{"id":140295,"date":"2019-10-18T11:00:33","date_gmt":"2019-10-18T15:00:33","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=140295"},"modified":"2019-10-21T14:04:15","modified_gmt":"2019-10-21T18:04:15","slug":"a-polyphonic-novel-of-midcentury-san-francisco","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/","title":{"rendered":"A Polyphonic Novel of Midcentury San Francisco"},"content":{"rendered":"
\"\"<\/a>

Protesters link arms in front of the International Hotel in San Francisco in an attempt to prevent the police from evicting elderly tenants on August 4, 1977. Photo: Nancy Wong. Via Wikimedia Commons.<\/p><\/div>\n

Imagine that you\u2019re a sullen, sheltered kid from Manila who thinks she knows everything there is to know about the United States of America. But as soon as you and your broken family land in San Francisco, life slaps you hard in the face. Did you emigrate or immigrate? You don\u2019t know. Are you mestiza or brown? You don\u2019t know. In fact, you realize you don\u2019t know anything.<\/p>\n

Your first year in America, John F. Kennedy is assassinated. Five years later, Martin Luther King Jr. and Robert Kennedy. War rages in Vietnam and on television. You are reminded of the Philippines every time you see footage of Vietnam in flames. The universe is shrinking right before your very eyes. Marvin Gaye croons \u201cWhat\u2019s Going On\u201d and breaks your heart.<\/p>\n

Mother, mother
\nThere\u2019s too many of you crying
\nBrother, brother, brother
\nThere\u2019s far too many of you dying<\/p><\/blockquote>\n

KSOL<\/small>! KSAN<\/small>! KJAZ<\/small>! It\u2019s funky, glorious, scary, druggy 1972. Martial law has been declared in the Philippines, Angela Davis has finally been released from prison, and Salvador Allende has not yet been assassinated in Chile.<\/p>\n

Who and what and where are your people? <\/p>\n

You dance to the Temptations singing \u201cBall of Confusion.\u201d<\/p>\n

People movin\u2019 out
\nPeople movin\u2019 in
\nWhy, because of the color of their skin
\nRun, run, run, but you sure can\u2019t hide<\/p><\/blockquote>\n

It\u2019s the perfect theme song for the fall of the International Hotel, for the brutal eviction of the elderly Filipino and Chinese tenants who lived there, and for what eventually happened to San Francisco, a place once hailed as the City of Poets.<\/p>\n

But let\u2019s not get ahead of ourselves.<\/p>\n

In funky, glorious, scary, druggy 1972, you encounter a Filipino activist-shaman-poet with twinkly eyes and an intense way of talking named Al Robles.<\/p>\n

Poetry workshop happenin\u2019 in the basement of the I-Hotel, Sister! And it\u2019s free! Come to Manilatown, write poems, drink wine, eat some adobo and rice!<\/p>\n

The I-Hotel? Manilatown? What Manilatown?<\/p>\n

Right there on Kearny Street, in the shadow of Chinatown.<\/p>\n

You are speechless. Al is stunned by your ignorance.<\/p>\n

Sister, you mean you been here since 1963 and don\u2019t know nothin\u2019 \u2019bout Manilatown or Kearny Street Workshop or the I-Hotel?<\/p>\n

So off you went, in search of poetry and self.<\/p>\n

*<\/p>\n

I for international, I for intellectual. I for the eternal hungry i. I for Tino\u2019s Barbershop, I for Benny\u2019s Cigar Store. I for Bataan Drugstore, Bataan Pool Hall, Bataan Restaurant. I for Mike\u2019s Pool Hall. Santa Maria Restaurant. I for Manilatown Manongs. Kearny Street. Jackson Street. Chinatown. Sam Wo Restaurant. Edsel Ford Fung. No booze, no jive, no fortune cookies. Portsmouth Square. Not enough money, not enough sun. SRO. Fluorescent lights. Too much life piled into closet-size rooms. I-Hotel. Home, baby.<\/p>\n

