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Idumea

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Madison Rye Progress
2024-12-24 12:58:51 -08:00
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idumea/content/afterword.tex
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@ -21,10 +21,10 @@
%\newpage
\includepdf[fitpaper=true]{hymn.pdf}
\chapter*{Appendix III — Idumea}
\chapter*{Appendix III — The hymn “Idumea”}
\addcontentsline{toc}{chapter}{III — The hymn “Idumea”}
\vspace{-1.5em}
\vspace{-2.5em}
\emph{Idumea} is named after a hymn by A. Davidson with words by Charles Wesley, published in \emph{Sacred Tunes and Hymns: Containing a Special Collection of a Very High Order of Standard Sacred Tunes and Hymns Novel and Newly Arranged} by J. S. James in 1913. Idumea itself refers to Edom—unless, perhaps, you are Blake and think that ``Now is the dominion of Edom, and the return of Adam into Paradise'' refers to us!—a kingdom in the Ancient Near East. While this has little to do with the story told within, it does sound rather pleasing to the ear, does it not? And so does the hymn, at that. The hollowness of the song with all its open fifths, the raw, coarse beauty that comes with Sacred Harp singing, the beat of the tactus and the ache of the singers hollering out words that nearly yearn for death are what led to the title of this book.
Or, as a friend said upon learning of this project, ````Main character escaping suffering while the narrator stays stuck in it'' is somewhat analogous to living singers singing songs almost exclusively about how great it will be to die and escape from suffering''—which, as a quote, is quite painful to go back and read for your humble narrator, as I am sure you can imagine.
@ -39,7 +39,7 @@ The hymn is reproduced here for reference. Despite being in short meter, the typ
\addcontentsline{toc}{chapter}{IV — Reading}
\begin{center}
\emph{Please enjoy this extra drabble portraying a saner self as a promise that I am not always like this.}
\emph{Please enjoy this extra drabble portraying a saner self as a promise that I am not always as I have presented myself here.}
\end{center}
\secdiv
\noindent \input{content/reading}