Abstract
AbstractTaking as prerequisite Peter Frase's argument that the labor markets and living conditions of the twenty‐first century will be primarily determined by the dual “specters of ecological catastrophe and automation,” this article investigates William Blake's poetic response to the problems of religious and financial debt within the context of his own environmentally compromised era. It briefly historicizes the financial components of Blake's printmaking before turning to an examination of his illuminated books, which imagine a form of debt relief grounded in a millenarian theory of political intervention. While Blake's investment in artisanal labor reveals an aversion to technological reproducibility, his cyclical notion of an artificially constructed ecological future models a technologically hybrid ontology useful for addressing Frase's nexus of environmental destruction and mechanized production.
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