10 minutes 48 seconds| This is the only music I wrote in the two years of 2015 to 2016. It lay in pieces for much of that time and, despite my lack of focus, ends up being the longest thing I have written. Given this patched-together approach, it is essentially a medley, or compilation of fragments. There are a few odd key transitions, as where the melody hold its general shape while the chords, like plate tectonics, shift beneath it. The opening themes reappear near the end, and a march-like coda with choir concludes the business. (The attached image belongs to Carel Willink, an early Twentieth Century Dutch painter.)
This piece is comprised of two hefty files. The time stamp for the first is 6/13/15, while the second is 8/22/15.
Book Notes on Icarus Transfigured|
Evolution of Erica for Chapter Twenty-nine film.
Erica the Object: If Omar is Aloysius’ fallen angel, then Erica plays that role for Emma. Erica represents the double face of The Sublime by first being the embodiment of all of Aloysius’ womanly fears and then the satiation of all his earthly desires. The death skull referred to in Chapter Two comes back in Chapter Twenty-nine as a tattoo on her tailbone, and it, symbolically, is all that is left to stand between the protagonist and his fate.
Like Emma, we are never sure of Erica’s identity, and whether she is a sexual stand-in for Amber and the unnamed Hispanic woman, or whether her torrid affairs with Seth and Jacques are simply stand-ins for her relations with Aloysius. If the events in the final chapter are to be believed, she is only a nurse at a hosptial where Aloysius was a patient during his recovery, and she may or may not be having a secret affair with him.
Indeed, in the last scene between the two, where the artist silently shares nude sketches he has made of the nurse with her at his bedside, it is not even clear she even knows the man. Love by these measures is a complicated thing, and it is left for the reader to decide whether the female “Frankenstein” presented here is Aloysius’ creation or something created for him by an enterprising woman who knows his heart better than he knows it himself. (1/25/08, 2/04/10)
Metaphor as Clue: A metaphor is not the thing it describes but a way of analogizing or humanizing it. It was doubtless said by a Greek that if we were donkeys, we would conceive the gods as donkeys; but this is less a truism about our arrogance than an observation about how Images of God strive to Reconstitute Themselves.
In Omar’s letter beginning Chapter Twelve, I originally included a paragraph explaining one of McTaggart’s idea about time having no reality. In his view, all things exist all at once, and what separates “events” is a hierarchy and not a temporal sequence. This is one of many examples that went toward reinforcing Icarus Transfigured’s secondary front, which was to argue how God, Heaven, and transcendental reality cannot be understood in any logic or sense language. Throughout all of Omar’s letters, he, as a fallen angel, is expressing his homesickness for Undivided, Undiluted Divinity.
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