{"version":"1.0","provider_name":"The Paris Review","provider_url":"https:\/\/www.theparisreview.org\/blog","author_name":"Alix Beeston","author_url":"https:\/\/www.theparisreview.org\/blog\/author\/abeeston\/","title":"On Kathleen Collins\u2019s \u201cBlue Obstacles\u201d by Alix Beeston","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"NX9w1sotLo\"><a href=\"https:\/\/www.theparisreview.org\/blog\/2026\/02\/05\/unfinished-on-kathleen-collinss-blue-obstacles\/\">On Kathleen Collins\u2019s \u201cBlue Obstacles\u201d<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.theparisreview.org\/blog\/2026\/02\/05\/unfinished-on-kathleen-collinss-blue-obstacles\/embed\/#?secret=NX9w1sotLo\" width=\"600\" height=\"338\" title=\"&#8220;On Kathleen Collins\u2019s \u201cBlue Obstacles\u201d&#8221; &#8212; The Paris Review\" data-secret=\"NX9w1sotLo\" 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":"February 5, 2026 \u2013 \u201cTo reappraise women\u2019s incomplete works can be to resist the exclusionary gestures\u2014the refusals, rejections, and roadblocks\u2014that all too often stymie and limit the public careers of marginalized authors.\u201d","thumbnail_url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2026\/02\/copy-of-beeston-asap-fig-1-scaled.jpg","thumbnail_width":2022,"thumbnail_height":2560}