Description
Explore the thought-provoking essays in Who Will Pay Reparations on My Soul?, a compelling work by Jesse McCarthy that examines the vital intersection of art, history, and social justice. This brand-new book, published by W W Norton & Company in 2021, spans 352 pages and features profound insights from renowned cultural commentators, including Ta-Nehisi Coates and Toni Morrison. McCarthy's essays dissect the cultural contributions that have emerged in the twenty-first century amidst societal upheavals, advocating for reparations and examining the vibrant resurgence of black art. With a unique blend of cultural critique and personal narrative, McCarthy reinvents the essay form, offering explorative reflections on music and literature, particularly the intricate dynamics within genres like trap music and French rap. This book not only serves as an intellectual resource but also as a necessary conversation starter about racial justice and cultural visibility. Discover how creative expression plays a crucial role in addressing inequality and moral dilemmas of our time. Allow up to 6 weeks for free delivery for this essential addition to your library. Once your order is placed, it cannot be cancelled. ISBN: 9781631496486.
Note: Shipping for this item is free. Please allow up to 6 weeks for delivery. Once your order is placed, it cannot be cancelled.
Condition: BRAND NEW
ISBN: 9781631496486
Year: 2021
Publisher: W W Norton & Company
Pages: 352
Description:
Ranging from Ta-Nehisi Coates's case for reparations to Toni Morrison's revolutionary humanism to D'Angelo's simmering blend of R&B and racial justice, Jesse McCarthy's bracing essays investigate with virtuosic intensity the art, music, literature, and political stances that have defined the twenty-first century. Even as our world has suffered through successive upheavals, McCarthy contends, "something was happening in the world of culture: a surging and unprecedented visibility at every level of black art making." Who Will Pay Reparations on My Soul? reckons with this resurgence, arguing for the central role of art and intellectual culture in an age of widening inequality and moral crisis.
McCarthy reinvigorates the essay form as a space not only for argument but for experimental writing that mixes and chops the old ways into new ones. In "Notes on Trap," he borrows a conceit from Susan Sontag to reveal the social and political significance of trap music, the drug-soaked strain of Southern hip-hop that, as he puts it, is "the funeral music that the Reagan Revolution deserves." In "Back in the Day," McCarthy, a black American raised in France, evokes his childhood in Paris through an elegiac account of French rap in the 1990s. In "The Master's Tools," the relationship between Spanish painter Diego Velázquez and his acolyte-slave, Juan de Pareja, becomes the lens through which Kehinde Wiley's paintings are viewed, while "To Make a Poet Black" explores the hidden blackness of Sappho and the erotic power of Phillis Wheatley. Essays on John Edgar Wideman, Claudia Rankine, and Colson Whitehead survey the state of black letters
Note: Shipping for this item is free. Please allow up to 6 weeks for delivery. Once your order is placed, it cannot be cancelled.
Condition: BRAND NEW
ISBN: 9781631496486
Year: 2021
Publisher: W W Norton & Company
Pages: 352
Description:
Ranging from Ta-Nehisi Coates's case for reparations to Toni Morrison's revolutionary humanism to D'Angelo's simmering blend of R&B and racial justice, Jesse McCarthy's bracing essays investigate with virtuosic intensity the art, music, literature, and political stances that have defined the twenty-first century. Even as our world has suffered through successive upheavals, McCarthy contends, "something was happening in the world of culture: a surging and unprecedented visibility at every level of black art making." Who Will Pay Reparations on My Soul? reckons with this resurgence, arguing for the central role of art and intellectual culture in an age of widening inequality and moral crisis.
McCarthy reinvigorates the essay form as a space not only for argument but for experimental writing that mixes and chops the old ways into new ones. In "Notes on Trap," he borrows a conceit from Susan Sontag to reveal the social and political significance of trap music, the drug-soaked strain of Southern hip-hop that, as he puts it, is "the funeral music that the Reagan Revolution deserves." In "Back in the Day," McCarthy, a black American raised in France, evokes his childhood in Paris through an elegiac account of French rap in the 1990s. In "The Master's Tools," the relationship between Spanish painter Diego Velázquez and his acolyte-slave, Juan de Pareja, becomes the lens through which Kehinde Wiley's paintings are viewed, while "To Make a Poet Black" explores the hidden blackness of Sappho and the erotic power of Phillis Wheatley. Essays on John Edgar Wideman, Claudia Rankine, and Colson Whitehead survey the state of black letters