Customising Biography
Iain Sinclair, 22 February 1996
Collected Edition of William Blake’s Illuminated Books: Vol I: Jerusalem
editor David Bindman, edited by Morton D. Paley.
Tate Gallery, 304 pp., £48, August 1991,1 85437 066 9 Show More
editor David Bindman, edited by Morton D. Paley.
Tate Gallery, 304 pp., £48, August 1991,
Collected Edition of William Blake’s Illuminated Books: Vol. II: Songs of Innocence and Experience
series editor David Bindman, edited by Andrew Lincoln.
Tate Gallery, 210 pp., £39.50, August 1991,1 85437 068 5 Show More
series editor David Bindman, edited by Andrew Lincoln.
Tate Gallery, 210 pp., £39.50, August 1991,
Collected Edition of William Blake’s Illuminated Books: Vol III: The Early Illuminated Books
series editor David Bindman, edited by Morris Eaves, Robert Essick and Joseph Viscomi.
Tate Gallery, 288 pp., £48, August 1993,1 85437 119 3 Show More
series editor David Bindman, edited by Morris Eaves, Robert Essick and Joseph Viscomi.
Tate Gallery, 288 pp., £48, August 1993,
Collected Edition of William Blake’s Illuminated Books: Vol. IV: The Continental Prophecies: America, Europe, The Song of Los
editor David Bindman, edited by D.W. Dörbecker.
Tate Gallery, 368 pp., £50, May 1995,1 85437 154 1 Show More
editor David Bindman, edited by D.W. Dörbecker.
Tate Gallery, 368 pp., £50, May 1995,
Collected Edition of William Blake’s Illuminated Books: Vol. V: Milton, a Poem
series editor David Bindman, edited by Robert Essick and Joseph Viscomi.
Tate Gallery, 224 pp., £48, November 1993,1 85437 121 5 Show More
series editor David Bindman, edited by Robert Essick and Joseph Viscomi.
Tate Gallery, 224 pp., £48, November 1993,
Collected Edition of William Blake’s Illuminated Books: Vol. VI: The Urizen Books
editor David Bindman, edited by David Worrall.
Tate Gallery, 232 pp., £39.50, May 1995,9781854371553 Show More
editor David Bindman, edited by David Worrall.
Tate Gallery, 232 pp., £39.50, May 1995,
“... Welch was William Burroughs’s main intellectual squeeze. Ferlinghetti had high hopes for Jeremy Reed. The Beats were now heritage fodder, a potential Bloomsbury group. There was even talk of James Ivory optioning a Neal Cassady property. I wondered, thinking of Blake’s formative experiences there, whether Carolyn had caught any of Alan Bennett’s ... ”
