The book is about a Saskatchewan broadcaster and his experiences and the people he met as an open line commentator. A program conducted by Lorne Harasen and known as The HARASEN LINE was just 25 minutes long when it began and grew to four and a half hours in length. It recorded some of the highest audience ratings in Saskatchewan radio history. PIERRE ELLIOT TRUDEAU, BING CROSBY, COLIN THATCHER, BEN WICKS and WAYNE & SHUSTER were just some of his guests. It was carried on CKCK radio and then CKRM radio in Regina. Topics ranged from sex to sports, medical questions to agriculture. Listeners were rarely impartial on the topic of Lorne Harasen. Most either loved him or hated him but as broadcaster, Doug Alexander once said, you couldn’t ignore him.

Reprint of the original, first published in 1926.

"While William Blake's The Four Zoas may be fascinating to Blake scholars, it presents formidable obstacles to even the most ardent Romanticist, let alone interested critics or the general reader. Blake's Prophetic Workshop attempts to clear some of these obstacles by studying the work from a variety of critical perspectives. It assumes some familiarity with Blake's prophecies, but is cast between the introductory and advanced levels of the two previous books published on the poem." "Although the major reading strategy is close textual analysis, the poem is marked by various cultural and social contexts that need elucidation. Chapters alternate between sketching these contexts and traditions and providing detailed readings within these contexts. The first chapters give a reception history of the work and set it within the tradition of the eighteenth-century "long poem," namely Thomson's Seasons, Pope's An Essay on Man, and Young's Night Thoughts, texts that Blake critiques as Newtonian substitutions of Miltonic prophecy. Chapter three tests these assertions by reading the poem's creation narratives in terms of Anglican-Dissenting apologetics. The final chapters sift the cultural contexts that shape Blake's use of biblical typology and scrutinize several continental philosophies of history, and how they encroach on The Four Zoas, as well as situate the poem in the apocalyptic moment of the 1790s." "While a pluralist approach is followed, author George Anthony Rosso, Jr., subscribes to a fundamentally historical theory that places The Four Zoas in the broad and eclectic tradition of English poetic prophecy. Aware of recent critiques of "the prophetic," Rosso pursues his theory with flexibility and tolerance for other viewpoints." "An appendix provides a useful commentary on the relations between the text and certain designs, drawings, and sketches in the manuscript. Its aim is to show that Blake repeats key images in various frames to provide a sense of context and development, and that the drawings expose what the narrative represses, often in graphic sexual detail. Rosso presents a Blake who is both deadly serious and disarmingly ironic about the relevance of prophecy in the modern world."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Drawing on recent theories of digital media and on the materiality of words and images, this fascinating study makes three original claims about the work of William Blake. First, Blake offers a critique of digital media. His poetry and method of illuminated printing is directed towards uncovering an analogical language. Second, Blake's work can be read as a performative. Finally, Blake's work is at one and the same time immanent and transcendent, aiming to return all forms of divinity and the sacred to the human imagination, stressing that 'all deities reside in the human breast,' but it also stresses that the human has powers or potentials that transcend experience and judgement: deities reside in the human breast. These three claims are explored through the concept of incarnation: the incarnation of ideas in words and images, the incarnation of words in material books and their copies, the incarnation of human actions and events in bodies, and the incarnation of spirit in matter.

Blake was not only a poet, but also a prolific commentator on both his own art and art in general. This is the first text to discuss all of the writings except the annotations to Reynolds' Discourses, covered in a previous volume, Blake's Margins (McFarland, 2009). Topics include his opinions on his predecessors and his contemporaries, his reaction to critics, and his artistic intentions. This valuable addition to Blake scholarship includes reproductions of some of the drawings and paintings in Blake's one exhibition of 1809, plus reproductions of other prose texts by Blake.