{"id":116405,"date":"2017-10-04T13:00:53","date_gmt":"2017-10-04T17:00:53","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=116405"},"modified":"2017-10-04T13:18:20","modified_gmt":"2017-10-04T17:18:20","slug":"attic-virginia-woolf-abelardo-morell","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/","title":{"rendered":"To the Attic: Virginia Woolf and Abelardo Morell"},"content":{"rendered":"
\"\"<\/a>

Abelardo Morell, Camera Obscura: The Sea in Attic, <\/em> 1994.<\/p><\/div>\n

 <\/p>\n

Virginia Woolf\u2019s mother, Julia Jackson, was the photographer Julia Margaret Cameron\u2019s niece, and among Cameron\u2019s loveliest subjects.\u00a0She also served as inspiration for the charismatic figure of Mrs. Ramsay in Woolf \u2019s novel To the Lighthouse<\/i>.<\/p>\n

\"\"<\/a>

Julia Margaret Cameron, Julia Jackson<\/em>, 1867.<\/p><\/div>\n

Perhaps Woolf \u2019s family involvement with photography contributed to her belief in the importance of seeing. To the Lighthouse <\/i>is a strikingly visual book, not only because of the author\u2019s descriptions in it, which are unforgettable, but also because of the degree to which people in the story change when they truly see. The story is completed, characteristically, when Lily Briscoe, an amateur painter, resolves the composition of a picture with which she has been struggling, and experiences a peace that enables her to accept life\u2019s sorrows, particularly transience. As she thinks\u2014they are the last words of the book\u2014\u201cI have had my vision.\u201d<\/p>\n

The novel is divided into three parts, the second of which is\u00a0titled \u201cTime Passes.\u201d In it, we are informed, almost incidentally, of deaths, including that of Mrs. Ramsay, but the focus is on the Ramsay family\u2019s empty summer house on the coast of Scotland, and on the way in which, as the seasons come and go, what is outdoors registers indoors: \u201cNow, day after day, light turned, like a flower reflected in water, its sharp image on the wall opposite \u2026 So loveliness reigned and stillness.\u201d And this, among the most beautiful passages in the novel: \u201cNothing it seemed could break that image, corrupt that innocence, or disturb the swaying mantle of silence which, week after week, in the empty room, wove into itself the falling cries of birds, ships hooting, the drone and hum of the fields, a dog\u2019s bark, a man\u2019s shout, and folded them round the house in silence.\u201d<\/p>\n

Abelardo Morell\u2019s camera-obscura view inside an attic, and of the sea brought in, is an emotionally accurate correlative for aspects of \u201cTime Passes,\u201d and I always think of it when I read the book. Though Woolf \u2019s fictional house is furnished and Morell\u2019s attic is not, both writer and photographer show how nature reenters our carefully protected spaces (in Morell\u2019s case by a tiny aperture and long exposure, and rendered upside down), restoring to the temporal the timeless.<\/p>\n

One winter and spring, I had the good fortune to write at a desk next to an attic window overlooking the Columbia River. It seemed to me then that an entry in Virginia Woolf\u2019s diary (referring to her home in the small town of Rodmell) was just right: \u201cWhy not stay here forever and ever enjoying this immortal rhythm, in which both eye and soul are at rest?\u201d<\/p>\n

Morell may or may not have read To the Lighthouse<\/i>, but he has, in this memorable picture, accurately read life.<\/p>\n

 <\/p>\n

Robert Adams lives and works in Northwest Oregon. He is best known for his series of photographs that explore the urban and natural landscapes of the American West.<\/em><\/p>\n

From <\/em>Art Can Help by Robert Adams, published by Yale University Art Gallery in September 2017, and distributed by Yale University Press. Reproduced\u00a0with permission.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

