A Language Only We Can Hear


Kendrick Lamar’s debut album “Good Kid, M.A.D.D. City” contains the basic, essential elements of a novel: a protagonist faced with an antagonistic outer world, plot and its arc—from opening scene to crisis to climax on down to denouement, a narrative connected through scenes, and character development and expression through dialogue. It follows the structure of a coming-of-age story—a sub-genre defined by a young person growing with the knowledge, the realization, that there is a larger world that equally responds to and is unconcerned with the young person’s actions. If listened to from beginning to end, it displays a widening perspective as Kendrick matures, like a camera’s aperture opening for more light.

Over at Lit Hub, Mensah Demary writes about the literary genius of Kendrick Lamar.

Guia Cortassa was born, lives, and works in Milan, Italy. After working as a Contemporary Art curator, she went back to writing. She is a contributing editor for Ondarock and her writing has appeared on Rivista Studio, Flair and the Quietus. She compulsively tweets @gcmorvern. More from this author →