Over at the Los Angeles Review of Books, Casey Michael Henry considers Kendrick Lamar’s To Pimp a Butterfly a new bid to revive a “Black Postmodernism”:
Not only does the album fulfill many specific qualities of postmodernism, and postmodernism specifically shaped by black experience, but also does so within a form traditionally consigned to canonical, usually white, “masters” like Melville and Pynchon.
