{"id":143035,"date":"2020-02-25T11:00:30","date_gmt":"2020-02-25T16:00:30","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=143035"},"modified":"2020-02-25T11:06:03","modified_gmt":"2020-02-25T16:06:03","slug":"emily-dickinsons-white-dress","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/","title":{"rendered":"Emily Dickinson\u2019s White Dress"},"content":{"rendered":"
\"\"<\/a>

Photo: James Gehrt.<\/p><\/div>\n

The first time the writer Thomas Wentworth Higginson met Emily Dickinson, he remembered five details about the way she entered the room: her soft step, her breathless voice, her auburn hair, the two daylilies she offered him\u2014and her exquisite white dress.<\/p>\n

Dickinson\u2019s white dress has become an emblem of the poet\u2019s brilliance and mystery. When Mabel Loomis Todd moved to Dickinson\u2019s hometown in the 1880s, she gushed about the poet\u2019s attire. \u201cI must tell you about the character<\/em> of Amherst,\u201d she wrote her parents. \u201cIt is a lady whom the people call the Myth<\/em> \u2026 She dresses wholly in white, & her mind is said to be perfectly wonderful.\u201d Jane Wald, the executive director of the Emily Dickinson Museum, believes Dickinson began dressing primarily in white in her thirties, and it was common knowledge around town that a white dress was the poet\u2019s preferred article of clothing. Dickinson realized people gossiped about what she wore, and once joked with her cousins, \u201cWon\u2019t you tell \u2018the public\u2019 that at present I wear a brown dress with a cape if possible browner, and carry a parasol of the same!\u201d <\/p>\n

 <\/p>\n

\"\"

Photo: James Gehrt.<\/p><\/div>\n

 <\/p>\n

Only a few articles of Dickinson\u2019s clothing have survived: a brown snood, a paisley wrap, a blue shawl, and a single white dress. The dress is unpretentious: cotton piqu\u00e9, loose fitting with no waistline, featuring a box-pleated flounce at the bottom, twelve mother-of-pearl buttons, a flat collar, and a pocket on the right hip. More than fourteen yards of embroidered lace edge the collar, cuffs, pleats, and pocket. The surviving dress is typical of an inexpensive house garment of the late 1870s or early 1880s and was most likely worn during the last years of the poet\u2019s life. Known as a \u201cwrapper,\u201d it was casual clothing for home and not for social occasions. Stitches indicate it was made on a sewing machine with some handwork. Comfortable and easy to clean, it did not require a corset.<\/p>\n

No one talks much about Dickinson\u2019s brown snood, but speculation concerning the poet\u2019s white dress abounds. There are reasons for that, of course. Some of Dickinson\u2019s most memorable poems reference white. \u201cA solemn thing \u2013 it was \u2013 I said -\/ A Woman \u2013 white – to be-\u201d; \u201cDare you see a Soul at the \u2018White Heat\u2019?\u201d; Mine – by the Right of the White Election!\u201d Her letters also evoke the color. As a young woman, she imagined her own death scene, \u201ceyes shut and a little white gown on, a snowdrop on my breast.\u201d A decade later, in one of her most mysterious letters, Dickinson wrote to an unidentified Master, asking, \u201cWhat would you do with me if I came \u2018in white\u2019?\u201d Critics contend Dickinson\u2019s white dress might suggest renunciation, purity, spiritual devotion, escape from the daily world, or fierce dedication to art. No single rationale has stuck. In justifying her reluctance to publish, Dickinson once remarked, \u201cMy barefoot rank is better.\u201d Perhaps the dress is her barefoot fashion statement.<\/p>\n

 <\/p>\n

\"\"<\/a>

Photo: James Gehrt.<\/p><\/div>\n

 <\/p>\n

While preparing my new book, These Fevered Days: Ten Pivotal Moments in the Making of Emily Dickinson<\/em><\/a>, I asked the photographer James Gehrt to take pictures of Dickinson\u2019s white dress at the Amherst Historical Society. For someone who wrote, \u201cThe Soul selects her own Society,\u201d Emily Dickinson is everywhere in today\u2019s Amherst. Her portrait is on a utility box in the center of town, a local bakery uses her gingerbread recipe, and visitors regularly leave items at the poet\u2019s grave: notes, coins, and recently a soggy copy of Dante\u2019s Inferno<\/em>.<\/p>\n

