{"id":154490,"date":"2021-09-07T14:59:05","date_gmt":"2021-09-07T18:59:05","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=154490"},"modified":"2022-08-22T12:22:24","modified_gmt":"2022-08-22T16:22:24","slug":"jim-jarmuschs-collages","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/","title":{"rendered":"Jim Jarmusch\u2019s Collages"},"content":{"rendered":"
\"\"<\/a>

From Some Collages<\/em>, by Jim Jarmusch, published by Anthology Editions.<\/p><\/div>\n

Jim Jarmusch\u2019s small, eerie collages are all about faces. And about the bodies attached to those faces. And about what happens when faces get switched off onto other bodies. You could say that Jarmusch, ever the director, is engaging in exploratory casting. He wants to see Stanley Kubrick in the role of a golfer, and Nico as a Vegas crooner, and Jane Austen winding up on the mound, and Albert Einstein as a rock star, and Bernie Sanders as a dog. Andy Warhol, meanwhile, just goes ahead and casts himself in every role, turning all of them into \u201cAndy Warhol.\u201d<\/p>\n

Personalities can transfer their qualities to other modes of life, and you are invited to imagine the results of the ensuing cognitive dissonance. When there is little discernible personality, or when parties have abandoned their personalities in favor of a position\u2014political or legal or corporate or academic\u2014they simply become their blather. You imagine that those thumbprints of text, sitting above shoulders, are excerpts from an endless gray ribbon of rhetoric that unspools continuously. And then there are those humans whose heads are empty, the same color as the mount. Since some are villains and some are heroes, that does not seem to carry a moral implication. Maybe they represent all those who suffer from stomach troubles. <\/p>\n

Jarmusch\u2019s canvases are tiny, but they encompass at least two hundred years of news, culture, and entertainment. Anything in our collective memory can be reconfigured at will. A line of jokers headed by Claude Monet step out in minidresses printed with the faces of the 1968 U.S. presidential candidates, simply because they can. The mood might be postapocalyptic; history is over and it is now time to swap out its parts, looking for a better fit. We can run rampant all over the stage of what used to be called civilization. At last even ciphers and smiley faces and cocker spaniels can become celebrated heroes and beauties!<\/p>\n

The modest proportions of Jarmusch\u2019s collages also make them pass for news, in the old sense: murky little gray pictures on some inner page of the newspaper, where the photography conveys not so much a slice of life as a sense of ritual. Under those circumstances, if a sufficient number of men in suits are crowded together it really doesn\u2019t matter to your scanning eye whether they are legislators or mafiosi\u2014they are enacting importance, and they do so every day regardless of the weather. Seeing Jarmusch\u2019s collages is like flipping through the Daily Bugle <\/em>and suddenly realizing that the paper has been taken over by pranksters who are giving you the real news: those figures might wear suits but they are actually cocker spaniels! Your vision has been corrected. You are no longer semiconsciously scanning now, but sitting upright and paying attention. The world reveals itself for what it really is.<\/p>\n

\u2014Lucy Sante<\/em><\/p>\n

\"\"<\/a>

From Some Collages<\/em>, by Jim Jarmusch, published by Anthology Editions.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

From Some Collages<\/em>, by Jim Jarmusch, published by Anthology Editions.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

From Some Collages<\/em>, by Jim Jarmusch, published by Anthology Editions.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

From Some Collages<\/em>, by Jim Jarmusch, published by Anthology Editions.<\/p><\/div>\n

 <\/p>\n

Lucy Sante\u2019s books include <\/em>Low Life, <\/em>The Factory of Facts, <\/em>Kill All Your Darlings, <\/em>The Other Paris, and <\/em>Maybe the People Would Be the Times. Teaches at Bard College.<\/em><\/p>\n

Jim Jarmusch\u00a0is a film director, writer, musician, producer, and artist. A prominent figure in independent cinema, his notable films include\u00a0<\/em>Stranger than Paradise\u00a0(1984),\u00a0<\/em>Down By Law\u00a0(1986),\u00a0<\/em>Dead Man\u00a0(1999),\u00a0<\/em>Broken Flowers (2005), and\u00a0<\/em>Only Lovers Left Alive\u00a0(2013).\u00a0<\/em>Some Collages\u00a0is his first book of collage artwork.<\/em><\/p>\n

