In terms of idiomatic language, Todd Van Buskirk’s poem considers the distinctiveness of various phrases, particularly those related to the act of opening a hymnal to page 267. This article delves into the intricacies of these expressions, shedding light on their idiomatic nature and the poet’s intention behind them.
The poem, which is also the title to the book, revolves around the simple act of opening a hymnal to page 267. What makes this exploration unique is the poet’s focus on the idiomatic nature of the instructions or requests given.
The use of the verb “open” in conjunction with the noun “hymnal” sets the stage for a communal act of reverence or celebration, implying a shared experience within a specific cultural or religious context.
The three phrases “Open your hymnal to page 267,” “Open your hymnal at page 267,” and “Open your hymnal on page 267” are deemed idiomatic, indicating that they are expressions peculiar to a certain language or dialect. These phrases resonate with familiarity, capturing the essence of collective understanding and shared linguistic conventions within a community.
“Open your hymnal to page 267” signifies a direct, intentional action, suggesting a specific page for the reader to turn to. The preposition “to” here implies a destination, and the use of “your hymnal” creates a sense of personal connection.
“Open your hymnal at page 267” introduces the preposition “at,” subtly altering the expression. This choice can imply a specific point or location within the hymnal, adding a layer of precision to the instruction.
“Open your hymnal on page 267” uses the preposition “on,” suggesting that the action of opening is occurring directly on the specified page. This choice imbues a sense of immediacy and direct engagement with the content on that particular page.
Van Buskirk notes that “Go to page 267” and “turn to page 267” are also idiomatic but stand apart in their construction. These phrases maintain their idiomatic nature but introduce a different perspective, subtly shifting the focus from the act of opening to the act of moving towards a specific page. The exploration of these nuances showcases the complexity embedded in seemingly routine instructions.
In his analysis, Van Buskirk identifies “Open on page 267” as a phrase that deviates from idiomatic usage. Unlike its counterparts, this expression, though grammatically correct, lacks the established cultural resonance associated with customary directives. The poet emphasizes its unconventional nature when used as a request or instruction, suggesting that it may not align seamlessly with linguistic expectations.
The Cover and Book’s Structure
The cover of the book takes a fascinating turn by drawing inspiration from Alex Haley’s novel “Roots.” A recreation of the original cover is employed, but with a creative twist – the overpainted parts of the cover now provide space for additional text. Van Buskirk inscribes the title of his book and includes the attribution, “edited by Todd Van Buskirk,” where Haley’s name would have been.
It is important to note that while the overpainting of Haley’s cover may be perceived as controversial, the intent behind it was not to stir controversy. Rather, the act serves as a thought-provoking commentary on the evolving nature of language, authorship, and the dynamic relationship between literary works.
Upon opening the book, readers are greeted with an 89 page excerpt from a hymnal entitled “The New Office Hymn Book Parts I And II.”
The hymnal “The New Office Hymn Book Parts I And II,” published in 1908 by Novello And Company, London, is a compilation that spans both the liturgical and musical traditions. Part I of the hymnal offers a collection of introits for Sundays and festivals, complemented by the inclusion of graduals, alleluias, and some sequences. This section provides a comprehensive resource for worship services, aligning with the liturgical calendar and enhancing the musical tapestry of religious observances.
Part II, on the other hand, focuses on office hymns, drawing primarily from the Roman and Sarum brevaries. This section is accompanied by the proper melodies, offering a blend of textual and musical elements to enrich the liturgical experience. By incorporating hymns from these brevaries, the hymnal connects contemporary worshippers with the longstanding traditions of the Roman Catholic Church, providing a sense of continuity and historical resonance.
The original page numbers are deleted
Each page in Van Buskirk’s reworking of this hymnal, and consistently so, features a page numbered 267.
The original page numbers to this hymnal have been intentionally deleted and replaced with the singular number.
Additionally, the page number 267 is prominently featured in the header of each page, presented within an abbreviated version of the title. This inclusion further reinforces the book’s structural cohesion and draws attention to the recurrent theme associated with the chosen page number.
The consistent page numbering on every page reinforces a sense of continuity, emphasizing the interconnectedness of the idiomatic expressions explored by Van Buskirk.
The deliberate repetition of page 267 serves as a literary refrain, inviting readers to the interplay of language and tradition presented throughout the book.
The phrase “open your hymnal to,” “at,” or “on” are idiomatic expressions, commonly used in a liturgical context, implying a shared experience within a community. Similarly, “go to page 267” and “turn to page 267” maintain idiomatic qualities, albeit with a different structural emphasis. However, the subtle alteration to “open on” introduces a nuanced departure, signaling a departure from conventional expectations.
Notably, the meticulous decision to number each page as 267 transforms the title from a mere instruction to a thematic anchor. The interplay between the title and the consistent numbering of every page invites us to engage with the book as a unified composition, where each turn of the page becomes a deliberate act of unveiling a unique facet of language and tradition.
They publish books of Conceptual Literature, whose titles describe the content in detail. 