{"id":136408,"date":"2019-05-16T11:00:45","date_gmt":"2019-05-16T15:00:45","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=136408"},"modified":"2019-05-16T13:22:00","modified_gmt":"2019-05-16T17:22:00","slug":"more-obscene-than-de-sade","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/","title":{"rendered":"More Obscene than De Sade"},"content":{"rendered":"

In his biweekly column, Pinakothek<\/a>, Luc<\/span>\u00a0Sante<\/span>\u00a0excavates and examines miscellaneous visual strata of the past.<\/em><\/p>\n

\"\"<\/a>

\u201cMaybe it would be better if we stopped seeing one another. Maybe there is no remedy to our solitude because \u2026 we don\u2019t love each other enough.\u201d<\/p><\/div>\n

Fotonovela<\/em>, fumetti<\/em>, roman-photo<\/em>\u2014the terms betray the fact that the form never got much traction in the Anglo-Saxon realm. There is no word for it in English, exactly. You could say \u201cphoto-comics,\u201d but you\u2019d risk being misunderstood. These narratives, often but not always romantic, are conveyed by means of photographs arrayed in panels on a page, with running text often in talk balloons. Their impact has been almost entirely restricted to countries that speak Spanish, Italian, or French; their readership is overwhelmingly female, at least in Europe. Their history formally begins in 1947 in Italy, in the magazine Grand Hotel<\/em>, soon followed by its French sibling, Nous Deux<\/em>; both magazines still exist. Fotonovelas flourished in the fifties and early sixties (into the eighties in Latin America), then began a slow decline that still refuses to yield to extinction.<\/p>\n

 <\/p>\n

\"\"<\/a>

Everything was all mixed up. She closed her eyes and thought she heard Daniel. \u201cYour hair is so fine and aromatic!\u201d<\/p><\/div>\n

 <\/p>\n

The culprit of their near-demise, of course, was television, in combination with social anxiety. Fotonovelas were associated with the poor and unlettered (my mother aspirationally ignored their weekly appearance in Femme d\u2019Aujourd\u2019hui<\/em>, to which she subscribed for almost fifty years), the naive and sheltered and perhaps delusional. Roland Barthes, having written that \u201clove is obscene precisely in that it puts the sentimental in place of the sexual,\u201d went on to call Nous Deux<\/em> \u201cmore obscene than de Sade.\u201d Some years earlier, in a less militant phase, he noted of the fotonovelas that \u201ctheir stupidity touches me\u201d and ranked them with other \u201cpictographic\u201d forms, such as stained-glass windows and Carpaccio\u2019s Legend of St. Ursula<\/em>. There are even more specific antecedents, although no record of actual influence: Nadar\u2019s famous conversation with the centenarian chemist Michel Chevreul was published as sequential captioned photographs in Le Journal Illustr\u00e9 <\/em>in 1886, and La Folle d\u2019Itteville<\/em>, the collaborative photo-novel by Germaine Krull and Georges Simenon, was published in 1931. <\/p>\n

 <\/p>\n

\"\"<\/a>

At this thought a blind fury takes her over. She decides to smash everything that doesn\u2019t enclose tender memories.<\/p><\/div>\n

 <\/p>\n

It comes as no surprise to learn that the immediate ancestor of the form was an Italian magazine series that adapted American films by using ordered stills and minimal text to convey their plots. The fotonovela is essentially a low-budget movie on paper, relying heavily on certain cinematographic conventions: the two-shot, the three-quarter shot, the close-up. Or it could be simply defined as a paper-based soap opera, since televised soap operas don\u2019t waste much time on establishing shots, either. The forms also share romance-centered story lines and a traditionally female audience. There have been exceptions, such as the long-running Italian title Killing<\/em> (Satanik<\/em> in France), which ditched romance for sadistic violence, although it observed the same intimate scale; unlike most implacable, masked super-criminals, Killing<\/em> preferred to murder with his hands. Other genres, including many low-budget film staples (the Western, the monster movie, the heist picture), are out of the question owing to their practical demands. On the other hand, the enclosed nature of the form means that you can set a story in the United States, say, by simply ensuring a few sartorial details, such as police uniforms.<\/p>\n

