{"id":160034,"date":"2022-06-10T12:00:03","date_gmt":"2022-06-10T16:00:03","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=160034"},"modified":"2022-07-08T11:20:30","modified_gmt":"2022-07-08T15:20:30","slug":"on-prince-sara-dosa-and-forsythe","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/","title":{"rendered":"On Prince, Volcanologists, and Forsythe\u2019s Ballets"},"content":{"rendered":"
\"\"<\/a>

Molten smooth pahoehoe lava flow erupted by Kilauea volcano in Hawaii. Photograph by y5RZouZwNsH6MI<\/a>. Licensed under\u00a0CC BY-SA 2.0<\/a>.<\/p><\/div>\n

There is a video<\/a> of Prince that I can\u2019t stop watching. It\u2019s just over an hour long, shot in grainy black-and-white. It looks like a surveillance tape. This is Prince in 1982, before <\/span>1999<\/span><\/i>, before <\/span>Purple Rain<\/span><\/i> and <\/span>Sign \u201cO\u201d the Times<\/span><\/i>, before there were stadiums packed with people demanding something from him. Three months earlier, he opened for the Rolling Stones, wearing thigh-high boots and bikini briefs, and got chased off stage by an audience throwing garbage. Now he\u2019s playing in suburban New Jersey for a crowd of college kids who don\u2019t know how to process what they\u2019re witnessing. It\u2019s one of the most miraculous things I\u2019ve ever seen.\u00a0<\/span><\/p>\n

The show starts in pulsing darkness, with an a capella gospel track. Above the choir we hear Prince clearly, his always startling baritone rolling up to a keening falsetto. \u201cYou\u2019ve got to love your brother if you want to free your soul,\u201d he sings. These are the last religious words that will be sung that night, but they\u2019re a reminder that Prince is an artist who knows, like Madonna and Al Green and Marvin Gaye, that all the sexiest music is at least a little bit about God. Then the drums kick in. Prince\u2019s strobe-lit silhouette flashes out of the darkness. His body looks enormous, which it was not. I\u2019m reminded, strangely, that Prince was born epileptic, and that as a child he informed his mother\u2014correctly, it turned out\u2014that he wasn\u2019t going to have seizures anymore. He\u2019d been cured by an angel, he said.\u00a0<\/span><\/p>\n

It feels like there\u2019s something private about what he\u2019s doing up there, like we\u2019re not supposed to be seeing this, like it\u2019s a sin. The camera can\u2019t contain him. He vanishes a few times, leaving an empty black square. When the camera pulls back, we realize he\u2019s dropped to the floor, seeking an angle of even greater intimacy with his guitar. Over the course of the hour he seems to draw inward, choosing to ignore the teenagers shuffling clumsily around him. At several points, I think, he forgets the audience is there. But then he remembers, looks up, shoots his arms to the ceiling and poses for a beat before retreating again into his body, that place where he spins and jumps and grinds and, unasked, gives freely of himself.\u00a0<\/span><\/p>\n

\u2014Charlie Lee<\/b><\/p>\n

You can read Charlie Lee\u2019s essay on migraines and miracles <\/span><\/i>here<\/span><\/i><\/a>.\u00a0<\/span><\/i><\/p>\n

Katia and Maurice Krafft spent decades recording volcanoes around the world. Director Sara Dosa transformed hundreds of hours of their film footage into the mesmerizing documentary <\/span>Fire of Love, <\/span><\/i>which I saw a few months ago in Toronto. The footage alone is a luminous marvel; never have I experienced such geologic intimacy from the screen. In Maurice Krafft\u2019s archival narrations, we hear stylistic echoes of Werner Herzog\u2014who, perhaps unsurprisingly, featured the volcanologists in his 2016 film <\/span>Into the Inferno<\/span><\/i> and this spring premiered his own cinematic dedication to them,\u00a0<\/span>The Fire Within<\/span><\/i>. His delivery is so tonally epic that it verges on a comedic parody of itself. Dosa mines this comedy to generate a story that is at once profound <\/span>and<\/span><\/i> whimsical, capturing all the elements of falling in love\u2014the glow, the warmth, the obsession.<\/span><\/p>\n

\u2014Sierra Crane Murdoch<\/b><\/p>\n

You can read Sierra Crane Murdoch\u2019s essay on Barry Lopez <\/span><\/i>here<\/span><\/i><\/a>.\u00a0<\/span><\/i><\/p>\n

William Forsythe is a staple of postmodern dance, an American choreographer who made his name in Europe during his tenure at Ballet Frankfurt. He brought ballet as George Balanchine had defined it into the twenty-first century\u2014stretching the lines and angles of each movement past its limits, embracing the androgynous, cerebral, and electronic. Now, in something of an incredibly busy retirement, Forsythe has entered a choreographic partnership with the Boston Ballet, creating new dances and re-staging old ones. He knows the dancers well, and their symbiosis is obvious onstage. Boston Ballet boasts one of the most avant-garde and thoughtfully curated repertoires in the country. A few weeks ago, I went to the Boston Opera House three times for a program showcasing Forsythe\u2019s Blake Works I<\/em> and III<\/em>, two ballets in a series set to music by James Blake.<\/p>\n

Blake Works I<\/em> premiered at the Paris Opera Ballet in 2016 and is rarely seen outside of the Palais Garnier. There is something French in the dancers\u2019 stately carriage of their arms\u2014and in the choreography that brings the entire company onstage. But Boston\u2019s dancers added an American verve, thwacking their legs into the air and hitting each note with intensity.\u00a0For Blake III,<\/em> which premiered this season in Boston, a barre\u2014an essential tool for class and training\u2014was showcased onstage. This felt almost indecent, as though the company had been caught onstage in undergarments. T<\/span>he ballet became a sequence of pas de deux<\/em> with the barre, the dancers torquing their hips and angling their bodies against it with each new step. (Lia Cirio, Lawrence Rhines, and Daniel Durrett were among the strongest dancers in Blake III<\/em>, and Jeffrey Cirio took the stage like Baryshnikov in both acts.) Boston\u2019s next season will include another new Forsythe ballet and a reprise of his celebrated Artifact Suite<\/em>.<\/p>\n

