{"id":151027,"date":"2021-02-19T16:05:48","date_gmt":"2021-02-19T21:05:48","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=151027"},"modified":"2021-02-19T17:10:11","modified_gmt":"2021-02-19T22:10:11","slug":"staff-picks-forms-flounder-and-funerals","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/","title":{"rendered":"Staff Picks: Forms, Flounder, and Funerals"},"content":{"rendered":"
\"\"<\/a>

Spread from The Lost Soul<\/em>, illustrated by Joanna Concejo. Courtesy of Seven Stories Press.<\/p><\/div>\n

There are very few children in my life right now, but if there are in the future, I look forward to sitting down with them to read Olga Tokarczuk\u2019s beautiful and melancholy The Lost Soul<\/em><\/a>. Illustrated by Joanna Concejo and translated by Antonia Lloyd-Jones, it is the brief tale of a man who, by moving too fast in life, has lost his soul. As a wise doctor explains to the man: \u201cSouls move at a much slower speed than bodies. They were born at the dawn of time, just after the Big Bang, when the cosmos wasn\u2019t yet in such a rush.\u201d All is not lost: the man moves to the countryside and, as illustrated in Concejo\u2019s delicate, wistful images, waits patiently for his soul to find him. Once this finally happens, he throws away all his watches and suitcases so as to no longer move through life too fast. When I was a child, the writing and art I liked best always disturbed me slightly and made me realize, with great surprise, that a very large and sometimes unsettling world existed outside the confines of my childhood. There is something disturbing about beauty, after all; it will, like all objects and experiences, wear away with time. The Lost Soul<\/em> is a reminder to cherish the present, lest you, too, lose your soul.\u00a0\u2014Rhian Sasseen\u00a0<\/strong><\/p>\n

One of my close friends recently fathered a child, so I\u2019ve been thinking a lot about death. In fairness, my mind is never far from the subject, but the arrival of my paranephew did inspire my latest read, Will My Cat Eat My Eyeballs? Big Questions from Tiny Mortals about Death<\/em><\/a>, in which Caitlin Doughty, a practicing mortician and death-positive activist, seeks to satisfy the morbid curiosity of children by answering such questions as \u201cCan I preserve my dead body in amber like a prehistoric insect?,\u201d \u201cCan everybody fit in a casket? What if they\u2019re really tall?,\u201d and \u201cWhy don\u2019t animals dig up all the graves?\u201d She responds to these adorably ghoulish queries with the same honesty and insightful humor that has made me a longtime subscriber to her YouTube channel, Ask a Mortician<\/a>, on which she continues the death-centric discourse for millions of viewers (check out \u201cThe Real Moby Dick Was So Much Worse<\/a>\u201d). Doughty certainly doesn\u2019t need my endorsement; she earned her macabre pedigree with her first two books, Smoke Gets in Your Eyes: And Other Lessons from the Crematory <\/em>(2014) and From Here to Eternity: Traveling the World to Find the Good Death <\/em>(2017), and has fostered a hoard of devoted followers and a successful career in the funeral industry. Still, something tells me we avoid these darker notions more often than we embrace them, and I can\u2019t be the only weirdo uncle out there who not so secretly wants to field the question, \u201cCan we give Grandma a Viking funeral?\u201d \u2014Christopher Notarnicola<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Andrea Lawlor. Photo: Steve Dillon. Courtesy of Vintage.<\/p><\/div>\n

 <\/p>\n

I am definitely a straggler to the absolute blowout of a novel that is Paul Takes the Form of a Mortal Girl<\/em><\/a>, but wow, am I glad to be here. Andrea Lawlor\u2019s book now sits comfortably in my Top Five Favorites of All Time for a myriad of reasons, chief among them the Patti Smith obsession, the details about zine production, and the well-placed rumination on the pros of cruising in bookstores<\/a>. And of course, there\u2019s our beloved title character, Paul Polydoris, a \u201cshapeshifter\u201d who can move among genders and morph his body on demand. Just as Paul (or Polly, depending on the day) tries on different gender expressions, the novel tries on different formal expressions, jumping from a seemingly traditional narrative to an origin myth to the history of Paul\u2019s \u201cbig gay milestones\u201d in footnotes to a screenplay and back again. My favorite form, though, has to be Paul\u2019s acid-fueled, completely out-of-left-field monologue about the gender politics of covers in rock, \u201cby which I mean alternative and punk\u201d (of course). Even setting that particular moment aside, I love this book. I love it for its deeply referential nature, I love it for its formal play, and I love it for Paul\u2019s wild journey of love, sex, gender, and youth. \u2014Mira Braneck<\/strong><\/p>\n

Super Monster<\/em><\/a>, the debut album from the NYC- and Chicago-based songwriter Claud, is the first release on Phoebe Bridgers\u2019s record label Saddest Factory. It\u2019s a largely upbeat collection of mesmerizing synth pop. Claud\u2019s voice is sweet, smooth, effortless, childlike, and tinged with a hint of melancholy (as are most of Claud\u2019s lovelorn lyrics) that creates meaningful tension with the catchy melodies. It\u2019s not that this music is particularly original\u2014it\u2019s not. There\u2019s a lot of eighties in here, with little flecks of stuff from the nineties and aughts. It\u2019s just really good. If any one of these songs popped onto the radio, you\u2019d find yourself singing along before it ended. My favorites include \u201cOvernight\u201d and \u201cThat\u2019s Mr. Bitch to You.\u201d It\u2019s hard not to love this record. I bought it on LP (like Claud\u2019s hair, the vinyl is blue and green), and I just keep flipping it over and over. It\u2019s perfect music for this snowed-in February: a bit magical, a bit sad. If Claud is what the kids are listening to, then I\u2019d like to believe this staff pick means I\u2019m still one of the kids. \u2014Craig Morgan Teicher<\/strong><\/p>\n

