{"version":"1.0","provider_name":"The Paris Review","provider_url":"https:\/\/www.theparisreview.org\/blog","author_name":"Jonathan Lee","author_url":"https:\/\/www.theparisreview.org\/blog\/author\/jlee\/","title":"Surrendering to Your Own Maneuvers: An Interview with Jana Prikryl by Jonathan Lee","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"FiQmB3irXX\"><a href=\"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/surrendering-to-your-own-maneuvers\/\">Surrendering to Your Own Maneuvers: An Interview with Jana Prikryl<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/surrendering-to-your-own-maneuvers\/embed\/#?secret=FiQmB3irXX\" width=\"600\" height=\"338\" title=\"&#8220;Surrendering to Your Own Maneuvers: An Interview with Jana Prikryl&#8221; &#8212; The Paris Review\" data-secret=\"FiQmB3irXX\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/* ]]> *\/\n<\/script>\n","description":"June 21, 2016 \u2013 The After Party, Jana Prikryl\u2019s debut collection of poems, is divided in two. In the first half, the reader is mainly in New York, swaying between the","thumbnail_url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/jana-prikryl.jpg","thumbnail_width":600,"thumbnail_height":393}