{"id":157548,"date":"2022-03-10T12:40:07","date_gmt":"2022-03-10T17:40:07","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=157548"},"modified":"2022-03-21T11:44:58","modified_gmt":"2022-03-21T15:44:58","slug":"the-reviews-review-do-not-etc","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/","title":{"rendered":"Do Not Et Cetera"},"content":{"rendered":"
\"\"<\/a>

DIY miniature dollhouse<\/a>, licensed under CC BY SA 4.0<\/a>.<\/p><\/div>\n

\u201cLiving in America during the Reagan years had the same disorientation as a texture dream,\u201d writes David Wojnarowicz in <\/span>Close to the Knives<\/span><\/i><\/a>, \u201cthat sense you get at times lying with your face against the sheets with your eye open, millimeters away from the microscopic weave of the linen, and suddenly your body freezes up and your eye is locked into the universe of textures and threads and weaves, and for an extended moment you can\u2019t shake yourself from the hallucination.\u201d The political subterfuge of the Reagan years is the subject, too, of Maxe Crandall\u2019s recent poem-novel,\u00a0<\/span>The Nancy Reagan Collection<\/span><\/i><\/a>. Published by Futurepoem<\/span> in 2020, it\u2019s a mercurial archive of the Reagans\u2019 silence on AIDS<\/small> and the era\u2019s innumerable other devastating failures, among them Iran-Contra and the expansion of the war on drugs. In high-camp imagined encounters with Nancy Reagan, Crandall deftly traces the era\u2019s iconography of concealment\u2014Nancy in her immutable trademark red, her high-necked collar, her tartan blazer, her little nautical blouse, her gloves\u2014as he lists the names of friends and public figures dead from AIDS<\/small> and its complications. Grief and rage churn at the center of these encounters, each of them shaped by speculative archival work and a biting queer sensibility. It\u2019s a beautifully inventive experiment in historiography and a reminder of the enduring political aesthetics of obfuscation and silence: the particular politeness that meets with mass death. And like everything Futurepoem puts out, as an object it\u2019s gorgeous\u2014bright red, impossible to miss. <\/span>\u2014Oriana Ullman\u00a0<\/b><\/p>\n

<\/p>\n

I am going through a lot of changes in my life, all at once, and as usual I am trying to resolve this by imposing haphazard measures of discipline. Ordered mornings are tantalizing\u2014alarm clock, reading, running, shower, skincare, dressing in the kind of clothes I don\u2019t even own to catch a train into the city. I am always trying and failing to establish different versions of such a routine, and by the end of the day it normally breaks down altogether. But there is one thing I have been doing most days for the last few weeks, since I have moved at least temporarily into a little attic room that overlooks the highway and has nothing on the walls. In the morning, I\u2019ve been reading a few pages of John Cheever\u2019s journals<\/a> while I drink my little coffee; this feels virtuous and luxurious, because it is pointless but I love the prose.\u00a0<\/span><\/p>\n

I first read an excerpt from these journals in college, before I\u2019d read anything else by Cheever, and now that I have I can say with certainty that the journals are leagues better than the stories, a whole different category of thing. The critic Dustin Illingworth <\/span>wrote<\/span><\/a> that<\/span> the journals center on the themes of \u201cGod, sex, guilt, and nature\u201d and \u201cmanage to instill genteel ennui with the anguished moral passion of a Russian novel.\u201d They are sort of lush, pastoral, romantic, rough, and full of gestural lists: \u201cThe calendar of flowers, gin bottles, steak bones.\u201d There are philosophical declarations\u2014\u201cWhen the beginnings of self-destruction enter the heart it seems no bigger than a grain of sand\u201d\u2014and there are self-admonishments and resolutions\u2014\u201cDo not drink. Do not et cetera et cetera.\u201d It is strange, maybe, to be trying to create some order in my life by reading the thoughts of someone who was consistently failing to do the same. But I have been sticking to it anyway, underlining the good parts and sometimes coming back to them: \u201cThe little boy, running barefoot over ash heaps, the warm ash heaps in the cool evening, as we used to do. Thought of last year\u2019s passionate autumns where love obscured the crack in the ceiling and the dust under the bed and how this terminated in spitefulness and bewilderment. But these are not the things that will kill us.\u201d <\/span>\u2014Sophie Haigney<\/b><\/p>\n

Hardcore punk is not my genre. However, it<\/span>\u2019<\/span>s a staple in our flat, and I regularly come home to the blistering shockwave that is <\/span>Minor Threat<\/span> or <\/span>7 Seconds<\/span>. <\/em>I don<\/span>\u2019<\/span>t seek it out, and I don<\/span>\u2019<\/span>t mind (some of) it. But I<\/span>\u2019<\/span>m mesmerized by the\u00a0<\/span>Baltimore band <\/span>Turnstile<\/span>\u2019<\/span>s <\/span>NPR Tiny Desk Concert<\/span><\/a>, recorded in the drummer<\/span>\u2019<\/span>s basement during the COVID<\/small> pandemic. I think it<\/span>\u2019<\/span>s their primal rhythm\u2014everything starts with the rhythm\u2014the infectious playfulness of the performance, and the music itself. Because <\/span>Turnstile <\/span>reimagined their songs for the stripped-down setting of a Tiny Desk Concert, there\u2019s a powerfully restrained energy in every beat. I have the feeling that this is a band not afraid of anything: they let in whatever they want, and when they do, they mean it\u2014whether it<\/span>\u2019<\/span>s swimming guitar riffs, soul-inspired sounds, a thirteen-second bridge with handclaps all the way through, or the hundreds of stuffed toys surrounding them in lieu of a mosh pit. <\/span>Turnstile<\/span>\u2019<\/span>s Tiny Desk Concert is seventeen minutes of joy. <\/span>\u2014Chetna Maroo\u00a0<\/b><\/p>\n

