{"id":159072,"date":"2022-05-03T12:09:08","date_gmt":"2022-05-03T16:09:08","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=159072"},"modified":"2022-05-03T12:09:30","modified_gmt":"2022-05-03T16:09:30","slug":"redux-the-marketing-of-obsession","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/","title":{"rendered":"Redux: The Marketing of Obsession"},"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>

DON DELILLO, CA. 2011. PHOTOGRAPH BY THOUSANDROBOTS.<\/p><\/div>\n

\u201cBarneys was more than a department store,\u201d issue no. 239\u00a0contributor<\/a>\u00a0Adrienne Raphel reminisces\u00a0in a new\u00a0essay<\/a>\u00a0on the Daily<\/em>. \u201cA glowing spiral staircase, white as milk, wound its way through the store\u2014the Guggenheim, but make it fashion.\u201d This week, we\u2019re unlocking an\u00a0Art of Fiction\u00a0<\/a>interview with the bard of postwar American consumerism, Don DeLillo, as well as Zadie Smith\u2019s story \u201cMiss Adele Amidst the Corsets<\/a>,\u201d Mary Ruefle\u2019s account of shopping\u2014as in shoplifting\u2014at Woolworth\u2019s in \u201cMilk Shake<\/a>,\u201d and a\u00a0series of photographs<\/a>\u00a0taken of Paris\u2019s legendary market, Les Halles, in the sixties.<\/p>\n

If you enjoy these free interviews, stories, poems, and art portfolios, why not\u00a0subscribe<\/a>\u00a0to\u00a0The Paris Review<\/em>? You\u2019ll get four new issues of the quarterly delivered straight to your door.<\/p>\n

INTERVIEW
\nThe Art of Fiction No. 135<\/a>
\nDon DeLillo<\/em><\/p>\n

INTERVIEWER<\/p>\n

Frank Lentricchia refers to you as the type of writer who believes that the shape and fate of the culture dictates the shape and fate of the self.<\/p>\n

DELILLO<\/p>\n

Yes, and maybe we can think about\u00a0Running Dog<\/em>\u00a0in this respect. This book is not exactly about obsession\u2014it\u2019s about the marketing of obsession. Obsession as a product that you offer to the highest bidder or the most enterprising and reckless fool, which is sort of the same thing in this particular book \u2026 And in\u00a0Libra<\/em>, of course\u2014here we have Oswald watching TV, Oswald working the bolt of his rifle, Oswald imagining that he and the president are quite similar in many ways. I see Oswald, back from Russia, as a man surrounded by promises of fulfillment\u2014consumer fulfillment, personal fulfillment. But he\u2019s poor, unstable, cruel to his wife, barely employable\u2014a man who has to enter his own Hollywood movie to see who he is and how he must direct his fate.<\/p>\n

From issue no. 128\u00a0(Fall 1993)<\/p>\n

<\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

PROSE
\nMiss Adele Amidst the Corsets<\/a>
\nZadie Smith<\/em><\/p>\n

\u201cA corset,\u201d she repeated, and raised her spectacular eyebrows. \u201cCould somebody help me?\u201d<\/p>\n

\u201cWENDY,\u201d yelled the voice behind the curtain, \u201ccould you see to our customer?\u201d<\/p>\n

The shopgirl sprung up, like a jack-in-the-box, clutching a stepladder to her chest.<\/p>\n

From issue no. 208 (Spring 2014)<\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

POETRY
\nMilk Shake<\/a>
\nMary Ruefle<\/em><\/p>\n

I tried her milk shake, I told her what I had done, the vanilla shake came, and we salt-and-peppered that one, too, and afterward we were bored, so we went shopping\u2014we were in Woolworth\u2019s after all\u2014though by shopping we meant shoplifting, as any lonely bored thirteen-year-old knows. Vicki stole a tub of the latest invention, lip gloss, which was petroleum jelly dyed pink, and I stole a yellow lace mantilla to wear to Mass on Easter Sunday, though I never wore it to Mass; I wore it to confession the Saturday before, confessing to the priest that I had stolen the very thing I was wearing on my head.<\/p>\n

From issue no. 216 (Spring 2016)<\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

ART
\nLes Halles Photographs<\/a>
\nHarold Chapman<\/em><\/p>\n

Les Halles Centrales de Paris<\/em>\u2014the Central Market of Paris\u2014is in 1967 enjoying only an apparent reprieve. In decreeing its removal, the public powers have long since signed its death sentence. But this eight-hundred-year-old mastodon, despite its advanced age, retains a strange vitality, and does not seem so easy to move around. Its transfer to Rungis, originally anticipated for 1966, has raised many and difficult problems, not all of which have been solved. So it is still with us, at the heart of Parisian life.<\/p>\n

From issue no. 40 (Winter\u2013Spring 1967)<\/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-nine years\u2019 worth of archives.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

