{"id":154821,"date":"2021-09-23T17:16:47","date_gmt":"2021-09-23T21:16:47","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=154821"},"modified":"2023-03-22T12:00:39","modified_gmt":"2023-03-22T16:00:39","slug":"the-reviews-review-reproducing-bodies","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/","title":{"rendered":"Reproducing Bodies"},"content":{"rendered":"

 <\/p>\n

\"\"<\/a>

Linus Borgo, Bed of Stars: Self-Portrait with Elsina and Zip<\/em>, 2021, oil on canvas, 46 x 68″ (detail)<\/em>.<\/p><\/div>\n

Linus Borgo<\/span><\/a> makes consistently uncanny and gorgeous work, some of which will be featured at Steve Turner Gallery in Los Angeles this January. M<\/span>y favorite of their self-portraits\u2014deadlocked with Fuzzy FTM Transsexual Amputee Plays with Magic Wand and Poppers (Self Portrait)<\/i><\/a>\u2014<\/i>is<\/span> Bed of Stars: Self Portrait with Elsina and Zip<\/span><\/i><\/a>, in which Linus lies in a pool of deep blue, star-stamped sheets, an oblique banner of sunlight across his torso and thighs, his body filling the frame, toes nearly poking through the border. It\u2019s a work that questions what it is to reproduce an image, a pet, a body part. Of course, this is the terrain of figurative art. But duplicates also appear within the piece: Linus\u2019s left bionic forearm and its phantom mirror not only each other, but his right forearm; the cat dozing by his ankle complements the stuffed one cradling his elbow; the bedspread underneath him simulates the sky above. The effect is overwhelming, and intensified by meticulousness: blades of hair golden in the sun, creases in the pillowcase, a naval piercing, cursive lettering on a nameplate necklace. In this representation of the self, there is an abundance of selves existing side by side simultaneously. What more could you ask for in a self-portrait? <\/span><\/p>\n

\u2014Jay Graham<\/b><\/p>\n

Tice Cin\u2019s debut novel, <\/span>Keeping the House<\/span><\/i><\/a>, would be interesting for its subject matter alone\u2014it follows the heroin trade in London\u2019s Turkish communities in the late nineties and early 2000s. But what really sets it apart is its snaking, shifting form, filled with constant interruptions by Turkish Cypriot words, and their English definitions, embedded in the middle of the page. The result is a book filled with as much stop\/start energy as the raves its characters attend. <\/span><\/p>\n

\u2014Rhian Sasseen<\/b><\/p>\n

The albums of legendary indie rock band Superchunk\u2014and the solo projects of their front man and Merge Records co-owner Mac McCaughan\u2014have been a refuge for me since the midnineties, when I swaddled my tortured teenage self in their seminal album, <\/span>Foolish<\/span><\/i>. For decades McCaughan released his solo material under the moniker Portastatic, but with his 2015 album <\/span>Non-Believers<\/span><\/i>, he came out under his own name with a clean, eighties-inflected vibe. His follow-up, <\/span>The Sound of Yourself<\/span><\/i><\/a>, is out today. It\u2019s a mature statement from an indie veteran who knows exactly what kind of music he wants to make: mellow guitar rock gently buttered with synth, with McCaughan\u2019s trebly voice swimming in and out of the mix like a melancholy dolphin. The spacious title track is a particular favorite. McCaughan also channels his film scoring work with a few lovely, haunting instrumentals. I\u2019m not exactly sure who this record is for\u2014but it could be for me, entering middle age, looking back on all the music that\u2019s moved me, and grateful to pause for a while in a place I know and love.<\/span><\/p>\n

\u2014Craig Morgan Teicher<\/b><\/p>\n

I thought of Jeffrey Skoblow\u2019s In a Trance: On Paleo Art<\/i><\/a> while looking at Lisa Yuskavage\u2019s \u201c<\/span>Master Class<\/span><\/a>\u201d (in her show <\/span>New Paintings<\/span><\/i><\/a>, up now at David Zwirner). The painting stages a mythic discovery-of-art(ifice)-as-porn scenario: a bare-breasted hippie chick kneels before her male counterpart; they\u2019re separated by a painting of fire, placed over his crotch. Behind them looms a green canvas suggesting the cave-art shapes of horned bison, with a swirly psychedelic twist. Skoblow\u2019s meditation on cave drawings, in which he reconstructs from decades-old, hastily scrawled notebook entries his visits to twelve Lascaux-type sites, looks long and hard at that which is \u201cnot a sign of anything but itself, that is, it means, \u2018I mean,\u2019 \u2018I have meaning,\u2019 and connects all who recognize it.\u201d Skoblow\u2019s prose is quiet, strangely secretive, where Yuskavage\u2019s monochromes are shamelessly pop-y. But both invite us into \u201ca ritual landscape \u2026 a place to return to (if only in the mind), to take an interest in the minds and bodies of (relatively distant) others.\u201d Both are lushly recursive and metareferential in harnessing their respective media to ask after the origins of mark-making and figuration, to illustrate and illuminate \u201cthe muck and mire of human being, the terrifying crazy ooze of our psychosexual evolutionary mud bath.\u201d Who were these early humans? What did they see? And what did they do, to the walls and each other, with language\u2014a new space that introduces relations?<\/span><\/p>\n


