@albion.com
Subject: Re: Testimony 2
Message-Id: <97040909003000@wc.stephens.edu>
Well, gee, hugwall/wahu, what exactly is a "cult figurine"? (Would not
that be a good term to apply to Blake during and immediately after his
lifetime? A small group of disciples and admirers, some reluctant patrons?)
It seems to me that a poet who could be praised by as diverse a group of
readers/critics as Helen Vendler (far to the right and in the new critical
camp of academic critics) and, say, Kenneth Rexroth, or Harvey Gross and
Michael McClure--must have a wide range of appeal; that's not even to
mention his ability to perform with musicians as diverse as Dylan and
Philip Glass, Ravi Shankar and the Chieftains, etc. Nor to mention the
substantial crowds who would show up for his readings/performances, usually
in my limited experience a very diverse group, all ages, many genders,
various ethnicities. True--not a cult figure, but at genuine public
artist who managed somehow not to be turned into a media freak or someone
merely famous for being famous. Of course his poetry was only a small
part of his output in later years, as he devoted much of his time (and
too much of his publication) to occasional or ephemeral verse (though he
would not accept the distinction there, I suspect--"Ballad of the Skeletons"
was as "serious" for him as was "Howl," most likely), but in the range of
contemporary poets, it seems to me he maintains an honorable position
*as a poet*, though his influence may have spread in directions that have
nothing to do with poetry.
Tom Dillingham
------------------------------
Date: Wed, 9 Apr 1997 08:51:35 -0700 (PDT)
From: Ralph Dumain
To: blake@albion.com, blake@albion.com
Subject: Re: culture and democracy
Message-Id: <2.2.16.19970409105009.30273d98@pop.igc.org>
Content-Type: text/plain; charset="us-ascii"
Gloudina Bouwer's response raises some important questions, which may also
have something to do with Hugh "Call Waiting" Walthall's arguing about
poetry while I'm arguing about society. Before I begin, let me commence
with a quip from neoconservative novelist Saul Bellow: how many Zulus have
written novels like Tolstoy, or something like that. The real questions
would be: who would need to write such novels? Under what circumstances
does the form of the novel come into existence or pass away? In a different
sort of society, perhaps novels would become superfluous because life will
be too much fun? These sort of considerations fit in with my cryptic
phrases about potentiality and actuality, the unification of art and life,
the moment of freedom, and perhaps even Hugh's concern about dissipation.
If I had written, the striving for democracy, or culture emerging from
below, would that have helped? The word democracy comes into our discussion
from two angles: (1) the USA having left European hierarchy and aristocracy
behind, (2) the USA itself being undemocratic because of slavery, Jim Crow,
robber barons, plutocrats, etc. You'll get no argument from me re (2).
Re CLR James on America: After you finish THE C.L.R. JAMES READER, you might
want to try James's AMERICAN CIVILIZATION, which is even more ripe for your
criticisms. James was culturally a Black European. Though he wrote a few
paragraphs on jazz, he waxed eloquent over Beethoven which is where he
really lived. However, James was one of the first to recognize the
centrality of a marginalized population -- black Americans -- to the entire
course of American history and to the coming social revolution. James
always recognized the centrality of black Americans to US society. His
concerns here, though, were historical, political, and economic, rather than
cultural. James has been criticized in some reviews for being overly
pro-American at the height of McCarthyism in his writings such as AMERICAN
CIVILIZATION (1949-50 but unpublished until 1993) and MARINERS, RENEGADES,
AND CASTAWAYS: THE STORY OF HERMAN MELVILLE AND THE WORLD WE LIVE IN (1953).
(James was deported in 1953 for his Trotskyist affiliations.) However,
James's concern was not to cover up the lack of democracy, especially in the
form of Jim Crow, but rather to explain why Americans are different
politically and culturally from Europeans, and so he goes back to the
frontier and the origins of American individualism, which indeed long
precedes Ellis Island.
So the question is not the actuality of democracy, which is as evanescent in
the USA as everywhere else, but a culture untrammeled by hundreds or
thousands of years of aristocracy and ascribed status. Though I would add
that the USA would be lost without Jewish humor, I have to agree in so many
ways that black Americans exerted a far more decisive influence over
American cultural expression than all the voluntary immigrant groups. This
is democratic viz. where the culture comes from: no monarch ever
commissioned Scott Joplin or Charlie Parker.