This week, we\u2019ve lowered the paywall on Don DeLillo, Zadie Smith, Mary Ruefle, and photographs of Les Halles.<\/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":[68399,1889,19961,10366,31384,1079],"class_list":["post-159072","post","type-post","status-publish","format-standard","hentry","category-redux","tag-adrienne-raphel","tag-don-delillo","tag-les-halles","tag-mary-ruefle","tag-redux","tag-zadie-smith"],"acf":[],"yoast_head":"\nRedux: The Marketing of Obsession by The Paris Review<\/title>\n<meta name=\"description\" content=\"May 3, 2022 \u2013 This week, we\u2019ve lowered the paywall on Don DeLillo, Zadie Smith, Mary Ruefle, and photographs of Les Halles.\" \/>\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\/05\/03\/redux-the-marketing-of-obsession\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Redux: The Marketing of Obsession by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"May 3, 2022 \u2013 This week, we\u2019ve lowered the paywall on Don DeLillo, Zadie Smith, Mary Ruefle, and photographs of Les Halles.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/\" \/>\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=\"2022-05-03T16:09:08+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-05-03T16:09:30+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/05\/unnamed.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"744\" \/>\n\t<meta property=\"og:image:height\" content=\"531\" \/>\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=\"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\/2022\/05\/03\/redux-the-marketing-of-obsession\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/\"},\"author\":{\"name\":\"The Paris Review\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\"},\"headline\":\"Redux: The Marketing of Obsession\",\"datePublished\":\"2022-05-03T16:09:08+00:00\",\"dateModified\":\"2022-05-03T16:09:30+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/\"},\"wordCount\":679,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/05\/unnamed.jpg\",\"keywords\":[\"Adrienne Raphel\",\"Don DeLillo\",\"Les Halles\",\"Mary Ruefle\",\"Redux\",\"Zadie Smith\"],\"articleSection\":[\"Redux\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/\",\"name\":\"Redux: The Marketing of Obsession by The Paris Review\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/05\/unnamed.jpg\",\"datePublished\":\"2022-05-03T16:09:08+00:00\",\"dateModified\":\"2022-05-03T16:09:30+00:00\",\"description\":\"May 3, 2022 \u2013 This week, we\u2019ve lowered the paywall on Don DeLillo, Zadie Smith, Mary Ruefle, and photographs of Les Halles.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/05\/unnamed.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/05\/unnamed.jpg\",\"width\":744,\"height\":531,\"caption\":\"DON DELILLO, CA. 2011. PHOTOGRAPH BY THOUSANDROBOTS.\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Redux: The Marketing of Obsession\"}]},{\"@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: The Marketing of Obsession by The Paris Review","description":"May 3, 2022 \u2013 This week, we\u2019ve lowered the paywall on Don DeLillo, Zadie Smith, Mary Ruefle, and photographs of Les Halles.","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\/05\/03\/redux-the-marketing-of-obsession\/","og_locale":"en_US","og_type":"article","og_title":"Redux: The Marketing of Obsession by The Paris Review","og_description":"May 3, 2022 \u2013 This week, we\u2019ve lowered the paywall on Don DeLillo, Zadie Smith, Mary Ruefle, and photographs of Les Halles.","og_url":"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2022-05-03T16:09:08+00:00","article_modified_time":"2022-05-03T16:09:30+00:00","og_image":[{"width":744,"height":531,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/05\/unnamed.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":"3 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/"},"author":{"name":"The Paris Review","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e"},"headline":"Redux: The Marketing of Obsession","datePublished":"2022-05-03T16:09:08+00:00","dateModified":"2022-05-03T16:09:30+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/"},"wordCount":679,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/05\/unnamed.jpg","keywords":["Adrienne Raphel","Don DeLillo","Les Halles","Mary Ruefle","Redux","Zadie Smith"],"articleSection":["Redux"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/","url":"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/","name":"Redux: The Marketing of Obsession by The Paris Review","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/05\/unnamed.jpg","datePublished":"2022-05-03T16:09:08+00:00","dateModified":"2022-05-03T16:09:30+00:00","description":"May 3, 2022 \u2013 This week, we\u2019ve lowered the paywall on Don DeLillo, Zadie Smith, Mary Ruefle, and photographs of Les Halles.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/05\/unnamed.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/05\/unnamed.jpg","width":744,"height":531,"caption":"DON DELILLO, CA. 2011. PHOTOGRAPH BY THOUSANDROBOTS."},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2022\/05\/03\/redux-the-marketing-of-obsession\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Redux: The Marketing of Obsession"}]},{"@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\/159072","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=159072"}],"version-history":[{"count":25,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/159072\/revisions"}],"predecessor-version":[{"id":159103,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/159072\/revisions\/159103"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=159072"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=159072"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=159072"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}