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A radiant, hard-earned theme of "Joe Turner's Come and Gone" is that a sustaining force is alive in the world for each of us, and it's possible to bind oneself to it — to find one's "song," as Wilson puts it — instead of staying chained to suffering.
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Now in the hands of these theorists and in much ordinary discourse the idea of "consent" implies a normative power to bind oneself.
Hume (1987/1777, 470 1) raised the decisive objection to any normative moral or political theory based on a historical contract: the consent of one's ancestors do not bind oneself.
We can also see the need that edges into fear: the need to satisfy an urge – in this case characterised as maternal – to nurture and ameliorate, but also to possess, to bind another to oneself; the fear of transgressing another's boundaries, heightened in this instance by Ginger's dread of participating in the narrative of the white saviour.
Spouses, for example, often take themselves to be obligated by what their spouses intend with respect to their behavior; indeed, it would be unseemly to hold oneself to be bound by one's spouse's will only if the spouse has actually made a demand on one.
Any vocation that involves rejection and challenging oneself to do something so stupendously hard as writing a great poem is bound to engender some feelings of hopelessness and failure from time to time.
With this risk one also exposes oneself to luck.
How does one explain oneself to the neighbors, after all?
To do otherwise is to expose oneself to emasculating ridicule.
We confine oneself to the case (i=1).
To commit oneself to anything is also always to commit oneself to the value of freedom.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com