  Virginia Woolf\u2019s mother, Julia Jackson, was the photographer Julia Margaret Cameron\u2019s niece, and among Cameron\u2019s loveliest subjects.\u00a0She also served as inspiration for the charismatic figure of Mrs. Ramsay in Woolf \u2019s novel To the Lighthouse. Perhaps Woolf \u2019s family involvement with photography contributed to her belief in the importance of seeing. To the Lighthouse […]<\/p>\n","protected":false},"author":1268,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[30918],"tags":[26477,30919,30920,11713,30921,30922,30923,5818,969],"class_list":["post-116405","post","type-post","status-publish","format-standard","hentry","category-on-photography","tag-a-painter-of-our-time","tag-abelardo-morell","tag-julia-jackson","tag-julia-margaret-cameron","tag-lily-briscoe","tag-mrs-ramsay","tag-rodmell","tag-to-the-lighthouse","tag-virginia-woolf"],"acf":[],"yoast_head":"\nTo the Attic: Virginia Woolf and Abelardo Morell<\/title>\n<meta name=\"description\" content=\"Robert Adams on reading, looking, and the strange rhymes between works\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"To the Attic: Virginia Woolf and Abelardo Morell by Robert Adams\" \/>\n<meta property=\"og:description\" content=\"October 4, 2017 \u2013   Virginia Woolf\u2019s mother, Julia Jackson, was the photographer Julia Margaret Cameron\u2019s niece, and among Cameron\u2019s loveliest subjects.\u00a0She also\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2017-10-04T17:00:53+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2017-10-04T17:18:20+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/10\/woolf-and-morell-excerpt-from-adams-art-can-help-dragged-3.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1407\" \/>\n\t<meta property=\"og:image:height\" content=\"1128\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Robert Adams\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Robert Adams\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/\"},\"author\":{\"name\":\"Robert Adams\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/56b2fe775b8c2e83059e8942c6f0393b\"},\"headline\":\"To the Attic: Virginia Woolf and Abelardo Morell\",\"datePublished\":\"2017-10-04T17:00:53+00:00\",\"dateModified\":\"2017-10-04T17:18:20+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/\"},\"wordCount\":560,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/10\/woolf-and-morell-excerpt-from-adams-art-can-help-dragged-3-1024x821.jpg\",\"keywords\":[\"A Painter of Our Time\",\"Abelardo Morell\",\"Julia Jackson\",\"Julia Margaret Cameron\",\"Lily Briscoe\",\"Mrs. Ramsay\",\"Rodmell\",\"To the Lighthouse\",\"Virginia Woolf\"],\"articleSection\":[\"On Photography\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/\",\"name\":\"To the Attic: Virginia Woolf and Abelardo Morell\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/10\/woolf-and-morell-excerpt-from-adams-art-can-help-dragged-3-1024x821.jpg\",\"datePublished\":\"2017-10-04T17:00:53+00:00\",\"dateModified\":\"2017-10-04T17:18:20+00:00\",\"description\":\"Robert Adams on reading, looking, and the strange rhymes between works\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/10\/woolf-and-morell-excerpt-from-adams-art-can-help-dragged-3.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/10\/woolf-and-morell-excerpt-from-adams-art-can-help-dragged-3.jpg\",\"width\":1407,\"height\":1128,\"caption\":\"Abelardo Morell, Camera Obscura: The Sea in Attic, 1994\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"To the Attic: Virginia Woolf and Abelardo Morell\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. Since 1953.\",\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\",\"name\":\"The Paris Review\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"width\":696,\"height\":696,\"caption\":\"The Paris Review\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/parisreview\/\",\"https:\/\/x.com\/parisreview\",\"https:\/\/www.instagram.com\/parisreview\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/56b2fe775b8c2e83059e8942c6f0393b\",\"name\":\"Robert Adams\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/684b1d5b541f0d48b72e76445889616a6b516a41d48af46f2fc2a51795f0b1fb?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/684b1d5b541f0d48b72e76445889616a6b516a41d48af46f2fc2a51795f0b1fb?s=96&d=mm&r=g\",\"caption\":\"Robert Adams\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/radams\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"To the Attic: Virginia Woolf and Abelardo Morell","description":"Robert Adams on reading, looking, and the strange rhymes between works","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/","og_locale":"en_US","og_type":"article","og_title":"To the Attic: Virginia Woolf and Abelardo Morell by Robert Adams","og_description":"October 4, 2017 \u2013   Virginia Woolf\u2019s mother, Julia Jackson, was the photographer Julia Margaret Cameron\u2019s niece, and among Cameron\u2019s loveliest subjects.\u00a0She also","og_url":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2017-10-04T17:00:53+00:00","article_modified_time":"2017-10-04T17:18:20+00:00","og_image":[{"width":1407,"height":1128,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/10\/woolf-and-morell-excerpt-from-adams-art-can-help-dragged-3.jpg","type":"image\/jpeg"}],"author":"Robert Adams","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Robert Adams","Est. reading time":"3 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/"},"author":{"name":"Robert Adams","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/56b2fe775b8c2e83059e8942c6f0393b"},"headline":"To the Attic: Virginia Woolf and Abelardo Morell","datePublished":"2017-10-04T17:00:53+00:00","dateModified":"2017-10-04T17:18:20+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/"},"wordCount":560,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/10\/woolf-and-morell-excerpt-from-adams-art-can-help-dragged-3-1024x821.jpg","keywords":["A Painter of Our Time","Abelardo Morell","Julia Jackson","Julia Margaret Cameron","Lily Briscoe","Mrs. Ramsay","Rodmell","To the Lighthouse","Virginia Woolf"],"articleSection":["On Photography"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/","url":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/","name":"To the Attic: Virginia Woolf and Abelardo Morell","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/10\/woolf-and-morell-excerpt-from-adams-art-can-help-dragged-3-1024x821.jpg","datePublished":"2017-10-04T17:00:53+00:00","dateModified":"2017-10-04T17:18:20+00:00","description":"Robert Adams on reading, looking, and the strange rhymes between works","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/10\/woolf-and-morell-excerpt-from-adams-art-can-help-dragged-3.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/10\/woolf-and-morell-excerpt-from-adams-art-can-help-dragged-3.jpg","width":1407,"height":1128,"caption":"Abelardo Morell, Camera Obscura: The Sea in Attic, 1994"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2017\/10\/04\/attic-virginia-woolf-abelardo-morell\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"To the Attic: Virginia Woolf and Abelardo Morell"}]},{"@type":"WebSite","@id":"https:\/\/www.theparisreview.org\/blog\/#website","url":"https:\/\/www.theparisreview.org\/blog\/","name":"The Paris Review","description":"The best prose, interviews, poetry, and art. Since 1953.","publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.theparisreview.org\/blog\/#organization","name":"The Paris Review","url":"https:\/\/www.theparisreview.org\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","width":696,"height":696,"caption":"The Paris Review"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/parisreview\/","https:\/\/x.com\/parisreview","https:\/\/www.instagram.com\/parisreview"]},{"@type":"Person","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/56b2fe775b8c2e83059e8942c6f0393b","name":"Robert Adams","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/684b1d5b541f0d48b72e76445889616a6b516a41d48af46f2fc2a51795f0b1fb?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/684b1d5b541f0d48b72e76445889616a6b516a41d48af46f2fc2a51795f0b1fb?s=96&d=mm&r=g","caption":"Robert Adams"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/radams\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/116405","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/users\/1268"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=116405"}],"version-history":[{"count":6,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/116405\/revisions"}],"predecessor-version":[{"id":116435,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/116405\/revisions\/116435"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=116405"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=116405"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=116405"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}