{"id":93581,"date":"2016-01-19T09:08:00","date_gmt":"2016-01-19T14:08:00","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=93581"},"modified":"2016-01-19T10:53:58","modified_gmt":"2016-01-19T15:53:58","slug":"slayer-is-sad-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/01\/19\/slayer-is-sad-and-other-news\/","title":{"rendered":"Slayer Is Sad, and Other News"},"content":{"rendered":"<div id=\"attachment_93583\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/01\/slayer-reign-in-blood-1024x1024.jpg\" rel=\"attachment wp-att-93583\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-93583\" class=\"wp-image-93583\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/01\/slayer-reign-in-blood-1024x1024.jpg\" alt=\"\" width=\"600\" height=\"383\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/01\/slayer-reign-in-blood-1024x1024.jpg 986w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/01\/slayer-reign-in-blood-1024x1024-300x192.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/01\/slayer-reign-in-blood-1024x1024-768x491.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-93583\" class=\"wp-caption-text\">From Slayer\u2019s <i>Reign in Blood<\/i>, 1986.<\/p><\/div>\n<ul>\n<li>Norman Rush on \u201cthe savage fictions\u201d of Horacio Castellanos Moya and the archetype of the \u201csuperfluous man\u201d: \u201cThe literary woods are of course as full of superfluous men as they are of unreliable narrators and, these days, really rebarbative antiheroes. Superfluous men make up an illustrious lineage: Goncharov\u2019s Oblomov, Dostoevsky\u2019s Underground Man, Melville\u2019s Bartleby, Robert Musil\u2019s Man Without Qualities, all the way down through Sartre\u2019s Roquentin and the hero of Ben Lerner\u2019s debut novel, <em>Leaving the Atocha Station<\/em>. <a href=\"http:\/\/www.nybooks.com\/articles\/2016\/01\/14\/moya-sees-through-left-and-right\/\" target=\"_blank\">Superfluous men respond with disaffection, dysfunction, or withdrawal when they are unhorsed or irritated by the changing fortunes that the social machine spits out. It can be anything\u2014plunging status, national disgrace, political or religious disillusion, extreme boredom<\/a> \u2026 It\u2019s always interesting to pick at the question of why these guys are the way they are. Sometimes the answer is on the surface and sometimes it\u2019s complex and not on the surface at all. First of all, it\u2019s fun to read about superfluous men. I don\u2019t know exactly why. Maybe they offer to overworked and overbooked readers a dream of letting go, enjoying regression. There is learning and pleasure to be got from reading about them.\u201d<\/li>\n<li>Remember the whole debacle over <em>A Million Little Pieces<\/em>? That was ten years ago now. On one hand, not much has changed since then: readers still thirst for true stories, outrageous revelation, harrowing redemption. On the other hand, the memoir form has never had more to compete with, William Giraldi writes: \u201c<a href=\"https:\/\/newrepublic.com\/article\/127747\/unforgivable-half-truths-memoir\" target=\"_blank\">In the decade since the James Frey fiasco, social media has turned untold people into hourly memoirists in miniature. We live now in a culture of incessant confession<\/a> \u2026 The absurdly named \u2018confessional poets\u2019 of the mid-twentieth century\u2014Lowell and Berryman, Sexton and Roethke\u2014look a touch constipated compared to your average Facebooker. How eagerly lives become doggerelized. What does it mean for the memoir as a form now that everyone, at any time, can instantaneously advertise his life to everyone else? Mailer never dreamed of such advertisements for the self \u2026 In this new ethos of endless self-advertisement, the memoir assumes a renewed responsibility, one that exceeds confessionalism.\u201d<\/li>\n<li>As music-streaming services come to dictate our listening habits and, to an increasing degree, our taste, we risk losing sight of the enormous emotional variance across genres. What makes sad songs sad, for instance, and how do songwriters from very different molds\u2014Adele, Slayer, Nick Drake, Mozart\u2014inflect their songs with sadness? Ben Ratliff investigates: \u201c<a href=\"http:\/\/www.nytimes.com\/2016\/01\/17\/arts\/music\/in-praise-of-blue-notes-what-makes-music-sad.html?_r=0\" target=\"_blank\">What is sadness in sound per se? Nothing. It doesn\u2019t exist. There is no note or kind of note that in and of itself is sad and only sad \u2026 The construct of sadness, and the attendant contract that it helps build between musician and listener, has to do with how we might recognize it person-to-person<\/a>: through silence and dissonant long tones, or through agitation and mania; through closed systems of harmony or phrasing, or through unnervingly open and dark ones. We hear it through voices and through instruments. And as listeners agree to play by the official rules of sadness, so do most musicians, and so do most singers, imitating the sound of instruments \u2026 There is a culture around any music, and how you understand that culture influences how you hear. Listening is augmented hearing, hearing through certain layers.\u201d<\/li>\n<li>\u201cI love you madly \u2026 There is never a moment in which I do not adore you.\u201d \u201cI live and exist only to love you\u2014adoring you is my only consolation.\u201d Are these the words of friends or lovers? Hard to say when their authors are from the eighteenth century. <a href=\"http:\/\/www.thedailybeast.com\/articles\/2016\/01\/17\/revealed-marie-antoinette-s-scandalous-secret-letters-to-her-lover.html?source=TDB&amp;via=FB_Page\" target=\"_blank\">These quotations are drawn from letters between Marie Antoinette and Axel von Fersen, the Swedish Count with whom she\u2019s suspected to have had an affair<\/a>. But with emphasis on that \u201csuspected\u201d\u2014historians have yet to find conclusive evidence of their tryst.<\/li>\n<li>If you\u2019re bored and looking for your next big project, <a href=\"http:\/\/nautil.us\/issue\/32\/space\/lets-rethink-space\" target=\"_blank\">maybe it\u2019s time to rethink space<\/a>. All of it, and your relation to it. As George Musser writes, \u201cIn the past twenty years, I\u2019ve witnessed a remarkable evolution in attitudes among physicists toward locality \u2026 Over and over, I heard some variant of: \u2018Well, it\u2019s weird, and I wouldn\u2019t have believed it if I hadn\u2019t seen if for myself, but it looks like the world has just got to be nonlocal\u2019 \u2026 Instead of saying that space brings order to the world, you can say that the world is ordered and space is a convenient notion for describing that order. We perceive that things affect one another in a certain way and, from that, we assign them locations in space.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Norman Rush on \u201cthe savage fictions\u201d of Horacio Castellanos Moya and the archetype of the \u201csuperfluous man\u201d: \u201cThe literary woods are of course as full of superfluous men as they are of unreliable narrators and, these days, really rebarbative antiheroes. Superfluous men make up an illustrious lineage: Goncharov\u2019s Oblomov, Dostoevsky\u2019s Underground Man, Melville\u2019s Bartleby, Robert [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[14031,20820,1107,13335,1263,635,46,813,16237,17024,20821,878],"class_list":["post-93581","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-ben-ratliff","tag-horacio-castellanos-moya","tag-james-frey","tag-love-letters","tag-marie-antoinette","tag-memoir","tag-music","tag-norman-rush","tag-physics","tag-sadness","tag-slayer","tag-space"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>What Makes Sad Songs Sad?<\/title>\n<meta name=\"description\" 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