 <\/p>\n

\"\"<\/a>

The wound to the heart slowly settles through the body. \u201c(I see him again for a few minutes and realize how much I still love him.)\u201d<\/p><\/div>\n

 <\/p>\n

The European sartorial details, for their part, can intermittently put you in mind of French new wave movies, which were similarly low-budget and intimate. The visual difference between them has mostly to do with lighting; the fotonovela defaults to the soap opera\u2019s full-coverage model, which has the intent and effect of eliminating any possible ambiguity. Its settings are ruthlessly bon chic, bon genre<\/em> (but then you could say that about almost anything by \u00c9ric Rohmer); its casting choices tend toward archetypes of beauty, waywardness, or authority while avoiding distinctive appearances (but then, Sophia Loren and Claudia Cardinale both made their professional debuts in fotonovelas). Every frame is simply composed and centered; nothing is happening at the edges. The form differs most radically from cinema in its treatment of time, which in the fotonovela is entirely determined by the individual consumer. You can linger between frames if you wish\u2014and you can also run the story backward or interleave it with another story\u2014but the makers cannot introduce a long take or a jump cut or a music cue.<\/p>\n

 <\/p>\n

\"\"<\/a>

The biggest guy swings at the brave boy, who narrowly avoids it by suddenly stepping back. \u201cWait til I get up, you bastard!\u201d<\/p><\/div>\n

 <\/p>\n

The form is simple and utilitarian, geared in every detail to meet common understanding. It is a screen for the reader to project upon while ostensibly immersed in the travails of fictional characters. It traffics in emotional hardware\u2014longing, doubt, regret, passion, envy, betrayal\u2014chiefly through verbal expression and mostly without dramatization. Plot points occur principally in the dialogue. Action, when it happens, is staged neoclassically; fights are choreographed and frozen, as on a Hellenic amphora or in a painting by Poussin. There is rarely any physical damage, and the actors are never mussed. Even when terrible things occur, the effects are muted. Fotonovelas can often seem like extended modeling sessions; the actors seldom strike poses that do not display their clothing to its advantage. It is as if the figures in a department-store catalog enacted a semblance of life, imagining what it must be like to feel, but held back by the immobility of their outfits. In their way, fotonovelas are a guide to comportment, promoting restraint and self-possession, directed at a working-class public that owns little but its emotions.<\/p>\n

 <\/p>\n

\"\"<\/a>

Then a piercing, inhuman scream echoes through the valley. Vanessa swallowed up by the void!<\/p><\/div>\n

