The closing years of the eighteenth century were the particular domain of literary radicals whose work challenged ideas on gender and sexuality. During this transitional period, the poetry of William Blake reflected the changing mores of society as well as his own developing notions of gender. This work presents an in-depth exploration of gender issues in Blake's three epic poems, The Four Zoas, Milton and Jerusalem. The opening chapter discusses basic concepts such as notions of apocalypse, utopia and gender, all essential to the author's reading of Blake. Background regarding the literary atmosphere of the time, which included influence from the tradition of dissent, English Jacobinism and early feminism, is also included, effectively setting the context for Blake's work. The book then examines the poems in chronological order. It concentrates particularly on male and female activity within each work (refuting the common assumption that Blake was anti-feminist) while exploring the symbolism of the poetry. Blake's repeated theme of the struggle between the sexes receives special emphasis, as does the progress of his gender vision through the three poems.

Blake's combination of verse and design invites interdisciplinary study. The essays in this collection approach his work from a variety of perspectives including masculinity, performance, plant biology, empire, politics and sexuality.

Scholars have often drawn attention to William Blake's unusual sensitivity to his social context. In this book Nicholas Williams situates Blake's thought historically by showing how through the decades of a long and productive career Blake consistently responded to the ideas, writing, and art of contemporaries. Williams presents detailed readings of several of Blake's major poems alongside Rousseau's Emile, Wollstonecraft's Vindication of the Rights of Woman, Paine's Rights of Man, Burke's Reflections on the Revolution in France, and Robert Owen's Utopian Experiments. In so doing, he offers revealing new insights into key Blake texts and draws attention to their inclusion of notions of social determinism, theories of ideology-critique, and Utopian traditions. Williams argues that if we are truly to understand ideology as it relates to Blake, we must understand the practical situation in which the ideological Blake found himself. His study is a revealing commentary on the work of one of our most challenging poets.

Against the backdrop of Britain's underground 18th and early-19th century homosexual culture, mob persecutions, and executions of homosexuals, Hobson shows how Blake's hatred of sexual and religious hypocrisy and state repression, and his revolutionary social vision, led him gradually to accept homosexuality as an integral part of human sexuality. In the process, Blake rejected the antihomosexual bias of British radical tradition, revised his idealization of aggressive male heterosexuality and his male-centered view of gender, and refined his conception of the cooperative commonwealth.

William Blake, poet and artist, is a figure often understood to have 'created his own system'. Combining close readings and detailed analysis of a range of Blake's work, from lyrical songs to later myth, from writing to visual art, this collection of thirty-eight lively and authoritative essays examines what Blake had in common with his contemporaries, the writers who influenced him, and those he influenced in turn. Chapters from an international team of leading scholars also attend to his wider contexts: material, formal, cultural, and historical, to enrich our understanding of, and engagement with, Blake's work. Accessibly written, incisive, and informed by original research, William Blake in Context enables readers to appreciate Blake anew, from both within and outside of his own idiom.

While overlooked by extant studies of the Gothic, William Blake’s literary and visual oeuvre embodies the same obsessions and fears that inform the Gothic revival with which he was contemporary.

William Blake and the Body re-evaluates Blake's central image: the human form. In Blake's designs, transparent-skinned bodies passionately contort; in his verse, metamorphic bodies burst from each other in gory, gender-bending births. The culmination is an ideal body uniting form and freedom. Connolly explores romantic-era contexts like anatomical art, embryology, miscarriage and twentieth-century theorists like those of Kristeva, Douglas, Girard to provide an innovative new analysis of Blake's transformations of body and identity.