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There is no century in which Blake would not have seen angels.
--
Thomas Merton, in "Mystics and Zen Masters"

 

William Blake

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I wrote Fearful Symmetry during the Second World War, and hideous as the time was, it provided some parallels with Blake's time which were useful for understanding Blake's attitude to the world. Today, now that reactionary and radical forces alike are once more in the grip of the nihilistic psychosis that Blake described so powerful in Jerusalem, one of the most hopeful signs is the immensely increased sense of the urgency and immediacy of what Blake had to say.

 

Northrop Frye

 

A question arises regarding the angels who dwell with us, serve us and protect us, whether their joys are equal to those of the angels in heaven, or whether they are diminished by the fact that they protect and serve us. No, they are certainly not; for the work of the angels is the will of God, and the will of God is the work of the angels; their service to us does not hinder their joy nor their working. If God told an angel to go to a tree and pluck caterpillars off it, the angel would be quite ready to do so, and it would be his happiness, if it were the will of God.

 

Meister Eckhart

 

Emily Dickinson is the female Sade, and her poems are the prison dreams of a self-incarcerated, sadmomasochistic imaginist. When she is rescued from American Studies departments and juxtaposed with Dante and Baudelaire, her barbarities and diabolical acts of will become glaringly apparent. Dickinson inherits through Blake the rape cycle of The Faerie Queene. Blake and Spenser are her allies in helping pagan Coleridge defeat Protestant Wordsworth.

 

Emily Dickinson

 

Emily Dickinson is the female Sade, and her poems are the prison dreams of a self-incarcerated, sadmomasochistic imaginist. When she is rescued from American Studies departments and juxtaposed with Dante and Baudelaire, her barbarities and diabolical acts of will become glaringly apparent. Dickinson inherits through Blake the rape cycle of The Faerie Queene. Blake and Spenser are her allies in helping pagan Coleridge defeat Protestant Wordsworth.

 

Camille Paglia

 

He is, at heart, a curmudgeon, but a delightful one, with a vast range of knowledge, a wicked sense of humor and a talent for storytelling and mimicry. … He spends his days pondering his heroes: Mozart, Keats, Blake, Melville and Dickinson. He admires and yearns for their “ability to be private, the ability to be alone, the ability to follow some spiritual course not written down by anybody.”
Mr. Sendak is quick to insist that a vast distance stands between his own accomplishments and theirs. “I’m not one of those people,” he said. “I can’t pretend to be.”
Still, he has the feeling that “I will do something yet that is purely for me but will create for someone in the future that passion that Blake and Keats did in me.”
What he has failed to consider, though, is that he may already have.

 

Maurice Sendak