The afternoon we shot the photos, Marianne Curling, the curator of the Amherst History Museum, helped James lift the form supporting Dickinson\u2019s dress out of its archival case. Once the dress was upright, James began taking close-ups of the collar, the cuffs, and that pocket\u2014just the right size for a pencil and paper. It was late in the afternoon, and the light was lovely in the museum, one of the oldest houses in Amherst. With Marianne\u2019s help, James carefully moved the form. \u201cBe careful with her,\u201d I heard myself saying. Later on, James positioned the garment\u2019s arms to simulate motion. \u201cI want to see if we can make her move,\u201d he said. All of us that day used personal pronouns to refer to the dress\u2014not \u201cit\u201d but \u201cher,\u201d as if Emily Dickinson were still inhabiting the dress and moving with her own soft step.<\/p>\n

 <\/p>\n

\"\"<\/a>

Photo: James Gehrt.<\/p><\/div>\n

 <\/p>\n

Before Higginson met Emily Dickinson that auspicious day, he confessed that he could not always understand her. \u201cSometimes I take out your letters & verses, dear friend, and when I feel their strange power, it is not strange that I find it hard to write & that long months pass. I have the greatest desire to see you, always feeling that perhaps if I could once take you by the hand I might be something to you; but till then you only enshroud yourself in this fiery mist & I cannot reach you, but only rejoice in the rare sparkles of light.\u201d<\/p>\n

Emily Dickinson\u2019s white dress is significant because it is so personal, so intimate, a literal embodiment of who she was. But like the poet herself, the white dress is also inscrutable\u2014more a glint than a conclusion. The dress stayed in Thomas Wentworth Higginson\u2019s mind because it was like those rare sparkles of light\u2014blinding, transitory, and elusive. Is it any wonder? Evanescence was Dickinson\u2019s stock-in-trade. Her poems freeze life\u2019s fleeting moment with startling clarity.<\/p>\n

James\u2019s photographs of Dickinson\u2019s white dress capture the poet\u2019s weightless energy and airy restlessness. They reveal something else, too\u2014about both the poet and her poems. Dickinson\u2019s a sly one. She will always be furtive. Always here and gone. There is dash and vanish to everything about her. Just when you think you have her, she slips out of sight.<\/p>\n

 <\/p>\n

\"\"<\/a>

Photo: James Gehrt.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Photo: James Gehrt.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Photo: James Gehrt.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Photo: James Gehrt.<\/p><\/div>\n