*<\/p>\n

Karen Tei Yamashita\u2019s I Hotel<\/em> is a big, bold beast of a book. Genre-defying, trippy, brilliant, with a lot to say about the Bay Area in the tumultuous seventies and a lot to say about political movements, community building, activism, and art. Originally published in 2010 by Coffee House Press, I Hotel<\/em> was critically lauded and nominated for the National Book Award in fiction. But \u201cfiction\u201d doesn\u2019t quite cut it. Call it a meta meta metaphor, part fiction and part fact, an immersive theatrical experience, a space-jazz-rock-funk opera, or all of the above. I Hotel<\/em>\u2019s pleasures and provocations are abundant. Gritty cartoons, deliberately corny puns, manifestos, transcripts, dossiers, history, philosophy, audio transcripts, poetry, song lyrics, aphorisms, excerpted film and play scripts make up this playful, meticulously researched and constructed work. Narrators shift from the lonesome I<\/em> to the inclusive we<\/em> in a heartbeat. Black Power. Black Panther. Brown Power. Yellow Power. Red Power. Red Guard. MAKIBAKA<\/small>! Huwag matakot<\/em>. Kalayaan. Freedom now. Coalitions. Movements galore. Third World dis and Third World dat. Identity. Community. Communiqu\u00e9. Who am I? And what, exactly, does it mean to be Asian American? Karen Tei Yamashita explores these questions and conflicts with verve and a keen sense of the theatrical and the absurd.<\/p>\n

I Hotel<\/em> begins and ends with tragedy. It opens on Lunar New Year in 1968 with the Tet Offensive happening. In San Francisco, the father of a teenage boy suddenly collapses and dies on a street in Chinatown. Crackle and pop of incessant firecrackers. The smell of smoke. The mood is festive and violent. The end comes in the early morning hours of August 4, 1977. Three hundred cops in full riot gear beat back thousands of protesters and get busy evicting the fifty remaining tenants\u2014many frail and in their eighties\u2014from the International Hotel. Overkill, for sure.<\/p>\n

Fast forward to 2019. The New York Times<\/em> gloats: \u201cThousands of New Millionaires [Are] About to Eat San Francisco Alive.\u201d Another headline, a few weeks later: \u201cIn San Francisco, Making a Living From Your Billionaire Neighbor\u2019s Trash.\u201d The full-time trash picker is a military veteran named Jake Orta. The billionaire neighbor is Mark Zuckerberg.<\/p>\n

Because of its scope and ambition as well as the decade it chronicles, I Hotel<\/em> makes me think of dazzling, adventurous works from the sixties and seventies: Italo Calvino\u2019s Cosmicomics<\/em>, Julio Cort\u00e1zar\u2019s Hopscotch<\/em>, and the percussionist-composer Stomu Yamash\u2019ta\u2019s Red Buddha Theatre production of The Man from the East<\/em>.<\/p>\n

In these dark times of planetary crisis, sinister algorithms, and yammering despots, Karen Tei Yamashita\u2019s mythic I Hotel<\/em> seems more relevant than ever. Mabuhay<\/em> to Coffee House Press for reissuing this book.<\/p>\n

 <\/p>\n

Jessica Hagedorn was born and raised in the Philippines and came to the United States in her early teens. Her novels include <\/em>Toxicology, <\/em>Dream Jungle, <\/em>The Gangster of Love, and <\/em>Dogeaters, winner of the American Book Award and a finalist for the National Book Award. Hagedorn is also the author of <\/em>Danger and Beauty, a collection of poetry and prose, and the editor of three anthologies. She is working on a musical play about the pioneering all-female rock band Fanny.<\/em><\/p>\n

Used by permission from <\/em>I Hotel<\/a> (Coffee House Press, 2019). Copyright \u00a9 2019 by Jessica Hagedorn.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

