{"id":129571,"date":"2018-09-27T13:00:32","date_gmt":"2018-09-27T17:00:32","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=129571"},"modified":"2018-09-27T15:27:04","modified_gmt":"2018-09-27T19:27:04","slug":"the-last-of-french-seventies-counterculture","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/","title":{"rendered":"The Last of French Seventies Counterculture"},"content":{"rendered":"

A\u00a0French cult classic from 1972 is being published in\u00a0English for the first time.<\/i><\/p>\n

\"\"<\/a>

Jean-Jacque\u00a0Schuhl<\/p><\/div>\n

Jean-Jacques Schuhl answered the door in slippers, no socks. He offered me, in knowing jest, bio coffee<\/em>, bio juice<\/em>, or bio wine<\/em> (bio<\/em>\u00a0is French shorthand for something close to organic<\/em>). I asked for the coffee. He shuffled out, came back with china in hand, and reported that it was still warm. I cleared a spot on the table between messy piles of paper.<\/p>\n

Schuhl\u2019s first novel, the 1972 cult classic Rose poussiere<\/em>, has recently been published in English for the first time\u00a0by Semiotext(e) under the title Dusty Pink<\/em>. It\u2019s a slim little thing, a collage of mixed materials: assorted tear sheets, facsimiles, and news clippings like the ones across his table. Somehow, the net effect is as much a leering void as it is a mosaic of cultural scraps. The cumulative emptiness is as central to the work as the careful text.<\/p>\n

At seventy-six, Schuhl\u2019s artistic output has been startlingly small: three books and a handful of essays. In a French publishing landscape where most writers chase mass-market success, Schuhl is what\u2019s left of an underground that can no longer exist.<\/p>\n

Schuhl is obsessed with creating a kind of noise that opposes the broadcast of social networks. He riffs on the sounds (and silences) of the late sixties and early seventies countercultures in London, Paris, and New York, of which he was a member and a keen observer. He\u2019s never had any interest in the literary scene, preferring the company of those who work in the theater, on the stage. I found, through a roundabout online search, a rare picture of Schuhl with his friends Jean-Luc Godard, Jean Eustache, and Jean-Pierre L\u00e9aud.<\/p>\n

In Dusty Pink<\/em>, Schuhl presents both a veiled criticism of and a longing for the end of the long sixties, up until 1976, and its drug-addled nightlife. His use of artifacts, such as race wire results and magazine tear sheets, gives him the distance to fetishize a moment by creating a cut-and-paste eulogy of its passing. Schuhl\u2019s quick takes on the shifting seventies have aged to reveal that they had a prophetic quality. The title, a shade of cosmetic, is all the more provocative in today\u2019s era of twenty-year-old \u201cself-made\u201d beauty billionaires.<\/p>\n

Schuhl\u2019s second novel, Ingrid Caven<\/em>,\u00a0was published in 2000 (and in the U.S. in 2004, by City Lights) and went on to win France\u2019s prestigious Prix Goncourt. Ingrid Caven <\/em>is named for Schuhl\u2019s partner, a German film actress and singer previously married to Rainer Werner Fassbinder. That novel is a more narrative history of seventies counterculture, filled with a rotating cast of famous names including Yves Saint Laurent, Marlene Dietrich, Ava Gardner, and Mao Zedong. But straight reality doesn\u2019t interest Schuhl. He prefers to write a hybrid of recollection and fantasy.<\/p>\n

Ingrid Caven<\/em> originated when a German publishing house asked Caven to write an autobiography. She, in turn, asked Schuhl if he had any interest in writing it for her. \u201cI told her that I hate biography\u2014which is true. I had this idea to make a false biography, a novel, this<\/em> kind of novel,\u201d he said. \u201cThanks to her, I had an archive a domicile<\/em>. If I needed something, she was there, like impressionists who painted their wives.\u201d<\/p>\n

Ingrid Caven<\/em> is often miscast as either a riff on autofiction, or an accurate chronicle of Paris in the seventies. \u201cIt is a book very much in the present, but it is misunderstood because two or three scenes take place (back then),\u201d Schuhl said. \u201cThe subject\u2014the reason for the book\u2014was the defense and illustration of a certain style which had disappeared. A style made of high and low.\u201d<\/p>\n

