By Christopher Norlund Introduction As an elementary school aged child of the 1980s, I used to rush home every weekday from school to catch the most…
By Lyndsay Brown Y: The Last Man, a planned sixty issue series from DC’s Vertigo imprint by Brian K. Vaughan and Pia Guerra, presents a unique…
By Dina A. Mahmoud Every telling of a story or a testimony is in some way an act of reconstruction. When telling one’s own story,…
** Editor’s Note: Due to editorial formatting constraints, the below coding samples use double quotation marks. XML markup uses the straight quote (Unicode: alt+0022). By…
By Natsume Fusanosuke from Why Is Manga So Interesting?: Its Grammar and Expression (Manga wa naze omoshiroi no ka: sono hyōgen to bunpō, 1997) Translated…
By Arkady Plotnitsky1 By Way of a Prologue Let us consider William Blake’s 1808 drawing “The Vision of the Last Judgment” (Fig 1). If there could…
By Nelson Hilton I suggest that William Blake was an initial reader of William Wordsworth’s first published book of poetry, An Evening Walk (1793 – published jointly…
By Esther Leslie 1. Infernal Lines In The Marriage of Heaven and Hell words, images and lines alike assert themselves on the page.1 The page’s surface is brimful…
By Roger Whitson William Blake and Alan Moore stand on a precarious precipice in the globalizing capitalist world. Both are rebels, prophets, religious and occultic sages.…
By Donald Ault Note: The following essays originally appeared as an afterward and appendix in Donald Ault’s Narrative Unbound: Re-Visioning William Blake’s The Four Zoas, Station…