The secret and mystical sexual practices at the heart of William Blake’s creative and spiritual life • Reveals newly discovered family documents connecting Blake’s mother and Blake himself to Moravian and Swedenborgian erotic and visionary experimentation • Shows Blake had access to kabbalistic and tantric techniques of psychoerotic meditation, which used sexual arousal to achieve spiritual vision William Blake (1757-1827) has long been treasured as an artist and poet whose work was born out of authentic spiritual vision. The acutely personal, almost otherworldly look of his artwork, combined with its archetypal casting and depth of emotion, transcend societal conventions and ordinary experience. But much of the overtly sexual work has been destroyed or altered, deemed too heretical by conservative elements among the mystic Moravians and Swedenborgians, whose influence on Blake has been uncovered only recently. The author’s investigation into the radical psychosexual spiritual practices surrounding William Blake, which includes new archival discoveries of Blake family documents, reveals that Moravian and Swedenborgian erotic and visionary experimentation fueled much of Blake’s creative and spiritual life. Drawing also upon modern art restoration techniques, Marsha Keith Schuchard shows that Blake and his wife, Catherine, were influenced by secret kabbalistic and tantric rituals designed to transcend the bonds of social convention. Her exhaustive research provides a new context for understanding the mystical practices at the heart of Blake’s most radical beliefs about sexualized spirituality and its relation to visionary art.

William Blake once wrote that "The road of excess leads to the palace of wisdom." Inspired by these poetic terms, Jeffrey J. Kripal reveals how the works of scholars of mysticism are often rooted in their own mystical experiences, "roads of excess," which can both lead to important insights into these scholars' works and point us to our own "palaces of wisdom." In his new book, Kripal addresses the twentieth-century study of mysticism as a kind of mystical tradition in its own right, with its own unique histories, discourses, sociological dynamics, and rhetorics of secrecy. Fluidly combining autobiography and biography with scholarly exploration, Kripal takes us on a tour of comparative mystical thought by examining the lives and works of five major historians of mysticism—Evelyn Underhill, Louis Massignon, R. C. Zaehner, Agehananda Bharati, and Elliot Wolfson—as well as relating his own mystical experiences. The result, Kripal finds, is seven "palaces of wisdom": the religious power of excess, the necessity of distance in the study of mysticism, the relationship between the mystical and art, the dilemmas of male subjectivity and modern heterosexuality, a call for ethical criticism, the paradox of the insider-outsider problem in the study of religion, and the magical power of texts and their interpretation. An original and penetrating analysis of modern scholarship and scholars of mysticism, Roads of Excess, Palaces of Wisdom is also a persuasive demonstration of the way this scholarly activity is itself a mystical phenomenon.

The mystic's moment of illumination shares with great poetry the liberating power of the deepest levels of consciousness. In the words of William Blake, "If the doors of perception were cleansed, everything would appear to a man as it is, infinite." Poetry, Wilson argues, is a contradiction of the habitual prison of daily life and shows the way to transcend the ordinary world through an act of intense attention-and intention. The poet, like the mystic, is subject to sudden ""peak experiences"" when ""everything we look upon is blessed."" W.B. Yeats, Dostoevsky, Gautama Buddha, Kazantzakis, Van Gogh, Rupert Brooke, Arunja, Nietzsche, A.L. Rouse, Jacob Boehme, Suzuki, Edgar Allan Poe: their visionary understanding can generate an awareness in each of us of our potential to open the floodgates of inner energy that creates mystic experience. Colin Wilson first received international acclaim in 1956 for The Outsider. ""Ever since I was thirteen, I have been obsessed by the question of the nature of mystical experience,"" he writes, and from that time he has been on a quest of the mystical in poetry, religion, and psychology.

This brilliant outline of Blake's thought and commentary on his poetry comes on the crest of the current interest in Blake, and carries us further towards an understanding of his work than any previous study. Here is a dear and complete solution to the riddles of the longer poems, the so-called "Prophecies," and a demonstration of Blake's insight that will amaze the modern reader. The first section of the book shows how Blake arrived at a theory of knowledge that was also, for him, a theory of religion, of human life and of art, and how this rigorously defined system of ideas found expression in the complicated but consistent symbolism of his poetry. The second and third parts, after indicating the relation of Blake to English literature and the intellectual atmosphere of his own time, explain the meaning of Blake's poems and the significance of their characters.

Milton is a difficult and cryptic poem for those uninitiated in the ways of Blake's allusive and allegorical style. In an introductory essay, the editors directly address the nature of the poem's complexity, demonstrate how Blake's methods set out to disconcert conventional concepts of time, space, and human identity, and suggest some ways readers coming to Milton for the first time can understand and enjoy the challenges it offers. The editors also present a plate-by-plate commentary on how the illustrations contribute to the creation of a composite, visual-verbal experience. The extensive notes to the newly-edited letterpress text will also assist readers through Milton, its central themes and its byways, its heights and its depths. An equally helpful introduction and notes are provided for the three shorter works. Scholars will find much new information in this volume.