The first chapter of Ingrid Caven <\/em>begins with sheet music scattered around a spread of cosmetics. Schuhl writes:<\/p>\n

A little powder had slipped onto the white sheet of the score, in the middle of the notes, already there: do re mi\u2026 \u201cWhat is that?\u201d \u201cRose dust. Rose poussiere<\/em>. A shade everyone forgot, big in the seventies, I\u2019m the only one who still uses it.\u201d<\/p><\/blockquote>\n

In the opening section of Dusty Pink<\/em>, titled \u201cThe Boots,\u201d Schuhl gives the address of a store where exact copies of the ankle-high boots worn by riot cops during the student protests of 1968 can be found: \u201cDELICATA BROTHERS ORTHOPEDICS, 84, boulevard Saint-Germain, Paris.\u201d (The footnote mentions its baroque window display.) He also notes that such boots are loaned by the state; they don\u2019t belong to anyone. This is another theme of special interest: things that are ownerless or without a single author, like the events that make up the headlines of the day\u2019s news or a collective undercurrent of sentiment.<\/p>\n

Before going to see Schuhl, I stopped by the above address. A blue plaque with a white \u201c84\u201d hung over a double door. To the left, there was a tourist souvenir shop with spinning racks of postcards and refrigerator magnets. To the right, a shuttered comic book shop called Album, with an enlarged speech bubble stuck to the empty windows announcing its new location. I took a few photos on my phone for Schuhl. He quoted Baudelaire: \u201cThe form of a city changes more quickly, alas! than the human heart.\u201d<\/p>\n

Looking back at Dusty Pink,<\/em> Schuhl regretted having given so much space to the Rolling Stones, whom he saw as having become a kind of vulgarity, \u201ca huge cash machine.\u201d He offered that a solution could have been to leave in only the late Brian Jones. \u201cI remember when I saw them at the Olympia in Paris. Jones interested me very much, much more so than Mick Jagger. He had a kind of absence, an air of no importance.\u201d<\/p>\n

From under a stack on the table in front of us, Schuhl pulled out a small edition of Mallarm\u00e9\u2019s Oeuvres Completes<\/em>, with a bright green cord bookmark and a dozen place-holding paper scraps. Schuhl found Baudelaire to be visually oriented; Mallarm\u00e9, purely verbal. Both poets were capable of a feat he had failed at, he said. \u201cWith painting, as well as several kinds of poetry, you have all the space, it\u2019s translated immediately. Time stops\u2014everything is given in an instant,\u201d he told me. \u201cAnd I like the instant\u2014 I don\u2019t much like the flow of time.\u201d Schuhl explained that he attempted to capture singular moments with his writing, but felt he could not. \u201cBut I must try.\u201d<\/p>\n

Along with narrative, he expressed similar dislike for things that were monolithic, essential, or one piece. In Dusty Pink<\/em>, footnotes break up any singular body of the text. He told me he didn\u2019t like \u201ceternal creations nor masterpieces,\u201d and was a big fan of print journalism (though not Internet journalism, he specified). \u201cI like dust, the froth of things,\u201d he told me. \u201cIt is a way to explode the heart. You blow on the book and the sentences, the letters, they fly away.\u201d<\/p>\n

