{"id":155055,"date":"2021-10-05T11:08:13","date_gmt":"2021-10-05T15:08:13","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=155055"},"modified":"2021-10-12T13:01:49","modified_gmt":"2021-10-12T17:01:49","slug":"redux-enemies-are-redheaded","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/","title":{"rendered":"Redux: Enemies Are Redheaded"},"content":{"rendered":"

Every week, the editors of\u00a0<\/em>The Paris Review\u00a0lift the paywall on a selection of interviews, stories, poems, and more from the magazine\u2019s archive. You can have these unlocked pieces delivered straight to your inbox every Sunday by\u00a0signing up for the Redux newsletter<\/a>.<\/em><\/p>\n

\"\"<\/a>

PHOTO \u00a9 OLIVIER ROLLER (DETAIL); MANUSCRIPT IMAGE COURTESY OF GALAXIA GUTENBERG<\/small><\/p><\/div>\n

This week at\u00a0The Paris Review<\/em>, we\u2019re writing about reading, and reading about writing. Read on for Enrique Vila-Matas\u2019s\u00a0Art of Fiction interview<\/a>, Kate Zambreno\u2019s short story \u201cPlagiarism<\/a>,\u201d a\u00a0piece of fiction by Chekhov called \u201cWhat You Usually Find in Novels<\/a>,\u201d\u00a0Gevorg Emin\u2019s poem \u201cThe Block<\/a>,\u201d and a\u00a0portfolio<\/a>\u00a0of Richard Prince art from 1978.<\/p>\n

Interview<\/em>
\nEnrique Vila-Matas, The Art of Fiction No. 247<\/a>
\nIssue no. 234 (Fall 2020)<\/em><\/p>\n

\n

The kind of writer I like best is the one who has, at some stage, been a critic, and who at a certain point realizes that if he really wanted to honor literature he must immediately himself become a writer\u2014step inside the bullring and prolong, by other means, what was always at stake in literature.<\/p>\n<\/blockquote>\n

<\/p>\n

\"\"<\/a>

Detail from a Richard Prince piece, 1978.<\/p><\/div>\n

Fiction<\/em>
\nPlagiarism<\/a>
\nBy Kate Zambreno
\nIssue no. 228 (Spring 2019)<\/em><\/p>\n

\n

I\u2019m not saying it was the exact same text\u2014her small, lyric monograph and my novella-length essay. For one, her book was more conceptually focused, while my essay drifted too much and was too much about me. Still, the similarities were uncanny. Had I unintentionally plagiarized her, or had she unintentionally plagiarized me?<\/p>\n<\/blockquote>\n

\"\"<\/a>

Detail from a Richard Prince piece, 1978.<\/p><\/div>\n

Fiction<\/em>
\nWhat You Usually Find in Novels<\/a>
\nBy Anton Chekhov, translated by Peter Sekirin
\nIssue no. 152 (Fall 1999)<\/em><\/p>\n

\n

All the characters are unremarkable, yet sympathetic and attractive people. The hero saves the heroine from a crazed horse; he is strong-willed and he shows his strong fists at every opportunity.<\/p>\n

The sky is wide, the distances are vast and the vistas are broad, so broad that they are impossible to understand . . . this, in short, is Nature.<\/p>\n

Friends are blond. Enemies are redheaded.<\/p><\/blockquote>\n

\"\"<\/a>

Detail from a Richard Prince piece, 1978.<\/p><\/div>\n

Poetry<\/em>
\nThe Block<\/a>
\nBy Gevorg Emin, translated by Diana Der Hovanessian
\nIssue no. 57 (Spring 1974)<\/em><\/p>\n

For two months
\nI have not written
\na word.<\/p>\n

My voice, a low
\ngrumble, disturbs
\nour quarter<\/p>\n

like the rumble
\nof the millstone
\nwhich having nothing to grind
\ngrinds itself.<\/p><\/blockquote>\n

\"\"<\/a>

Detail from a Richard Prince piece, 1978.<\/p><\/div>\n

Art<\/em>
\nFrom\u00a0None<\/em><\/a>
\nBy Richard Prince
\nIssue no. 73 (Spring-Summer 1978)<\/em><\/p>\n

 <\/p>\n

If you enjoyed the above, don\u2019t forget to\u00a0subscribe<\/a>! In addition to four print issues per year, you\u2019ll also receive complete digital access to our sixty-eight years\u2019 worth of archives.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