As for freedom of ideas, the hospitality toward freedom of speech is not the
same as freedom of action, and in bourgeois democracies the former is
tolerated so long as it doesn't lead to the latter. Or would you deny that
England in 1795 had fewer lifestyle options than San Francisco in 1965?
Culture is needed most where opportunities for expression in everyday life
are most curbed. Perhaps in a future society Saul Bellows will be rendered
useless and we won't have to worry about whpo is highest on the high culture
totem pole. And re Ginsberg's dissipation, I am not even going to argue
with Hugh about Ginsberg as a _poet_ compared to Tom, Dick, and Harry.
Maybe Ginsberg's poetry suffered because he acted out too much in real life
and lost the focus that the omnipresence of the secret police might have
given him in other circumstances. I don't have a final answer to this, but
Blake no more than Ginsberg was concerned purely about "culture".
As for the future, I don't see much happening here, as I don't think too
highly of the rap generation, and I see no prospects for the revitalization
of American democracy which is the prerequisite ot the revitalization of
American mass culture. But I don't think we'll ever see anything
interesting come out of Japan or China or Germany or whichever financial
plutocracy holds the key to the future. I doubt any of them can touch us
when it comes to the dynamism of capitalist culture. As far as any kind of
culture that would interest me, a culture that is not yet exhausted as ours
is, I would look to a place like Brazil. There too you find dynamic, new
world, multicultural, and African-based cultural roots. Also no democracy.
But they do have the Workers Party. Politically Americans are just a sorry
lot of wankers.
What finally about Blake? Blake certainly poured all his energy into his
art because there was no space for him in the real life of the society.
There wasn't even much freedom of speech either. If he wanted to sport
about naked, he could only do it in his back yard. And Blake didn't really
turn into an industry until the 1960s when a whole generation could finally
appreciate him because society had finally evolved to that point. If you
remember Woodstock, you weren't there.
------------------------------
Date: Wed, 9 Apr 1997 13:37:17 -0500
From: joz@cove.com
To: blake@albion.com
Subject: Re: In Mourning
Message-Id:
Content-Type: text/plain; charset="us-ascii"
>At 11:30 AM 4/6/97 -0500, joz@cove.com wrote:
>>But on the
>>difference between them - Blake I think was a poet but his intent was not
>>poetical as that might be commonly understood. Ginsberg intent was to be a
>>poet as it is commonly understood, and the world reviled him, loved him and
>>so honoured him as a poet. Like Byron. He had a role. To me Blake is
>>involved in something different. Shakespeare was a poet too, but like
>>Blake his adgenda was different.
>
>I don't understand these assertions at all. If Ginsberg had a role, was
>that a role solely poetic, as you asserted, or some other role, e.g.
>non-poetic roles a la Byron of carouser or revolutionary? Are you saying
>that Ginsberg was interested in poetry for its own sake while Blake was not?
>Sure, Ginsberg was a master at self-promotion, but for the rest, I don't
>think you have a leg to stand on.
This is difficult to make clear.
1. Blake saw visions of another truer reality (lets ride with that a
moment).
2. These visions were explicated not in a direct way but through a
medium of art and poetry.
3. The necessity of the medium makes Blake a poet. Not his intent.
The role of poet is a Urizenic (does he ever use that word himself?)
construct. Taken at his word, this is his relation to poetry.
Ginsberg is a poet whose writing is engaged directly with the world in a
palpable living way that blake would have nothing to do with. Blake, if he
is anything, is a prophet of sorts, where as Ginsberg is far closer to
Whitman, a human resonator, an amplifier of language in the context of
experience.
Shakespeare, to take up a point in a previous missive, is a poet because
the dramatic convention of the time made him one, but as Blake is a prophet
or some sort of Last-philosopher, so Billy the Whiz Shakespeare is a
dramatist.
I think it is necessary to take Blake at his word and believe what he
believed when talking about him.
Joz
------------------------------
Date: Wed, 9 Apr 1997 14:06:16 -0400 (EDT)
From: Nelson Hilton
To: blake@albion.com
Subject: On-line Blake Concordance
Message-Id:
Content-Type: TEXT/PLAIN; charset=US-ASCII
Now submitted to the Public is the on-line Concordance to the Complete
Poetry and Prose of William Blake, edited by David V. Erdman (1988):
http://www.english.uga.edu/Blake_Concordance
The site also enables retrieval of context, up to the entire file. This
MLA Center for Scholarly Editions "Approved Edition" is offered with the
permission of the copyright holders David V. Erdman and Virginia Erdman.
Notice of errors introduced in preparation of the on-line version will be
appreciated.
