{"id":144035,"date":"2020-04-03T17:13:53","date_gmt":"2020-04-03T21:13:53","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=144035"},"modified":"2020-04-03T17:48:10","modified_gmt":"2020-04-03T21:48:10","slug":"staff-picks-cositas-cosmos-and-concerts","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/","title":{"rendered":"Staff Picks: Cositas<\/em>, Cosmos, and Concerts"},"content":{"rendered":"
\"\"<\/a>

Carl Phillips. Photo: Reston Allen.<\/p><\/div>\n

In the poem \u201cEven If Sleep and Death Are Brothers,\u201d Carl Phillips sketches an image: \u201cOf beaten gold\u2014gold beaten\u2009\/\u2009to a thinness like that of paper\u2014a woman\u2019s funeral mask.\u201d It recalls for me John Donne\u2019s \u201cA Valediction: Forbidding Mourning\u201d (in which death is not a \u201cbreach, but an expansion,\u2009\/\u2009Like gold to airy thinness beat\u201d), a heartbreaking poem about loss and longing. So, too, does Phillips write poetry meant as a balm for wistfulness; in his latest collection, Pale Colors in a Tall Field<\/em><\/a>, comfort and nostalgia are as closely related as sleep and death. The characters are returning to the places they came from or the places where they had been happy, and stretching briefly backward across time. This happens in small, sensually rich moments, in the titular field or during a swim at a spot from long ago. These are bittersweet poems, lovely homages to the precious penumbral moments when life seems to hang in stasis as we leave behind a past self. \u2014Lauren Kane\u00a0<\/strong><\/p>\n

These days I find myself turning with a regularity that borders on addiction to the video of Rosal\u00eda\u2019s performance<\/a> at the 2019 MTV European Music Awards. It is, obviously, a triumph\u2014we\u2019re talking about La Rosal\u00eda\u2014but more than that it seems to speak, step by step, to this strange moment and the things that have gone missing. The performance begins dark, with a drawn-out version of the hook to \u201cPienso en tu mir\u00e1\u201d (\u201cpienso en tu mir\u00e1, tu mir\u00e1 clava \u2026<\/em>\u2009\u201d), which, if you don\u2019t think too hard about the context, is just a song about anyone you love\u2014missing them, worrying about them. Then the lights come up: the stage is set up to imitate a tablao<\/em>, and the song shifts into \u201cDi mi nombre,\u201d a reminder of intimacy in a moment of distance: \u201cQue las cosas que me dices no salgan por esta puerta<\/em>.\u201d And then everything breaks loose: it shifts into the beginning of Parrita\u2019s \u201cCositas de ayer,\u201d everyone is singing, everyone is dancing, it\u2019s a party, a celebration, an exorcism, an incantation; it\u2019s exactly what I needed. \u2014Hasan Altaf<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Ina Garten.<\/p><\/div>\n

 <\/p>\n

Few people have a presence more soothing than Ina Garten. The jazzy theme song of her long-running cooking show Barefoot Contessa<\/em> is a balm to my soul, instantly activating those secret places in my brain that signal impending gratification and reward. Most Sundays, I roast Ina\u2019s engagement chicken<\/a>, and I\u2019m a loyal follower of her sensible kitchen rules: always keep homemade stock and good vanilla; don\u2019t pack the flour into the measuring cup; purchase a tarte tatin from a good patisserie rather than drudging over dessert. Ina has always felt like a personal friend, and unsurprisingly, her Instagram page<\/a> has been a godsend in times of crisis. There, she leads by example, offering simple recipes with ingredients sourced from her pantry: Tuscan white bean soup, potato-bacon frittata, no-knead Irish soda bread, stewed tomatoes and lentils. At around nine thirty the morning of April Fool\u2019s Day, she posted a video of herself making a pitcher of her signature cosmopolitans, which she serves in a single cocktail glass large enough to hold the entire batch. Taking a healthy swig, she laughs heartily, embracing the absurdity of this entire situation. As I struggle to delineate the beginnings and ends of my work days, Ina reminds me that culinary self-care is an integral part of staying well. She makes social isolation seem much more like manageable solitude. \u2014Elinor Hitt<\/strong><\/p>\n

Kristen Millares Young\u2019s debut novel Subduction<\/em><\/a> takes as its subject a subtle clash of culture in the Pacific Northwest. The novel\u2019s protagonist, Claudia, is an anthropologist fleeing the remains of her marriage by reengaging with her most recent research project, the songs and traditional culture of the Makah people in Neah Bay, Washington. Claudia, a Latina, is mostly blind to her own privilege within the context of the reservation and balks when she is referred to by the Makah people as \u201cwhite.\u201d Even while she blurs the boundaries between the personal and professional, the Native peoples of this novel are Claudia\u2019s subjects, and Young is a skilled enough writer to explore the various problems inherent in that point of view. The title of the book refers to the geological phenomenon of one tectonic plate sinking under the influence of another, during which both subsumed and overriding plates are wracked by distortion and disruption. In Young\u2019s novel, the answer to which is which is left beautifully unclear. \u2014Christian Kiefer<\/strong><\/p>\n