 <\/p>\n

Martha Ackmann, author of <\/em>Curveball and <\/em>The Mercury 13, writes about women who have changed America. The recipient of a Guggenheim fellowship, Ackmann taught a popular seminar on Dickinson at Mount Holyoke College and lives in western Massachusetts. Her latest book,\u00a0<\/em>These Fevered Days: Ten Pivotal Moments in the Making of Emily Dickinson<\/a>, is out this week from W.\u2009W. Norton.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Emily Dickinson\u2019s white dress\u2014one of the only extant articles of the poet\u2019s clothing\u2014has become an emblem of her brilliance and mystery.<\/p>\n","protected":false},"author":1914,"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-143035","post","type-post","status-publish","format-standard","hentry","category-arts-culture"],"acf":[],"yoast_head":"\nEmily Dickinson\u2019s White Dress by Martha Ackmann<\/title>\n<meta name=\"description\" content=\"Emily Dickinson\u2019s white dress\u2014one of the only extant articles of the poet\u2019s clothing\u2014has become an emblem of her brilliance and mystery.\" \/>\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\/2020\/02\/25\/emily-dickinsons-white-dress\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Emily Dickinson\u2019s White Dress by Martha Ackmann\" \/>\n<meta property=\"og:description\" content=\"February 25, 2020 \u2013 Emily Dickinson\u2019s white dress\u2014one of the only extant articles of the poet\u2019s clothing\u2014has become an emblem of her brilliance and mystery.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/\" \/>\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=\"2020-02-25T16:00:30+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-02-25T16:06:03+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/02\/ackmann-dickinson-005.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"667\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Martha Ackmann\" \/>\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=\"Martha Ackmann\" \/>\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\/2020\/02\/25\/emily-dickinsons-white-dress\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/\"},\"author\":{\"name\":\"Martha Ackmann\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/ecd2e1119920f56ef3e7b07172b4dd13\"},\"headline\":\"Emily Dickinson\u2019s White Dress\",\"datePublished\":\"2020-02-25T16:00:30+00:00\",\"dateModified\":\"2020-02-25T16:06:03+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/\"},\"wordCount\":1147,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/02\/ackmann-dickinson-005.jpg\",\"articleSection\":[\"Arts & Culture\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/\",\"name\":\"Emily Dickinson\u2019s White Dress by Martha Ackmann\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/02\/ackmann-dickinson-005.jpg\",\"datePublished\":\"2020-02-25T16:00:30+00:00\",\"dateModified\":\"2020-02-25T16:06:03+00:00\",\"description\":\"Emily Dickinson\u2019s white dress\u2014one of the only extant articles of the poet\u2019s clothing\u2014has become an emblem of her brilliance and mystery.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/02\/ackmann-dickinson-005.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/02\/ackmann-dickinson-005.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Emily Dickinson\u2019s White Dress\"}]},{\"@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\/ecd2e1119920f56ef3e7b07172b4dd13\",\"name\":\"Martha Ackmann\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/763ec8918b609371aada3fc97585df35c292046f7b94c622c7ac8451995f95bf?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/763ec8918b609371aada3fc97585df35c292046f7b94c622c7ac8451995f95bf?s=96&d=mm&r=g\",\"caption\":\"Martha Ackmann\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/mackmann\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Emily Dickinson\u2019s White Dress by Martha Ackmann","description":"Emily Dickinson\u2019s white dress\u2014one of the only extant articles of the poet\u2019s clothing\u2014has become an emblem of her brilliance and mystery.","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\/2020\/02\/25\/emily-dickinsons-white-dress\/","og_locale":"en_US","og_type":"article","og_title":"Emily Dickinson\u2019s White Dress by Martha Ackmann","og_description":"February 25, 2020 \u2013 Emily Dickinson\u2019s white dress\u2014one of the only extant articles of the poet\u2019s clothing\u2014has become an emblem of her brilliance and mystery.","og_url":"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2020-02-25T16:00:30+00:00","article_modified_time":"2020-02-25T16:06:03+00:00","og_image":[{"width":1000,"height":667,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/02\/ackmann-dickinson-005.jpg","type":"image\/jpeg"}],"author":"Martha Ackmann","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Martha Ackmann","Est. reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/"},"author":{"name":"Martha Ackmann","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/ecd2e1119920f56ef3e7b07172b4dd13"},"headline":"Emily Dickinson\u2019s White Dress","datePublished":"2020-02-25T16:00:30+00:00","dateModified":"2020-02-25T16:06:03+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/"},"wordCount":1147,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/02\/ackmann-dickinson-005.jpg","articleSection":["Arts & Culture"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/","url":"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/","name":"Emily Dickinson\u2019s White Dress by Martha Ackmann","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/02\/ackmann-dickinson-005.jpg","datePublished":"2020-02-25T16:00:30+00:00","dateModified":"2020-02-25T16:06:03+00:00","description":"Emily Dickinson\u2019s white dress\u2014one of the only extant articles of the poet\u2019s clothing\u2014has become an emblem of her brilliance and mystery.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/02\/ackmann-dickinson-005.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/02\/ackmann-dickinson-005.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2020\/02\/25\/emily-dickinsons-white-dress\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Emily Dickinson\u2019s White Dress"}]},{"@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\/ecd2e1119920f56ef3e7b07172b4dd13","name":"Martha Ackmann","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/763ec8918b609371aada3fc97585df35c292046f7b94c622c7ac8451995f95bf?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/763ec8918b609371aada3fc97585df35c292046f7b94c622c7ac8451995f95bf?s=96&d=mm&r=g","caption":"Martha Ackmann"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/mackmann\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/143035","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\/1914"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=143035"}],"version-history":[{"count":10,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/143035\/revisions"}],"predecessor-version":[{"id":143085,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/143035\/revisions\/143085"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=143035"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=143035"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=143035"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}