Nelson Hilton -=- English -=- University of Georgia -=- Athens
Was ist Los? "Net of Urizen" or "Jerusalem the Web"?
------------------------------
Date: Wed, 9 Apr 1997 20:09:43 MET
From: "D.W. DOERRBECKER"
To: Hugh Walthall , blake@albion.com
Subject: 10th-century Foucault? (was Testimony 2)
Message-Id: <6670F4177D@netwareserver.uni-trier.de>
April 9th, 1997
Testimony 2, Hugh Walthall's response to Ralph Dumain, ends with the
following lines:
> You can say anything you want about me Ralph, but the 10th
> Century? That hurts. However, there is a wonderful book called
> The Year 1000 by I think, Henri Foucault? Anyway, these days
> I'm usually hanging out in China about 180 c.e.
Very pleased to be informed of a new (pothumous) Foucault
publication. But that ain't Michel, is it? And this cannot be a
reference to Henri Focillon's *L'an mille*, or can it?? Furthermore,
didn't Ralph Dumain place wahu in the eighteenth, rather than the
tenth, century in the first place? And would that really hurt quite
as much?
--DWD
------------------------------
Date: Wed, 9 Apr 1997 11:43:04 -0700
From: "Charlie K."
To: blake@albion.com
Subject: Quote
Message-Id: <199704091840.LAA24722@gost1.indirect.com>
[from Jerusalem, plates 16 & 17]
All things acted on Earth are seen in the bright Sculptures of
Los's Halls & every Age renews its powers from these Works
With every pathetic story possible to happen from Hate or
Wayward Love & every sorrow & distress is carved here
Every Affinity of Parents Marriages & Friendships are here
In all their various combinations wrought with wondrous Art
All that can happen to Man in his pilgrimage of seventy years
Such is the Divine Written Law of Horeb & Sinai:
And such the Holy Gospel of Mount Olivet & Calvary:
His Spectre divides & Los in fury compells it to divide:
To labour in the fire, in the water, in the earth, in the air.
To follow the Daughters of Albion as the hound follows the scent
Of the wild inhabitant of the forest. to drive them from his own:
To make a way for the Children of Los to come from the Furnaces
But Los himself against Albions Sons his fury bends, for he
Dare not approach the Daughters openly lest he be consumed
In the fires of their beauty & perfection & be Vegetated beneath
Their Looms. in a Generation of death & resurrection to forgetfulness
They wooe Los continually to subdue his strength: he continually
Shews them his Spectre: sending him abroad over the four points of
heaven
In the fierce desires of beauty & in the tortures of repulse! He is
The Spectre of the Living pursuing the Emanations of the Dead.
Shuddring they flee: they hide in the Druid Temples in cold chastity:
Subdued by the Spectre of the Living & terrified by undisguisd desire.
For Los said: Tho my Spectre is divided: as I am a Living Man
I must compell him to obey me wholly! that Enitharmon may not
Be lost: & lest he should devour Enitharmon: Ah me!
Piteous image of my soft desires & loves: O Enitharmon!
I will compell my Spectre to obey: I will restore to thee thy Children.
No one bruises or starves himself to make himself fit for labour!
Tormented with sweet desire for these beauties of Albion
They would never love my power if they did not seek to destroy
Enitharmon: Vala would never have sought & loved Albion
If she had not sought to destroy Jerusalem; such is that false
And Generating Love: a pretence of love to destroy love:
Cruel hipocrisy unlike the lovely delusions of Beulah:
And cruel forms, unlike the merciful forms of Beulahs Night
They know not why they love nor wherefore they sicken & die
Calling that Holy Love: which is Envy Revenge & Cruelty
Which separated the stars from the mountains: the mountains from
Man
And left Man. a little grovelling Root, outside of Himself.
------------------------------
Date: Wed, 09 Apr 1997 12:03:44 -0700
From: Steve Perry
To: blake@albion.com
Subject: Re: culture and democracy
Message-Id: <334BE810.1815FB19@surf.com>
Content-Type: text/plain; charset=iso-8859-1
Ralph Dumain wrote:
So the question is not the actuality of democracy,
which is as evanescent in
the USA as everywhere else, but a culture untrammeled by hundreds or
thousands of years of aristocracy and ascribed status. Though I would
add
that the USA would be lost without Jewish humor, I have to agree in so
many
ways that black Americans exerted a far more decisive influence over
American cultural expression than all the voluntary immigrant groups.