 <\/p>\n

Read our Art of Nonfiction interview with Luc Sante here.<\/em><\/a><\/p>\n

Luc Sante\u2019s<\/span>\u00a0books include\u00a0<\/em>Low Life,<\/em>\u00a0Evidence,<\/em>\u00a0Kill All Your Darlings, and\u00a0<\/em>The Other Paris.\u00a0<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Fotonovela, fumetti, roman-photo\u2014the form, which never got much traction in Anglo-Saxon countries, was associated with the poor and unlettered, the naive and sheltered and perhaps delusional. <\/p>\n","protected":false},"author":999,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[52689],"tags":[],"class_list":["post-136408","post","type-post","status-publish","format-standard","hentry","category-pinakothek"],"acf":[],"yoast_head":"\nMore Obscene than De Sade by Lucy Sante<\/title>\n<meta name=\"description\" content=\"May 16, 2019 \u2013 Fotonovela, fumetti, roman-photo\u2014the form, which never got much traction in Anglo-Saxon countries, was associated with the poor and unlettered, the naive and sheltered and perhaps delusional.\" \/>\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\/2019\/05\/16\/more-obscene-than-de-sade\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"More Obscene than De Sade by Lucy Sante\" \/>\n<meta property=\"og:description\" content=\"May 16, 2019 \u2013 Fotonovela, fumetti, roman-photo\u2014the form, which never got much traction in Anglo-Saxon countries, was associated with the poor and unlettered, the naive and sheltered and perhaps delusional.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/\" \/>\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=\"2019-05-16T15:00:45+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-05-16T17:22:00+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/05\/photoroman-23.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"828\" \/>\n\t<meta property=\"og:image:height\" content=\"702\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Lucy Sante\" \/>\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=\"Lucy Sante\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/\"},\"author\":{\"name\":\"Lucy Sante\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/ff92952e9e7fbd74300f176b5d9f4c41\"},\"headline\":\"More Obscene than De Sade\",\"datePublished\":\"2019-05-16T15:00:45+00:00\",\"dateModified\":\"2019-05-16T17:22:00+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/\"},\"wordCount\":1084,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/05\/photoroman-23.jpg\",\"articleSection\":[\"Pinakothek\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/\",\"name\":\"More Obscene than De Sade by Lucy Sante\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/05\/photoroman-23.jpg\",\"datePublished\":\"2019-05-16T15:00:45+00:00\",\"dateModified\":\"2019-05-16T17:22:00+00:00\",\"description\":\"May 16, 2019 \u2013 Fotonovela, fumetti, roman-photo\u2014the form, which never got much traction in Anglo-Saxon countries, was associated with the poor and unlettered, the naive and sheltered and perhaps delusional.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/05\/photoroman-23.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/05\/photoroman-23.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"More Obscene than De Sade\"}]},{\"@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\/ff92952e9e7fbd74300f176b5d9f4c41\",\"name\":\"Lucy Sante\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/1c41e66ada1febce1473f5b90e1c76ac14c3a95a451279a1fff014f6e0c79ecd?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/1c41e66ada1febce1473f5b90e1c76ac14c3a95a451279a1fff014f6e0c79ecd?s=96&d=mm&r=g\",\"caption\":\"Lucy Sante\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/lsante\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"More Obscene than De Sade by Lucy Sante","description":"May 16, 2019 \u2013 Fotonovela, fumetti, roman-photo\u2014the form, which never got much traction in Anglo-Saxon countries, was associated with the poor and unlettered, the naive and sheltered and perhaps delusional.","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\/2019\/05\/16\/more-obscene-than-de-sade\/","og_locale":"en_US","og_type":"article","og_title":"More Obscene than De Sade by Lucy Sante","og_description":"May 16, 2019 \u2013 Fotonovela, fumetti, roman-photo\u2014the form, which never got much traction in Anglo-Saxon countries, was associated with the poor and unlettered, the naive and sheltered and perhaps delusional.","og_url":"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2019-05-16T15:00:45+00:00","article_modified_time":"2019-05-16T17:22:00+00:00","og_image":[{"width":828,"height":702,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/05\/photoroman-23.jpg","type":"image\/jpeg"}],"author":"Lucy Sante","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Lucy Sante","Est. reading time":"5 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/"},"author":{"name":"Lucy Sante","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/ff92952e9e7fbd74300f176b5d9f4c41"},"headline":"More Obscene than De Sade","datePublished":"2019-05-16T15:00:45+00:00","dateModified":"2019-05-16T17:22:00+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/"},"wordCount":1084,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/05\/photoroman-23.jpg","articleSection":["Pinakothek"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/","url":"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/","name":"More Obscene than De Sade by Lucy Sante","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/05\/photoroman-23.jpg","datePublished":"2019-05-16T15:00:45+00:00","dateModified":"2019-05-16T17:22:00+00:00","description":"May 16, 2019 \u2013 Fotonovela, fumetti, roman-photo\u2014the form, which never got much traction in Anglo-Saxon countries, was associated with the poor and unlettered, the naive and sheltered and perhaps delusional.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/05\/photoroman-23.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/05\/photoroman-23.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2019\/05\/16\/more-obscene-than-de-sade\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"More Obscene than De Sade"}]},{"@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\/ff92952e9e7fbd74300f176b5d9f4c41","name":"Lucy Sante","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/1c41e66ada1febce1473f5b90e1c76ac14c3a95a451279a1fff014f6e0c79ecd?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/1c41e66ada1febce1473f5b90e1c76ac14c3a95a451279a1fff014f6e0c79ecd?s=96&d=mm&r=g","caption":"Lucy Sante"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/lsante\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/136408","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\/999"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=136408"}],"version-history":[{"count":8,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/136408\/revisions"}],"predecessor-version":[{"id":136456,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/136408\/revisions\/136456"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=136408"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=136408"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=136408"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}