Who Will Pay Reparations on My Soul?: Essays

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.