This
is democratic viz. where the culture comes from: no monarch ever
commissioned Scott Joplin or Charlie Parker.
Ralph is right on here. The American frontier experience has created
a culture that wants to tame, or contain experience, a desire to define
or give meaning to experience that is otherwise meaningless; while European
culture has always been a reaction, a sort of avenue of freedom from the
oppression of thousands of years of corrupt and corrupting society.
A culture like that of the US ends up redefining itself at every turn because
the collective experience is so diffuse that it can accept anything and
everything. As Blake says "Opposition is true friendship", and in
our American culture there is no opposition to be had. If there is
a threat to the overarching authority, which I beleive is our sense of
protestant economic guilt; (i.e., if I am not successful economically there
must be something wrong with me) than that threat is merely coopted by
the larger culture/economy, or trivialized.
Art requires an audience, an audience is built of a receptive but critically
minded community that shares its thought. What is happening, however,
is that the individual is becomming increasingly disenfranchised from the
community of shared thought, partially because of the volume of information
and the dissonance that creates, but also they are alienated from the meaning
of what the shared thought or community is. That meaning is no longer
in focus or particularly urgent. In this sense then Ginsburg
is a classic artist of our time, ending his career with more explosive
or ejaculative performance oriented works with easy targets, like the tobacco
industry. A sort of special interest artistic lobbying. The
diffuse culture easily swallows his broader more systematic criticism and
explains it away as confessional crying in his beer.
More to the point, the boogey man for Eurpoean cultures was more easily
described and more omnipresent as an exterior force in everyday life.
The audience knew what the artist means becuase the community there was
enffused with the everyday experience. The American artist's experience
is one of trying to create art that will galvanize an audience with his/her
vision, an audience that may not even exist.
------------------------------
Date: Wed, 09 Apr 1997 16:56:07 -0400
From: Sinclair
To: blake@albion.com
Subject: Re: 10th-century Foucault? (was Testimony 2)
Message-Id: <334C0267.5F78@cyberenet.net>
Content-Transfer-Encoding: 7bit
Content-Type: text/plain; charset=UTF-7
PLEASE TAKE US OFF YOUR LIST!!!!!!!!!!!
------------------------------
Date: Wed, 09 Apr 1997 17:04:13 -0400
From: Sinclair
To: blake@albion.com
Subject: Re: In Mourning
Message-Id: <334C044D.664A@cyberenet.net>
Content-Transfer-Encoding: 7bit
Content-Type: text/plain; charset=UTF-7
PLEASE TAKE US OFF YOUR LIST!!!!!!!!!!!
------------------------------
Date: Wed, 09 Apr 1997 14:38:13 -0700
From: Steve Perry
To: Blake List
Subject: Re: culture and democracy
Message-Id: <334C0C45.326432BF@surf.com>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
Sorry about the previous post of this. Hit the wrong switch....
> Ralph Dumain wrote:
>
>So the question is not the actuality of democracy, which is as evanescent in
>the USA as everywhere else, but a culture untrammeled by hundreds or
>thousands of years of aristocracy and ascribed status. Though I would
> add that the USA would be lost without Jewish humor, I have to agree in so
> many ways that black Americans exerted a far more decisive influence over
>American cultural expression than all the voluntary immigrant groups.
> This is democratic viz. where the culture comes from: no monarch ever
>commissioned Scott Joplin or Charlie Parker.
Ralph is right on here. The American frontier experience has
created
a culture that wants to tame, or contain experience, a desire to define
or give meaning to experience that is otherwise meaningless; while
European
culture has always been a reaction, a sort of avenue of freedom from
the
oppression of thousands of years of corrupt and corrupting
society.
A culture like that of the US ends up redefining itself at every turn
because
the collective experience is so diffuse that it can accept anything and
everything. As Blake says "Opposition is true friendship", and in
our American culture there is no opposition to be had. If there
is
a threat to the overarching authority, which I beleive is our sense of
protestant economic guilt; (i.e., if I am not successful economically
there
must be something wrong with me) than that threat is merely coopted by
the larger culture/economy, or trivialized.
Art requires an audience, an audience is built of a receptive but
critically
minded community that shares its thought. What is happening,
however,
is that the individual is becomming increasingly disenfranchised from
the
community of shared thought, partially because of the volume of
information
and the dissonance that creates, but also they are alienated from the
meaning
of what the shared thought or community is. That meaning is no
longer
in focus or particularly urgent. In this sense then
Ginsburg
is a classic artist of our time, ending his career with more explosive
or ejaculative performance oriented works with easy targets, like the
tobacco
industry. A sort of special interest artistic lobbying. The
diffuse culture easily swallows his broader more systematic criticism
and
explains it away as confessional crying in his beer.