A few years ago, at a twenty-four-hour diner on Eighty-First and First, I saw a man at the table next to mine order and consume a \u201cfull flounder dinner\u201d (whatever that meant) at around two in the morning. I suppose it\u2019s not so shocking; diners can make you nearly anything, and they can pretty reliably do so at any time. At Bailey\u2019s Cafe, the restaurant in the novel of the same name<\/a> by Gloria Naylor, you really can order anything<\/em>, but only on Saturdays and Sundays. The rest of the week, you\u2019re at the mercy of the owner, the grizzled narrator and axis around which the world of the novel spins. In episodes vivid and poignant, Naylor moves through the stories of his regular customers, people who\u2019ve found themselves at Bailey\u2019s with only their bags of tragedy and misfortune. These pieces are sewn together by uncanny and strange thread. Bailey\u2019s Cafe is near 125th Street, but it\u2019s also at the edge of the world; go out the back door and the void is waiting. Maybe you know the feeling from sitting in a creaky booth with cold coffee and a sandwich; maybe you know it from Edward Hopper\u2019s Nighthawks<\/em>. In Naylor\u2019s novel, things are not so lonely, but everyone you sit next to is sure to break your heart.\u00a0\u2014Lauren Kane<\/strong><\/p>\n

 <\/p>\n

\"\"<\/a>

Gloria Naylor. Photo: David Shankbone. CC BY-SA 3.0 (http:\/\/creativecommons.org\/licenses\/by-sa\/3.0\/), via Wikimedia Commons.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

This week, the staff of \u2018The Paris Review\u2019 thinks about death, finds a new favorite novel, and dwells in diners at the edge of the world.<\/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":[67827],"class_list":["post-151027","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-featured"],"acf":[],"yoast_head":"\nStaff Picks: Forms, Flounder, and Funerals by The Paris Review<\/title>\n<meta name=\"description\" content=\"This week, the staff of \u2018The Paris Review\u2019 thinks about death, finds a new favorite novel, and dwells in diners at the edge of the world.\" \/>\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\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Staff Picks: Forms, Flounder, and Funerals by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"February 19, 2021 \u2013 This week, the staff of \u2018The Paris Review\u2019 thinks about death, finds a new favorite novel, and dwells in diners at the edge of the world.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/\" \/>\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=\"2021-02-19T21:05:48+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-02-19T22:10:11+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/02\/the-lost-soul-interior-house.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"677\" \/>\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=\"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\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/\"},\"author\":{\"name\":\"The Paris Review\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\"},\"headline\":\"Staff Picks: Forms, Flounder, and Funerals\",\"datePublished\":\"2021-02-19T21:05:48+00:00\",\"dateModified\":\"2021-02-19T22:10:11+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/\"},\"wordCount\":1206,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/02\/the-lost-soul-interior-house.jpg\",\"keywords\":[\"Featured\"],\"articleSection\":[\"This Week\u2019s Reading\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/\",\"name\":\"Staff Picks: Forms, Flounder, and Funerals by The Paris Review\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/02\/the-lost-soul-interior-house.jpg\",\"datePublished\":\"2021-02-19T21:05:48+00:00\",\"dateModified\":\"2021-02-19T22:10:11+00:00\",\"description\":\"This week, the staff of \u2018The Paris Review\u2019 thinks about death, finds a new favorite novel, and dwells in diners at the edge of the world.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/02\/the-lost-soul-interior-house.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/02\/the-lost-soul-interior-house.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Staff Picks: Forms, Flounder, and Funerals\"}]},{\"@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: Forms, Flounder, and Funerals by The Paris Review","description":"This week, the staff of \u2018The Paris Review\u2019 thinks about death, finds a new favorite novel, and dwells in diners at the edge of the world.","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\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/","og_locale":"en_US","og_type":"article","og_title":"Staff Picks: Forms, Flounder, and Funerals by The Paris Review","og_description":"February 19, 2021 \u2013 This week, the staff of \u2018The Paris Review\u2019 thinks about death, finds a new favorite novel, and dwells in diners at the edge of the world.","og_url":"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2021-02-19T21:05:48+00:00","article_modified_time":"2021-02-19T22:10:11+00:00","og_image":[{"width":1000,"height":677,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/02\/the-lost-soul-interior-house.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":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/"},"author":{"name":"The Paris Review","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e"},"headline":"Staff Picks: Forms, Flounder, and Funerals","datePublished":"2021-02-19T21:05:48+00:00","dateModified":"2021-02-19T22:10:11+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/"},"wordCount":1206,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/02\/the-lost-soul-interior-house.jpg","keywords":["Featured"],"articleSection":["This Week\u2019s Reading"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/","url":"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/","name":"Staff Picks: Forms, Flounder, and Funerals by The Paris Review","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/02\/the-lost-soul-interior-house.jpg","datePublished":"2021-02-19T21:05:48+00:00","dateModified":"2021-02-19T22:10:11+00:00","description":"This week, the staff of \u2018The Paris Review\u2019 thinks about death, finds a new favorite novel, and dwells in diners at the edge of the world.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/02\/the-lost-soul-interior-house.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/02\/the-lost-soul-interior-house.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/02\/19\/staff-picks-forms-flounder-and-funerals\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Staff Picks: Forms, Flounder, and Funerals"}]},{"@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\/151027","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=151027"}],"version-history":[{"count":15,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/151027\/revisions"}],"predecessor-version":[{"id":151069,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/151027\/revisions\/151069"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=151027"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=151027"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=151027"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}