I suppose an upside to being stuck inside is that I have time to listen to many<\/em> hours of music every day. I\u2019ll admit I enjoy digging things out of my collection, but gosh I miss seeing music live, which is pretty much the highlight of my life. Blessedly, it seems like many wonderful musicians miss playing live as much as I miss seeing them, including the legendary jazz pianist Fred Hersch, who has been live streaming what he\u2019s dubbed his \u201cTune of the Day\u201d from his Facebook page<\/a> every afternoon at one. Hersch is part of the generation of jazz musicians who came of age in the late eighties and rose to prominence in the nineties. From a bird\u2019s-eye view, their hallmark is reverence for tradition tensed against an experimental impulse. Hersch is on the conservative end of that spectrum, but in his approach to standards and his own originals, he digs deeper into the crannies of rhythms and melodies than anyone; he makes discoveries in every measure he plays. In these daily miniconcerts, Hersch picks a single song and explores its edges and depths for about five minutes, giving a little talk before or after he plays. He takes requests from his Facebook audience and tries to pair each new day with the right song. He\u2019s in his living room in Pennsylvania, his partner is manning the camera, and the video is sometimes grainy and jerky thanks to the overtaxed internet. But I\u2019m so grateful to him\u2014he\u2019s doing this, it seems, for no other reason than to send a little joy across the series of tubes over to my house, where it\u2019s truly needed. \u2014Craig Morgan Teicher<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Fred Hersch. Photo: Vincent Soyez.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

This week, the staff of \u2018The Paris Review\u2019 finds comfort in Carl Phillips\u2019s latest collection, Ina Garten\u2019s Instagram antics, and Rosal\u00eda.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[438],"tags":[],"class_list":["post-144035","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading"],"acf":[],"yoast_head":"\nStaff Picks: Cositas, Cosmos, and Concerts<\/title>\n<meta name=\"description\" content=\"This week, the staff of \u2018The Paris Review\u2019 finds comfort in Carl Phillips\u2019s latest collection, Ina Garten\u2019s Instagram antics, and Rosal\u00eda.\" \/>\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\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Staff Picks: Cositas, Cosmos, and Concerts by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"April 3, 2020 \u2013 This week, the staff of \u2018The Paris Review\u2019 finds comfort in Carl Phillips\u2019s latest collection, Ina Garten\u2019s Instagram antics, and Rosal\u00eda.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/\" \/>\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=\"2020-04-03T21:13:53+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-04-03T21:48:10+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/04\/phillips.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"750\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"The Paris Review\" \/>\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=\"The Paris Review\" \/>\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\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/\"},\"author\":{\"name\":\"The Paris Review\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\"},\"headline\":\"Staff Picks: Cositas, Cosmos, and Concerts\",\"datePublished\":\"2020-04-03T21:13:53+00:00\",\"dateModified\":\"2020-04-03T21:48:10+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/\"},\"wordCount\":1091,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/04\/phillips.jpg\",\"articleSection\":[\"This Week\u2019s Reading\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/\",\"name\":\"Staff Picks: Cositas, Cosmos, and Concerts\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/04\/phillips.jpg\",\"datePublished\":\"2020-04-03T21:13:53+00:00\",\"dateModified\":\"2020-04-03T21:48:10+00:00\",\"description\":\"This week, the staff of \u2018The Paris Review\u2019 finds comfort in Carl Phillips\u2019s latest collection, Ina Garten\u2019s Instagram antics, and Rosal\u00eda.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/04\/phillips.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/04\/phillips.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Staff Picks: Cositas, Cosmos, and Concerts\"}]},{\"@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\/4a14f739935c82f100675b84e220252e\",\"name\":\"The Paris Review\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g\",\"caption\":\"The Paris Review\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/parisreview\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Staff Picks: Cositas, Cosmos, and Concerts","description":"This week, the staff of \u2018The Paris Review\u2019 finds comfort in Carl Phillips\u2019s latest collection, Ina Garten\u2019s Instagram antics, and Rosal\u00eda.","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\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/","og_locale":"en_US","og_type":"article","og_title":"Staff Picks: Cositas, Cosmos, and Concerts by The Paris Review","og_description":"April 3, 2020 \u2013 This week, the staff of \u2018The Paris Review\u2019 finds comfort in Carl Phillips\u2019s latest collection, Ina Garten\u2019s Instagram antics, and Rosal\u00eda.","og_url":"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2020-04-03T21:13:53+00:00","article_modified_time":"2020-04-03T21:48:10+00:00","og_image":[{"width":1000,"height":750,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/04\/phillips.jpg","type":"image\/jpeg"}],"author":"The Paris Review","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"The Paris Review","Est. reading time":"5 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/"},"author":{"name":"The Paris Review","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e"},"headline":"Staff Picks: Cositas, Cosmos, and Concerts","datePublished":"2020-04-03T21:13:53+00:00","dateModified":"2020-04-03T21:48:10+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/"},"wordCount":1091,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/04\/phillips.jpg","articleSection":["This Week\u2019s Reading"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/","url":"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/","name":"Staff Picks: Cositas, Cosmos, and Concerts","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/04\/phillips.jpg","datePublished":"2020-04-03T21:13:53+00:00","dateModified":"2020-04-03T21:48:10+00:00","description":"This week, the staff of \u2018The Paris Review\u2019 finds comfort in Carl Phillips\u2019s latest collection, Ina Garten\u2019s Instagram antics, and Rosal\u00eda.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/04\/phillips.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/04\/phillips.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2020\/04\/03\/staff-picks-cositas-cosmos-and-concerts\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Staff Picks: Cositas, Cosmos, and Concerts"}]},{"@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\/4a14f739935c82f100675b84e220252e","name":"The Paris Review","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g","caption":"The Paris Review"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/parisreview\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/144035","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\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=144035"}],"version-history":[{"count":8,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/144035\/revisions"}],"predecessor-version":[{"id":144128,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/144035\/revisions\/144128"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=144035"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=144035"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=144035"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}