\n<\/span>\u2014Olivia Kan-Sperling<\/b><\/p>\n

\"\"<\/a>

Lisa Yuskavage, Master Class, 2021. \u00a9 Lisa Yuskavage. Courtesy the artist and David Zwirner.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

This week in the Review\u2019s Review: colorful, recursive figuration; the London heroin trade; and dolphin-like vocals. <\/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":[68386],"tags":[67827],"class_list":["post-154821","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-featured"],"acf":[],"yoast_head":"\nReproducing Bodies by The Paris Review<\/title>\n<meta name=\"description\" content=\"September 23, 2021 \u2013 This week in the Review\u2019s Review: colorful, recursive figuration; the London heroin trade; and dolphin-like vocals.\" \/>\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\/23\/the-reviews-review-reproducing-bodies\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Reproducing Bodies by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"September 23, 2021 \u2013 This week in the Review\u2019s Review: colorful, recursive figuration; the London heroin trade; and dolphin-like vocals.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/\" \/>\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=\"2021-09-23T21:16:47+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-03-22T16:00:39+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/bed-of-stars-crop.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"989\" \/>\n\t<meta property=\"og:image:height\" content=\"857\" \/>\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=\"4 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\/23\/the-reviews-review-reproducing-bodies\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/\"},\"author\":{\"name\":\"The Paris Review\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\"},\"headline\":\"Reproducing Bodies\",\"datePublished\":\"2021-09-23T21:16:47+00:00\",\"dateModified\":\"2023-03-22T16:00:39+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/\"},\"wordCount\":777,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/bed-of-stars-crop.jpg\",\"keywords\":[\"Featured\"],\"articleSection\":[\"The Review\u2019s Review\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/\",\"name\":\"Reproducing Bodies by The Paris Review\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/bed-of-stars-crop.jpg\",\"datePublished\":\"2021-09-23T21:16:47+00:00\",\"dateModified\":\"2023-03-22T16:00:39+00:00\",\"description\":\"September 23, 2021 \u2013 This week in the Review\u2019s Review: colorful, recursive figuration; the London heroin trade; and dolphin-like vocals.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/bed-of-stars-crop.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/bed-of-stars-crop.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Reproducing Bodies\"}]},{\"@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":"Reproducing Bodies by The Paris Review","description":"September 23, 2021 \u2013 This week in the Review\u2019s Review: colorful, recursive figuration; the London heroin trade; and dolphin-like vocals.","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\/23\/the-reviews-review-reproducing-bodies\/","og_locale":"en_US","og_type":"article","og_title":"Reproducing Bodies by The Paris Review","og_description":"September 23, 2021 \u2013 This week in the Review\u2019s Review: colorful, recursive figuration; the London heroin trade; and dolphin-like vocals.","og_url":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2021-09-23T21:16:47+00:00","article_modified_time":"2023-03-22T16:00:39+00:00","og_image":[{"width":989,"height":857,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/bed-of-stars-crop.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":"4 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/"},"author":{"name":"The Paris Review","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e"},"headline":"Reproducing Bodies","datePublished":"2021-09-23T21:16:47+00:00","dateModified":"2023-03-22T16:00:39+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/"},"wordCount":777,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/bed-of-stars-crop.jpg","keywords":["Featured"],"articleSection":["The Review\u2019s Review"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/","url":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/","name":"Reproducing Bodies by The Paris Review","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/bed-of-stars-crop.jpg","datePublished":"2021-09-23T21:16:47+00:00","dateModified":"2023-03-22T16:00:39+00:00","description":"September 23, 2021 \u2013 This week in the Review\u2019s Review: colorful, recursive figuration; the London heroin trade; and dolphin-like vocals.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/bed-of-stars-crop.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/bed-of-stars-crop.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/23\/the-reviews-review-reproducing-bodies\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Reproducing Bodies"}]},{"@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\/154821","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=154821"}],"version-history":[{"count":34,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/154821\/revisions"}],"predecessor-version":[{"id":163758,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/154821\/revisions\/163758"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=154821"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=154821"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=154821"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}