More to the point, the boogey man for Eurpoean cultures was more easily
described and more omnipresent as an exterior force in everyday life.
The audience knew what the artist means because the community there was
enffused with the everyday experience; The American artist's experience
is one of trying to create art that will galvanize an audience with
his/her
vision, an audience that may not even exist.
------------------------------
Date: Wed, 9 Apr 1997 18:38:37 -0400 (EDT)
From: bouwer
To: blake@albion.com
Subject: "On my American plains.." (America plate 4)
Message-Id: <199704092238.SAA25490@host.ott.igs.net>
Content-Type: text/plain; charset="us-ascii"
Thank you, Ralph Dumain, for your patient answer to
my previous post. I thought for sure you were going
to slam me.
I am afraid I may have come across as anti-American,
which is far from the truth. I can also assure you that
American literature is studied with diligence in the
rest of the world. When I visited New London and thought
about Melville and Moby Dick, I was possibly more awed
than when I saw Stratford on the Avon, or even Golden
Square. And when I saw lilacs for the first time here
on this continent, my throat constricted. For so long
had I carried "When lilacs last in the door-yard
bloom'd" inside me, that it had become part of the fibre
of my being.
I can however not resist this sideswipe at Saul Bellow,
if he indeed said "How many Zulus have written novels like
Tolstoy?" Does he, in the first place, know anything about
Zulu literature? Does he know B.W. Vilakazi? Does he know
that a few decades ago all domestic work came to a stand-
still in the Zulu-speaking parts of South Africa when the
South African Broadcasting Corporation serialized half hour
segments of Zulu translations of Shakespeare plays and
all domestic workers strangely found their ways to rooms
with radios and proceeded to polish those floors with great
gusto whenever anyone approached. Only "In heart-formed
Africa" - Song of Los, 1795.
Gloudina Bouwer
Song of the Emerald-spotted Wood-dove
(Translation of traditional Zulu song)
My father is dead
and I was not told.
My mother is dead
and I was not told.
My heart in pain
cries:
to
toto
totototo.
------------------------------
Date: Wed, 9 Apr 1997 18:46:38 -0500
From: tomdill@wc.stephens.edu (TOM DILLINGHAM)
To: blake@albion.com
Subject: Blake sighting
Message-Id: <97040918463831@wc.stephens.edu>
The April 10 issue of the _New York Review of Books_ includes an interesting
article by Richard Holmes (biographer of Coleridge, among others) about
Romantic portraiture. He contrasts the images of 18th century men o f
letters with the characteristic "wildness" of the geniuses of Romantic
poetry as portrayed by later portraitists. While some difficult literary
and historical issues are passed over rather casually, it is certainly
worth reading.
In one section of the article he mentions the vogue for both life masks
and death masks (linked as it was to phrenological theories about
cranial and facial formations and their putative relationship to
character traits) and writes: "There is probably no life mask
more stunningly expressive of inner power than James Deville's
mask of Blake (1823), later cast in bronze. It was deliberately
intended as a phrenological demonstration of what was 'representative
of the Imaginative Faculty'." Holmes also mentions the Thomas
Phillips portrait of Blake, though he does not comment on it.
(The Deville life mask is reproduced in many publications, of
course, including Ackroyd's recent biography.)
It would be interesting to know what Blake thought of the process
of creating a life mask and whether he was aware of the phrenological
notions. Given his views on imitation of nature, it is almost surprising
that he cooperated at all with the process.
Tom Dillingham
------------------------------
Date: Wed, 09 Apr 1997 17:30:58 -0700
From: David Rollison
To: blake@albion.com
Subject: Re: Ginsberg Testimony
Message-Id: <334C34BF.60D9@marin.cc.ca.us>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
Beware of anybody who asserts that he know s what to say and how to say
it, of anybody who acknowledges praise as due him.
Ralph Dumain wrote:
>
> At 10:07 AM 4/8/97 -0500, TOM DILLINGHAM wrote:
> >Ralph--Probably your greatest post ever--substantial and, to my mind,
> >unanswerable. I wish I had had the imagination to write as well.
>
> Thanks for the kind words. I paid my dues until I finally learned what to
> say and how to say it.