With verve and a keen sense of the theatrical and the absurd, Karen Tei Yamashita\u2019s \u2018I Hotel\u2019 explores what it means to be Asian American.<\/p>\n","protected":false},"author":1859,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[],"class_list":["post-140295","post","type-post","status-publish","format-standard","hentry","category-arts-culture"],"acf":[],"yoast_head":"\nA Polyphonic Novel of Midcentury San Francisco by Jessica Hagedorn<\/title>\n<meta name=\"description\" content=\"With verve and a keen sense of the theatrical and the absurd, Karen Tei Yamashita\u2019s \u2018I Hotel\u2019 explores what it means to be Asian American.\" \/>\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\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A Polyphonic Novel of Midcentury San Francisco by Jessica Hagedorn\" \/>\n<meta property=\"og:description\" content=\"October 18, 2019 \u2013 With verve and a keen sense of the theatrical and the absurd, Karen Tei Yamashita\u2019s \u2018I Hotel\u2019 explores what it means to be Asian American.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/\" \/>\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=\"2019-10-18T15:00:33+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-10-21T18:04:15+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/10\/hotel.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"670\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Jessica Hagedorn\" \/>\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=\"Jessica Hagedorn\" \/>\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\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/\"},\"author\":{\"name\":\"Jessica Hagedorn\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/13728149633d048b03527a958ff1da76\"},\"headline\":\"A Polyphonic Novel of Midcentury San Francisco\",\"datePublished\":\"2019-10-18T15:00:33+00:00\",\"dateModified\":\"2019-10-21T18:04:15+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/\"},\"wordCount\":1052,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/10\/hotel.jpg\",\"articleSection\":[\"Arts & Culture\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/\",\"name\":\"A Polyphonic Novel of Midcentury San Francisco by Jessica Hagedorn\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/10\/hotel.jpg\",\"datePublished\":\"2019-10-18T15:00:33+00:00\",\"dateModified\":\"2019-10-21T18:04:15+00:00\",\"description\":\"With verve and a keen sense of the theatrical and the absurd, Karen Tei Yamashita\u2019s \u2018I Hotel\u2019 explores what it means to be Asian American.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/10\/hotel.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/10\/hotel.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"A Polyphonic Novel of Midcentury San Francisco\"}]},{\"@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\/13728149633d048b03527a958ff1da76\",\"name\":\"Jessica Hagedorn\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/4f86336b8220d579db363892231fac6a88fb80df0d511ad9c26c26f3dd97bea1?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/4f86336b8220d579db363892231fac6a88fb80df0d511ad9c26c26f3dd97bea1?s=96&d=mm&r=g\",\"caption\":\"Jessica Hagedorn\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/jhagedorn\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"A Polyphonic Novel of Midcentury San Francisco by Jessica Hagedorn","description":"With verve and a keen sense of the theatrical and the absurd, Karen Tei Yamashita\u2019s \u2018I Hotel\u2019 explores what it means to be Asian American.","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\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/","og_locale":"en_US","og_type":"article","og_title":"A Polyphonic Novel of Midcentury San Francisco by Jessica Hagedorn","og_description":"October 18, 2019 \u2013 With verve and a keen sense of the theatrical and the absurd, Karen Tei Yamashita\u2019s \u2018I Hotel\u2019 explores what it means to be Asian American.","og_url":"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2019-10-18T15:00:33+00:00","article_modified_time":"2019-10-21T18:04:15+00:00","og_image":[{"width":1000,"height":670,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/10\/hotel.jpg","type":"image\/jpeg"}],"author":"Jessica Hagedorn","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Jessica Hagedorn","Est. reading time":"5 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/"},"author":{"name":"Jessica Hagedorn","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/13728149633d048b03527a958ff1da76"},"headline":"A Polyphonic Novel of Midcentury San Francisco","datePublished":"2019-10-18T15:00:33+00:00","dateModified":"2019-10-21T18:04:15+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/"},"wordCount":1052,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/10\/hotel.jpg","articleSection":["Arts & Culture"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/","url":"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/","name":"A Polyphonic Novel of Midcentury San Francisco by Jessica Hagedorn","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/10\/hotel.jpg","datePublished":"2019-10-18T15:00:33+00:00","dateModified":"2019-10-21T18:04:15+00:00","description":"With verve and a keen sense of the theatrical and the absurd, Karen Tei Yamashita\u2019s \u2018I Hotel\u2019 explores what it means to be Asian American.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/10\/hotel.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/10\/hotel.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2019\/10\/18\/a-polyphonic-novel-of-midcentury-san-francisco\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"A Polyphonic Novel of Midcentury San Francisco"}]},{"@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\/13728149633d048b03527a958ff1da76","name":"Jessica Hagedorn","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/4f86336b8220d579db363892231fac6a88fb80df0d511ad9c26c26f3dd97bea1?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/4f86336b8220d579db363892231fac6a88fb80df0d511ad9c26c26f3dd97bea1?s=96&d=mm&r=g","caption":"Jessica Hagedorn"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/jhagedorn\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/140295","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\/1859"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=140295"}],"version-history":[{"count":10,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/140295\/revisions"}],"predecessor-version":[{"id":140378,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/140295\/revisions\/140378"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=140295"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=140295"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=140295"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}