The riddle of Severance Songs‘ is consistently how to reconcile the world at large with the deeply personal and the deeply personal with the world at large, whichever seems more “meaningful” at any given time
I think we have to set a groundwork for a definition of postmodernism that is both historical and critical. By way of review, postmodernism roughly corresponds with the end of WWII (the big one) and is marked by what Lyotard calls “incredulity towards metanarratives,” skepticism towards the stories we tell ourselves about ourselves.
Of course, the brainwashing method mostly succeeds. I cringe in workshops reading words like “love” or “beautiful,” but I can’t help but wondering if that’s just psychosis talking, and not aesthetics.