An excerpt from <\/em>Some Collages<\/a>,<\/em> by Jim Jarmusch, published by Anthology Editions. Jarmusch will also present his first solo show of these collages at James Fuentes Gallery<\/a>, September 29 through October 31, 2021.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cYou could say that Jarmusch, ever the director, is engaging in exploratory casting,\u201d writes Lucy Sante in her foreword to a new collection of Jim Jarmusch\u2019s collages. <\/p>\n","protected":false},"author":999,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[67827],"class_list":["post-154490","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-featured"],"acf":[],"yoast_head":"\nJim Jarmusch\u2019s Collages by Lucy Sante<\/title>\n<meta name=\"description\" content=\"September 7, 2021 \u2013 \u201cYou could say that Jarmusch, ever the director, is engaging in exploratory casting,\u201d writes Lucy Sante in her foreword to a new collection of Jim Jarmusch\u2019s collages.\" \/>\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\/09\/07\/jim-jarmuschs-collages\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Jim Jarmusch\u2019s Collages by Lucy Sante\" \/>\n<meta property=\"og:description\" content=\"September 7, 2021 \u2013 \u201cYou could say that Jarmusch, ever the director, is engaging in exploratory casting,\u201d writes Lucy Sante in her foreword to a new collection of Jim Jarmusch\u2019s collages.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/\" \/>\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=\"2021-09-07T18:59:05+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-08-22T16:22:24+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/3.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"714\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Lucy Sante\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Lucy Sante\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 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\/09\/07\/jim-jarmuschs-collages\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/\"},\"author\":{\"name\":\"Lucy Sante\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/ff92952e9e7fbd74300f176b5d9f4c41\"},\"headline\":\"Jim Jarmusch\u2019s Collages\",\"datePublished\":\"2021-09-07T18:59:05+00:00\",\"dateModified\":\"2022-08-22T16:22:24+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/\"},\"wordCount\":682,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/3.jpeg\",\"keywords\":[\"Featured\"],\"articleSection\":[\"Arts & Culture\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/\",\"name\":\"Jim Jarmusch\u2019s Collages by Lucy Sante\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/3.jpeg\",\"datePublished\":\"2021-09-07T18:59:05+00:00\",\"dateModified\":\"2022-08-22T16:22:24+00:00\",\"description\":\"September 7, 2021 \u2013 \u201cYou could say that Jarmusch, ever the director, is engaging in exploratory casting,\u201d writes Lucy Sante in her foreword to a new collection of Jim Jarmusch\u2019s collages.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/3.jpeg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/3.jpeg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Jim Jarmusch\u2019s Collages\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. Since 1953.\",\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\",\"name\":\"The Paris Review\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"width\":696,\"height\":696,\"caption\":\"The Paris Review\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/parisreview\/\",\"https:\/\/x.com\/parisreview\",\"https:\/\/www.instagram.com\/parisreview\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/ff92952e9e7fbd74300f176b5d9f4c41\",\"name\":\"Lucy Sante\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/1c41e66ada1febce1473f5b90e1c76ac14c3a95a451279a1fff014f6e0c79ecd?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/1c41e66ada1febce1473f5b90e1c76ac14c3a95a451279a1fff014f6e0c79ecd?s=96&d=mm&r=g\",\"caption\":\"Lucy Sante\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/lsante\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Jim Jarmusch\u2019s Collages by Lucy Sante","description":"September 7, 2021 \u2013 \u201cYou could say that Jarmusch, ever the director, is engaging in exploratory casting,\u201d writes Lucy Sante in her foreword to a new collection of Jim Jarmusch\u2019s collages.","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\/09\/07\/jim-jarmuschs-collages\/","og_locale":"en_US","og_type":"article","og_title":"Jim Jarmusch\u2019s Collages by Lucy Sante","og_description":"September 7, 2021 \u2013 \u201cYou could say that Jarmusch, ever the director, is engaging in exploratory casting,\u201d writes Lucy Sante in her foreword to a new collection of Jim Jarmusch\u2019s collages.","og_url":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2021-09-07T18:59:05+00:00","article_modified_time":"2022-08-22T16:22:24+00:00","og_image":[{"width":1000,"height":714,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/3.jpeg","type":"image\/jpeg"}],"author":"Lucy Sante","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Lucy Sante","Est. reading time":"3 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/"},"author":{"name":"Lucy Sante","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/ff92952e9e7fbd74300f176b5d9f4c41"},"headline":"Jim Jarmusch\u2019s Collages","datePublished":"2021-09-07T18:59:05+00:00","dateModified":"2022-08-22T16:22:24+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/"},"wordCount":682,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/3.jpeg","keywords":["Featured"],"articleSection":["Arts & Culture"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/","url":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/","name":"Jim Jarmusch\u2019s Collages by Lucy Sante","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/3.jpeg","datePublished":"2021-09-07T18:59:05+00:00","dateModified":"2022-08-22T16:22:24+00:00","description":"September 7, 2021 \u2013 \u201cYou could say that Jarmusch, ever the director, is engaging in exploratory casting,\u201d writes Lucy Sante in her foreword to a new collection of Jim Jarmusch\u2019s collages.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/3.jpeg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/3.jpeg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/jim-jarmuschs-collages\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Jim Jarmusch\u2019s Collages"}]},{"@type":"WebSite","@id":"https:\/\/www.theparisreview.org\/blog\/#website","url":"https:\/\/www.theparisreview.org\/blog\/","name":"The Paris Review","description":"The best prose, interviews, poetry, and art. Since 1953.","publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.theparisreview.org\/blog\/#organization","name":"The Paris Review","url":"https:\/\/www.theparisreview.org\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","width":696,"height":696,"caption":"The Paris Review"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/parisreview\/","https:\/\/x.com\/parisreview","https:\/\/www.instagram.com\/parisreview"]},{"@type":"Person","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/ff92952e9e7fbd74300f176b5d9f4c41","name":"Lucy Sante","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/1c41e66ada1febce1473f5b90e1c76ac14c3a95a451279a1fff014f6e0c79ecd?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/1c41e66ada1febce1473f5b90e1c76ac14c3a95a451279a1fff014f6e0c79ecd?s=96&d=mm&r=g","caption":"Lucy Sante"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/lsante\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/154490","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/users\/999"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=154490"}],"version-history":[{"count":10,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/154490\/revisions"}],"predecessor-version":[{"id":161226,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/154490\/revisions\/161226"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=154490"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=154490"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=154490"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}