>
> I've been busy as hell. Haven't advanced one iota in working on my book,
> but we've spent endless time interacting with visitors and other people,
> including the Aussie guy I met in DC, but who is now here after returning
> from London. The days are busy. But I have to return to DC late Thursday
> and endure DC again for a week or two. That means I've got a lot to do in
> the next day. However, I'll make a brief attempt to answer your previous post.
>
> >But I have been wondering what is your take on the work of Walter Benjamin?
>
> Everybody tells me I should read Benjamin. Not any of his colleagues, but
> Benjamin specifically. A lot of James people are interested in Benjamin and
> tell me there is a link. I don't know what to make of this, since I have
> read only a few essays in ILLUMINATIONS. I don't understand the essay on
> art in the age of mechanical reproduction. "Unpacking my library" was
> interesting. The famous "theses on the Philosophy of History" is quotable,
> at least. But I don't know enough of Benjamin to know what to make of him.
> I need to know what I should be reading of his. I wish someone would give
> me a brief explanation of what he is all about.
>
> Thanks for the specific recommendation of the two essays you mentioned. Are
> those essays available only in the new SELECTED WRITINGS volume, or are they
> available in earlier, cheaper editions of B's translations? Are these
> essays short enough to photocopy?
>
> So, we've got to think of some title for you as consultant/liaison to the
> CLR James Institute. This is part of our master plan for a funding
> strategy, which may mean money for us, and maybe some day money for others.
> So how do we pitch your connection to the Institute? Romantic period
> literature, lit theory in general, West Indian lit, American lit, Melville?
> Other ideas?
------------------------------
Date: Wed, 09 Apr 1997 21:08:01 -0400
From: Sinclair
To: blake@albion.com
Subject: Re: "On my American plains.." (America plate 4)
Message-Id: <334C3D71.2DA2@cyberenet.net>
Content-Transfer-Encoding: 7bit
Content-Type: text/plain; charset=UTF-7
I appreciate all of the insight on Blake, but I am no longer studying
him. Please do not trouble yourself to send me information.
Thank you sincerely,
snclr@cyberenet.net
------------------------------
Date: Wed, 09 Apr 1997 21:09:19 -0400
From: Sinclair
To: blake@albion.com
Subject: Re: culture and democracy
Message-Id: <334C3DBE.6947@cyberenet.net>
Content-Transfer-Encoding: 7bit
Content-Type: text/plain; charset=UTF-7
I appreciate you taking the time to send me Blake info, but I am no
longer studying his works. Please do not trouble yourself in mailing
me anymore. I am no longer a subscriber.
Sincerely,
snclr@cyberenet.net
------------------------------
Date: Wed, 09 Apr 1997 21:10:17 -0400
From: Sinclair
To: blake@albion.com
Subject: Re: culture and democracy
Message-Id: <334C3DF9.4399@cyberenet.net>
Content-Transfer-Encoding: 7bit
Content-Type: text/plain; charset=UTF-7
I appreciate you taking the time to send me Blake info, but I am no
longer studying his works. Please do not trouble yourself in mailing
me anymore. I am no longer a subscriber.
Sincerely,
snclr@cyberenet.net
------------------------------
Date: Thu, 10 Apr 1997 01:31:47 -0400 (EDT)
From: TomD3456@aol.com
To: blake@albion.com
Subject: Re: Blake sighting
Message-Id: <970410013145_212030080@emout09.mail.aol.com>
Blake was certainly aware of phrenology. See his marginalia to Lavater's
Physiognomy, in Erdman's edition.
--Tom Devine
------------------------------
Date: Thu, 10 Apr 97 01:05:39 -0700
From: Seth T. Ross
To: blake@albion.com
Cc: Sinclair
Subject: Blake admin note (was: Re: culture and democracy)
Message-Id: <9704100805.AA04392@albion.com>
Content-Type: text/plain
Sinclair writes:
> Please do not trouble yourself in mailing me anymore.
It's no trouble at all, really. Your repeated posts to the Blake List,
however, were uncalled for.
> I am no longer a subscriber.
Yes you are! You haven't unsubscribed. Do you realize that you send thousands
of copies of your requests all around the world?
To leave the Blake List, send an email to blake-request@albion.com with the
word "unsubscribe" as the subject of the message.
TO: blake-request@albion.com
SUBJECT: unsubscribe
While I'm on an administrative thread, a number of folks have asked about
where to find the list archive:
http://www.albion.com/indexBlake.html
Seth Ross
List maintainer
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End of blake-d Digest V1997 Issue #44
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