We\u2019ve lowered the paywall on Enrique Vila-Matas\u2019s Art of Fiction interview, fiction by Kate Zambreno and Anton Chekhov, and more.<\/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":[31006],"tags":[],"class_list":["post-155055","post","type-post","status-publish","format-standard","hentry","category-redux"],"acf":[],"yoast_head":"\nRedux: Enemies Are Redheaded by The Paris Review<\/title>\n<meta name=\"description\" content=\"October 5, 2021 \u2013 We\u2019ve lowered the paywall on Enrique Vila-Matas\u2019s Art of Fiction interview, fiction by Kate Zambreno and Anton Chekhov, and more.\" \/>\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\/10\/05\/redux-enemies-are-redheaded\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Redux: Enemies Are Redheaded by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"October 5, 2021 \u2013 We\u2019ve lowered the paywall on Enrique Vila-Matas\u2019s Art of Fiction interview, fiction by Kate Zambreno and Anton Chekhov, and more.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/\" \/>\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=\"2021-10-05T15:08:13+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-10-12T17:01:49+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/10\/unnamed-4.png\" \/>\n\t<meta property=\"og:image:width\" content=\"925\" \/>\n\t<meta property=\"og:image:height\" content=\"616\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\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=\"2 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\/10\/05\/redux-enemies-are-redheaded\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/\"},\"author\":{\"name\":\"The Paris Review\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\"},\"headline\":\"Redux: Enemies Are Redheaded\",\"datePublished\":\"2021-10-05T15:08:13+00:00\",\"dateModified\":\"2021-10-12T17:01:49+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/\"},\"wordCount\":471,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/10\/unnamed-4.png\",\"articleSection\":[\"Redux\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/\",\"name\":\"Redux: Enemies Are Redheaded by The Paris Review\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/10\/unnamed-4.png\",\"datePublished\":\"2021-10-05T15:08:13+00:00\",\"dateModified\":\"2021-10-12T17:01:49+00:00\",\"description\":\"October 5, 2021 \u2013 We\u2019ve lowered the paywall on Enrique Vila-Matas\u2019s Art of Fiction interview, fiction by Kate Zambreno and Anton Chekhov, and more.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/10\/unnamed-4.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/10\/unnamed-4.png\",\"width\":925,\"height\":616,\"caption\":\"PHOTO \u00a9 OLIVIER ROLLER (DETAIL); MANUSCRIPT IMAGE COURTESY OF GALAXIA GUTENBERG\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Redux: Enemies Are Redheaded\"}]},{\"@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":"Redux: Enemies Are Redheaded by The Paris Review","description":"October 5, 2021 \u2013 We\u2019ve lowered the paywall on Enrique Vila-Matas\u2019s Art of Fiction interview, fiction by Kate Zambreno and Anton Chekhov, and more.","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\/10\/05\/redux-enemies-are-redheaded\/","og_locale":"en_US","og_type":"article","og_title":"Redux: Enemies Are Redheaded by The Paris Review","og_description":"October 5, 2021 \u2013 We\u2019ve lowered the paywall on Enrique Vila-Matas\u2019s Art of Fiction interview, fiction by Kate Zambreno and Anton Chekhov, and more.","og_url":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2021-10-05T15:08:13+00:00","article_modified_time":"2021-10-12T17:01:49+00:00","og_image":[{"width":925,"height":616,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/10\/unnamed-4.png","type":"image\/png"}],"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":"2 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/"},"author":{"name":"The Paris Review","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e"},"headline":"Redux: Enemies Are Redheaded","datePublished":"2021-10-05T15:08:13+00:00","dateModified":"2021-10-12T17:01:49+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/"},"wordCount":471,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/10\/unnamed-4.png","articleSection":["Redux"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/","url":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/","name":"Redux: Enemies Are Redheaded by The Paris Review","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/10\/unnamed-4.png","datePublished":"2021-10-05T15:08:13+00:00","dateModified":"2021-10-12T17:01:49+00:00","description":"October 5, 2021 \u2013 We\u2019ve lowered the paywall on Enrique Vila-Matas\u2019s Art of Fiction interview, fiction by Kate Zambreno and Anton Chekhov, and more.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/10\/unnamed-4.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/10\/unnamed-4.png","width":925,"height":616,"caption":"PHOTO \u00a9 OLIVIER ROLLER (DETAIL); MANUSCRIPT IMAGE COURTESY OF GALAXIA GUTENBERG"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/05\/redux-enemies-are-redheaded\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Redux: Enemies Are Redheaded"}]},{"@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\/155055","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=155055"}],"version-history":[{"count":8,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/155055\/revisions"}],"predecessor-version":[{"id":155287,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/155055\/revisions\/155287"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=155055"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=155055"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=155055"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}