{"version":"1.0","provider_name":"The Paris Review","provider_url":"https:\/\/www.theparisreview.org\/blog","author_name":"The Paris Review","author_url":"https:\/\/www.theparisreview.org\/blog\/author\/parisreview\/","title":"Staff Picks: Surveillance, Silence, Pseudocide by The Paris Review","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"hkatgaqIeU\"><a href=\"https:\/\/www.theparisreview.org\/blog\/2016\/08\/12\/staff-picks-surveillance-silence-pseudocide\/\">Staff Picks: Surveillance, Silence, Pseudocide<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.theparisreview.org\/blog\/2016\/08\/12\/staff-picks-surveillance-silence-pseudocide\/embed\/#?secret=hkatgaqIeU\" width=\"600\" height=\"338\" title=\"&#8220;Staff Picks: Surveillance, Silence, Pseudocide&#8221; &#8212; The Paris Review\" data-secret=\"hkatgaqIeU\" 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":"August 12, 2016 \u2013 Our colleague Bobby sent me back to Edith Wharton\u2019s novel of 1870s New York, The Age of Innocence. What struck Bobby (I\u2019m paraphrasing) was the air of","thumbnail_url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/08\/will-you-dance-with-me-004-1465922409-726x388.jpg","thumbnail_width":726,"thumbnail_height":388}