Chetna Maroo is the winner of the<\/span><\/i> Review\u2019s<\/em><\/span> 2022 Plimpton Prize. You can read more about this year\u2019s prize here<\/a>.\u00a0<\/span><\/i><\/p>\n","protected":false},"excerpt":{"rendered":"

John Cheever\u2019s gestural lists, fictional encounters with Nancy Reagan, and hardcore punk miniaturized. <\/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":[15825,68380,1810,503,4867,883],"class_list":["post-157548","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-david-wojnarowicz","tag-futurepoem","tag-john-cheever","tag-journal","tag-npr","tag-staff-picks"],"acf":[],"yoast_head":"\nDo Not Et Cetera by The Paris Review<\/title>\n<meta name=\"description\" content=\"March 10, 2022 \u2013 John Cheever\u2019s gestural lists, fictional encounters with Nancy Reagan, and hardcore punk miniaturized.\" \/>\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\/2022\/03\/10\/the-reviews-review-do-not-etc\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Do Not Et Cetera by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"March 10, 2022 \u2013 John Cheever\u2019s gestural lists, fictional encounters with Nancy Reagan, and hardcore punk miniaturized.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/\" \/>\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=\"2022-03-10T17:40:07+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-03-21T15:44:58+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/03\/diy-miniature-dollhouse.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"576\" \/>\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\/2022\/03\/10\/the-reviews-review-do-not-etc\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/\"},\"author\":{\"name\":\"The Paris Review\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\"},\"headline\":\"Do Not Et Cetera\",\"datePublished\":\"2022-03-10T17:40:07+00:00\",\"dateModified\":\"2022-03-21T15:44:58+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/\"},\"wordCount\":875,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/03\/diy-miniature-dollhouse.jpeg\",\"keywords\":[\"David Wojnarowicz\",\"Futurepoem\",\"John Cheever\",\"journal\",\"NPR\",\"staff picks\"],\"articleSection\":[\"The Review\u2019s Review\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/\",\"name\":\"Do Not Et Cetera by The Paris Review\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/03\/diy-miniature-dollhouse.jpeg\",\"datePublished\":\"2022-03-10T17:40:07+00:00\",\"dateModified\":\"2022-03-21T15:44:58+00:00\",\"description\":\"March 10, 2022 \u2013 John Cheever\u2019s gestural lists, fictional encounters with Nancy Reagan, and hardcore punk miniaturized.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/03\/diy-miniature-dollhouse.jpeg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/03\/diy-miniature-dollhouse.jpeg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Do Not Et Cetera\"}]},{\"@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":"Do Not Et Cetera by The Paris Review","description":"March 10, 2022 \u2013 John Cheever\u2019s gestural lists, fictional encounters with Nancy Reagan, and hardcore punk miniaturized.","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\/2022\/03\/10\/the-reviews-review-do-not-etc\/","og_locale":"en_US","og_type":"article","og_title":"Do Not Et Cetera by The Paris Review","og_description":"March 10, 2022 \u2013 John Cheever\u2019s gestural lists, fictional encounters with Nancy Reagan, and hardcore punk miniaturized.","og_url":"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2022-03-10T17:40:07+00:00","article_modified_time":"2022-03-21T15:44:58+00:00","og_image":[{"width":1024,"height":576,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/03\/diy-miniature-dollhouse.jpeg","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\/2022\/03\/10\/the-reviews-review-do-not-etc\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/"},"author":{"name":"The Paris Review","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e"},"headline":"Do Not Et Cetera","datePublished":"2022-03-10T17:40:07+00:00","dateModified":"2022-03-21T15:44:58+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/"},"wordCount":875,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/03\/diy-miniature-dollhouse.jpeg","keywords":["David Wojnarowicz","Futurepoem","John Cheever","journal","NPR","staff picks"],"articleSection":["The Review\u2019s Review"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/","url":"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/","name":"Do Not Et Cetera by The Paris Review","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/03\/diy-miniature-dollhouse.jpeg","datePublished":"2022-03-10T17:40:07+00:00","dateModified":"2022-03-21T15:44:58+00:00","description":"March 10, 2022 \u2013 John Cheever\u2019s gestural lists, fictional encounters with Nancy Reagan, and hardcore punk miniaturized.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/03\/diy-miniature-dollhouse.jpeg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/03\/diy-miniature-dollhouse.jpeg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2022\/03\/10\/the-reviews-review-do-not-etc\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Do Not Et Cetera"}]},{"@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\/157548","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=157548"}],"version-history":[{"count":18,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/157548\/revisions"}],"predecessor-version":[{"id":157817,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/157548\/revisions\/157817"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=157548"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=157548"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=157548"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}