November is always the ‘pit of the year’ for me – and this one has been suitably dark and rainy. Still, there are the autumn colours everyone raves about. From local gardens:
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On the Musica en Moviemiento front, I have been preparing for the up and coming residential course and performances At-A-Distance. Both take place in early December – almost Now!!

I am excited to see my William Blake and Gnosticism book in production.
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This is a Spanish version of my extended essay with illustrations of a similar theme:
http://www.michaelgrenfell.co.uk/william-blake-gnosticism-and-gnosis-2023/
Also reading a book with a Gnostic Theme, which goes under the splendid title of :
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Coincidentally, it was also Blake’s birthday – born 268 years ago and thus also a Sagittarius:
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He hated this painting by the way. It was by Thomas Phillips and he produced it in 1807. So, Blake would have been around 50. It smacks of the romanticism of the epoch and the style of Joshua Reynolds who dominated the art field. He and the painting typify all that Blake hated about the prevailing art trends of the day.
So, to Advent: a special time of year for me – the new waiting to be born is a common theme:
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‘Come, Holy Spirit, not with outward manifestations, not with tongues of fire, but silently, as the warmth of spring creeps into the barren earth; come to this cenacle of a human heart, and stir the dull airs of it with the breath of hope.”
Ronald Knox (From A Retreat For Lay People, Deus Books, Paulist Press, New York, N.Y. by Sheard & Ward, Inc. 1955)
Books
A lot of reading this month:
I have been reading a new biography of Alfred Wallis by Matilda Webb. He was an old seaman cum rag-and-bone man who painted on any bit of board he could get his hands on in order to ‘keep himself company’. One day in the 30s modernists Ben Nicholson and Christopher Wood happened to be passing the open door of his house near Porthmeor Beach in St Ives and espied the paintings. Somewhat of an epiphany took place and Nicholson and Wood immediately embraced him and his style, which was the kind of naive, pure style they were looking for. Since then, he has been seen as a pivotal figure of the St Ives School, his work changing hands for large sums of money. Of course, at the time, all this did not prevent him dying somewhat destitute in the Madron workhouse. Anyway, this surely is the most comprehensive text yet produced on him and his work. Amazing detail!
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Nietzsche’s On the Genealogy of Morals : a pivotal book which both analyses what shaped the present in the past but indicates where we are and going. His account of ‘resentment’ is especially acute:
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The poems of the deist Lord Herbert of Cherbury, a fan of John Donne.
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Music wise, it all becomes a bit backwards looking this time of year. But, I did track down the last album by James Blackshaw. Blackshaw was positively prolithic in the early 2000s producing a series of quite impressive albums. He plays in a style which is called ‘Continuous Music’, where there is no pause in the playing. A similar style was pioneered on piano by Lobomyr Melnyk – https://en.wikipedia.org/wiki/Lubomyr_Melnyk). This produces a quite hypnotic effect: repetitive by layer upon layer produces a synthetic aural whole. In Blackshaw’s case, this is accomplished with 6 and 12 string guitars, piano and others. He also sings on later albums. Given he uses the 12 string extensively, this requires very strong nails to pick to say the least. He also uses a series of open tunings. The pieces are very emotive and comes with evocative titles: the Glass Bead Game, Love is the Plan – the Plan is Death, Litany of Echoes, Oh True Believers, The Cloud of Unknowing. Blackshaw gave it all up in 2016 and sold his guitars – citing the pressure of the music industry as cause.. He then returned in 2019 but seems to have found it difficult to regain his momentum. Unraveling your Hands came out in 2024 with just three pieces, and two of these quite short. It was always said that Blackshaw was in the Takoma tradition of acoustic guitar music (John Fahey, Jack Rose, Robbie Basho) , meaning highly rhythmic instrumentals bordering on the raga-esque – again often with mysterious titles: like Fahey’s The Voice of the Turtle. I never really saw a close connect in intent and spirit in Blackshaw’s previous albums, coming more from an English dance/ baroque style. However, this latest collection is very much Fahey influenced, and two of the pieces make explicit use of both the syncopated style but also the dissonances that Fahey would use. As I writes, he always incorporated other instruments, and here he uses Woodwind to evoke the sadness and grief that came when his dog Dexter died. All very emotive and impressive.
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https://www.youtube.com/watch?v=-qmEIwhdjp4&list=RD-qmEIwhdjp4&start_radio=1
See some of my Fahey references here – article, interview:
http://www.michaelgrenfell.co.uk/john-fahey/
Advent:
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