Titlebook: Queer Blake; Helen P. Bruder,Tristanne Connolly (Associate Prof Book 2010 Palgrave Macmillan, a division of Macmillan Publishers Limited 2

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Drawing Lines: Bodies, Sexualities and Performance in ,] and ., in order to construct a ‘lan- guage’ able to describe the rigid bodies formed in accordance with Urizen’s rational/religious laws, while also indirectly presenting the ungrounded, contingent bodies formed through performance. Discussions of Blake’s views on bodies and sexualities are often

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The Body of the Blasphemer,obic themes, motifs or values at play in his art. As art historians working on Blake have repeatedly emphasized, his work as a visual artist in watercolour and tempera can appear the least exceptional aspect of his creative output: it is, simply put, in his drawings and paintings that he most looks

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,‘Real Acting’: ‘Felpham Billy’ and Grayson Perry Try It On,hetics (Bruder 2007b). Ample, beautiful evidence for that transgendered play was found in the unique set of watercolour sketches William produced as a gift for Ann (1797) and here I chart a further sexually experimental step, into textual transvestism, by focusing on an unprecedented verbal collecti

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,‘The lineaments of… desire’: Blake’s , and Romantic Literary Treatments of Rape,hrough the entrapment of other women for sex- ual gratification. Many readers experience a sense of visceral revulsion at Oothoon’s complicity here with the gender ideology that has victimized and frustrated her.. Without attempting to denigrate or deny such a reaction, this chapter addresses the de