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34

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Flight Time

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SEPTEMBER 2018

Interview

better than the finished drawings, and I

should put my pencil down earlier! I did so

and the rest, as they say, is history!”

He may be a creative at heart, but Blake

also has a practical and intellectual side, and

rather than follow the route of impoverished

artist, upon receiving his postgraduate

teaching diploma from the University of

London he began teaching at the Lycée

Français de Londres (a French primary

and secondary school funded entirely by

the French government) in Kensington.

This inclination toward the Gallic appears

to be inherent, for Blake’s parents lived in

France before he was born, and French food,

language, music and art were woven into his

home life.

The admiration turned out to be entirely

mutual, with Blake enjoying a certain level of

celebrity across the Channel. And when the

famed publishing house Éditions Gallimard

bought the French publishing rights for

Dahl and Blake’s picture book

The Enormous

Crocodile

, it marked the beginning of a long

and illustrious union between publisher and

illustrator which has allowed all of Blake’s

UK books to be made available in France,

along with some written exclusively for

the French market, including

Promenade au

Pays de la Poésie Française

(which roughly

translates to ‘walk in the country of French

poetry)’, an anthology of French poetry

aimed at the youth market.

Although spending a huge amount of time

submerged in rural French culture, Blake

insists he approaches every project with

the same mindset, a trait the French appear

to appreciate. “I would say that I am more

influenced by the landscape than the culture,

and the landscape of La Rochelle and of

France is utterly unique. The French always

tell me that British humour is completely

unique; well, I tell them their countryside is,

so it’s a fair exchange!” he laughs.

“What I love about this region, too, is

the fact almost every decent-sized town has

a book fair. As a result, I’ve been to so many

areas and been very much embraced by the

people, and that’s wonderful because you’re

taking part; you don’t feel like a stranger,

which can sometimes happen when abroad.

“I don’t think that would ever happen in

this region of France, though – the people

are so warm, and they make coming back a

pleasure. And I could never be bored here

– all the charming cafés and restaurants

you would expect, incredible architecture,

charming boats and the most immaculate air

to breathe in. It has everything.”

For someone so influenced by France,

Blake remains quintessentially British,

and within that retains a certain joy and

impishness of youth, his mischievous eyes

appearing almost a living apparition of one

of his beloved creations. For it is that same

creative vigour, with minimal pen strokes,

that makes his iconic characters jump up

and run off the page. Indeed, although best

known for the stories he created with Roald

Dahl, Blake has in fact illustrated over 300

children’s books, including those written

by Joan Aiken, David Walliams, Elizabeth

Bowen, Sylvia Plath, Nils-Olof Franzén,

William Steig and Dr Seuss.

With such a vast catalogue of weird and

wonderful characters, you wonder how the

eclectic artist doesn’t find himself fatigued by

the process, or at least prone to repetition.

But when Blake talks of his work, you are

reminded of that almost magical quality

many creatives possess as they sculpt, tease

and tempt their figures from some powerful

parallel universe which is quite invisible to

the rest of us.

Explains Blake: “When working with

someone else’s text, I start off with a lot of

reading and only a little drawing. Eventually

the person in the situation you invented

takes on that character, so you sort of meet

them by drawing them.

“I’ve noticed if I look back, by the time

the character has got into the book, he or

she bears no resemblance to the first person

I drew, or the personality feels completely

different. In essence, I learn to know them by

drawing them. It’s a wonderful process.”

There is naturally a great deal of pressure

“What I love about this region, too, is the fact almost

every decent-sized town has a book fair. As a result,

I’ve been to so many areas and been very much

embraced by the people, and that’s wonderful because

you’re taking part; you don’t feel like a stranger”