 <\/p>\n

Stephanie LaCava is a New York\u2013based writer and the founder of Small Press Books.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Dusty Pink, a\u00a0French cult classic from 1972, is being published in\u00a0English for the first time<\/p>\n","protected":false},"author":45,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[37797,37798,850,37796,29902],"class_list":["post-129571","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-dusty-pink","tag-ingrid-caven-i","tag-jean-jacques-schuhl","tag-rose-poussiere","tag-semiotexte"],"acf":[],"yoast_head":"\nThe Last of French Seventies Counterculture by Stephanie LaCava<\/title>\n<meta name=\"description\" content=\"September 27, 2018 \u2013 Dusty Pink, a\u00a0French cult classic from 1972, is being published in\u00a0English for the first time\" \/>\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\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Last of French Seventies Counterculture by Stephanie LaCava\" \/>\n<meta property=\"og:description\" content=\"September 27, 2018 \u2013 Dusty Pink, a\u00a0French cult classic from 1972, is being published in\u00a0English for the first time\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/\" \/>\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=\"2018-09-27T17:00:32+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2018-09-27T19:27:04+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2018\/09\/16601230.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"483\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Stephanie LaCava\" \/>\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=\"Stephanie LaCava\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/\"},\"author\":{\"name\":\"Stephanie LaCava\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/b198803a22e88f811a60f78996736d4a\"},\"headline\":\"The Last of French Seventies Counterculture\",\"datePublished\":\"2018-09-27T17:00:32+00:00\",\"dateModified\":\"2018-09-27T19:27:04+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/\"},\"wordCount\":1199,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2018\/09\/16601230.jpg\",\"keywords\":[\"Dusty Pink\",\"Ingrid Caven i\",\"Jean-Jacques Schuhl\",\"Rose poussiere\",\"Semiotext(e)\"],\"articleSection\":[\"Arts & Culture\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/\",\"name\":\"The Last of French Seventies Counterculture by Stephanie LaCava\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2018\/09\/16601230.jpg\",\"datePublished\":\"2018-09-27T17:00:32+00:00\",\"dateModified\":\"2018-09-27T19:27:04+00:00\",\"description\":\"September 27, 2018 \u2013 Dusty Pink, a\u00a0French cult classic from 1972, is being published in\u00a0English for the first time\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2018\/09\/16601230.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2018\/09\/16601230.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"The Last of French Seventies Counterculture\"}]},{\"@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\/b198803a22e88f811a60f78996736d4a\",\"name\":\"Stephanie LaCava\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/c229f25f93afb0bf958171598bedae7093b778f0169cb7cdff5f4c86e1efe0a0?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/c229f25f93afb0bf958171598bedae7093b778f0169cb7cdff5f4c86e1efe0a0?s=96&d=mm&r=g\",\"caption\":\"Stephanie LaCava\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/slacava\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"The Last of French Seventies Counterculture by Stephanie LaCava","description":"September 27, 2018 \u2013 Dusty Pink, a\u00a0French cult classic from 1972, is being published in\u00a0English for the first time","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\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/","og_locale":"en_US","og_type":"article","og_title":"The Last of French Seventies Counterculture by Stephanie LaCava","og_description":"September 27, 2018 \u2013 Dusty Pink, a\u00a0French cult classic from 1972, is being published in\u00a0English for the first time","og_url":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2018-09-27T17:00:32+00:00","article_modified_time":"2018-09-27T19:27:04+00:00","og_image":[{"width":1000,"height":483,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2018\/09\/16601230.jpg","type":"image\/jpeg"}],"author":"Stephanie LaCava","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Stephanie LaCava","Est. reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/"},"author":{"name":"Stephanie LaCava","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/b198803a22e88f811a60f78996736d4a"},"headline":"The Last of French Seventies Counterculture","datePublished":"2018-09-27T17:00:32+00:00","dateModified":"2018-09-27T19:27:04+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/"},"wordCount":1199,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2018\/09\/16601230.jpg","keywords":["Dusty Pink","Ingrid Caven i","Jean-Jacques Schuhl","Rose poussiere","Semiotext(e)"],"articleSection":["Arts & Culture"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/","url":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/","name":"The Last of French Seventies Counterculture by Stephanie LaCava","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2018\/09\/16601230.jpg","datePublished":"2018-09-27T17:00:32+00:00","dateModified":"2018-09-27T19:27:04+00:00","description":"September 27, 2018 \u2013 Dusty Pink, a\u00a0French cult classic from 1972, is being published in\u00a0English for the first time","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2018\/09\/16601230.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2018\/09\/16601230.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2018\/09\/27\/the-last-of-french-seventies-counterculture\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"The Last of French Seventies Counterculture"}]},{"@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\/b198803a22e88f811a60f78996736d4a","name":"Stephanie LaCava","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/c229f25f93afb0bf958171598bedae7093b778f0169cb7cdff5f4c86e1efe0a0?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/c229f25f93afb0bf958171598bedae7093b778f0169cb7cdff5f4c86e1efe0a0?s=96&d=mm&r=g","caption":"Stephanie LaCava"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/slacava\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/129571","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\/45"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=129571"}],"version-history":[{"count":5,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/129571\/revisions"}],"predecessor-version":[{"id":129657,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/129571\/revisions\/129657"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=129571"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=129571"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=129571"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}