\u2014Elinor Hitt, reader<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

We watch Prince dancing alone, Sara Dosa\u2019s volcanic romance, and a Forsythe premiere at Boston Ballet.<\/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":[1942,1596,750,1329,883,22585,2216,68453],"class_list":["post-160034","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-ballet","tag-documentary","tag-james-blake","tag-prince","tag-staff-picks","tag-volcanoes","tag-werner-herzog","tag-william-forsythe"],"acf":[],"yoast_head":"\nOn Prince, Volcanologists, and Forsythe\u2019s Ballets by The Paris Review<\/title>\n<meta name=\"description\" content=\"June 10, 2022 \u2013 We watch Prince dancing alone, Sara Dosa\u2019s volcanic romance, and a Forsythe premiere at Boston Ballet.\" \/>\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\/06\/10\/on-prince-sara-dosa-and-forsythe\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"On Prince, Volcanologists, and Forsythe\u2019s Ballets by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"June 10, 2022 \u2013 We watch Prince dancing alone, Sara Dosa\u2019s volcanic romance, and a Forsythe premiere at Boston Ballet.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/\" \/>\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=\"2022-06-10T16:00:03+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-07-08T15:20:30+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/06\/molten_pahoehoe_lava_at_kilauea_volcano_in_hawaii_-_2004-06-06_a-e1654713027759.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"565\" \/>\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=\"5 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\/06\/10\/on-prince-sara-dosa-and-forsythe\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/\"},\"author\":{\"name\":\"The Paris Review\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\"},\"headline\":\"On Prince, Volcanologists, and Forsythe\u2019s Ballets\",\"datePublished\":\"2022-06-10T16:00:03+00:00\",\"dateModified\":\"2022-07-08T15:20:30+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/\"},\"wordCount\":912,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/06\/molten_pahoehoe_lava_at_kilauea_volcano_in_hawaii_-_2004-06-06_a.jpeg\",\"keywords\":[\"ballet\",\"documentary\",\"James Blake\",\"Prince\",\"staff picks\",\"volcanoes\",\"Werner Herzog\",\"William Forsythe\"],\"articleSection\":[\"The Review\u2019s Review\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/\",\"name\":\"On Prince, Volcanologists, and Forsythe\u2019s Ballets by The Paris Review\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/06\/molten_pahoehoe_lava_at_kilauea_volcano_in_hawaii_-_2004-06-06_a.jpeg\",\"datePublished\":\"2022-06-10T16:00:03+00:00\",\"dateModified\":\"2022-07-08T15:20:30+00:00\",\"description\":\"June 10, 2022 \u2013 We watch Prince dancing alone, Sara Dosa\u2019s volcanic romance, and a Forsythe premiere at Boston Ballet.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/06\/molten_pahoehoe_lava_at_kilauea_volcano_in_hawaii_-_2004-06-06_a.jpeg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/06\/molten_pahoehoe_lava_at_kilauea_volcano_in_hawaii_-_2004-06-06_a.jpeg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"On Prince, Volcanologists, and Forsythe\u2019s Ballets\"}]},{\"@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":"On Prince, Volcanologists, and Forsythe\u2019s Ballets by The Paris Review","description":"June 10, 2022 \u2013 We watch Prince dancing alone, Sara Dosa\u2019s volcanic romance, and a Forsythe premiere at Boston Ballet.","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\/06\/10\/on-prince-sara-dosa-and-forsythe\/","og_locale":"en_US","og_type":"article","og_title":"On Prince, Volcanologists, and Forsythe\u2019s Ballets by The Paris Review","og_description":"June 10, 2022 \u2013 We watch Prince dancing alone, Sara Dosa\u2019s volcanic romance, and a Forsythe premiere at Boston Ballet.","og_url":"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2022-06-10T16:00:03+00:00","article_modified_time":"2022-07-08T15:20:30+00:00","og_image":[{"width":1000,"height":565,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/06\/molten_pahoehoe_lava_at_kilauea_volcano_in_hawaii_-_2004-06-06_a-e1654713027759.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":"5 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/"},"author":{"name":"The Paris Review","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e"},"headline":"On Prince, Volcanologists, and Forsythe\u2019s Ballets","datePublished":"2022-06-10T16:00:03+00:00","dateModified":"2022-07-08T15:20:30+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/"},"wordCount":912,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/06\/molten_pahoehoe_lava_at_kilauea_volcano_in_hawaii_-_2004-06-06_a.jpeg","keywords":["ballet","documentary","James Blake","Prince","staff picks","volcanoes","Werner Herzog","William Forsythe"],"articleSection":["The Review\u2019s Review"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/","url":"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/","name":"On Prince, Volcanologists, and Forsythe\u2019s Ballets by The Paris Review","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/06\/molten_pahoehoe_lava_at_kilauea_volcano_in_hawaii_-_2004-06-06_a.jpeg","datePublished":"2022-06-10T16:00:03+00:00","dateModified":"2022-07-08T15:20:30+00:00","description":"June 10, 2022 \u2013 We watch Prince dancing alone, Sara Dosa\u2019s volcanic romance, and a Forsythe premiere at Boston Ballet.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/06\/molten_pahoehoe_lava_at_kilauea_volcano_in_hawaii_-_2004-06-06_a.jpeg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2022\/06\/molten_pahoehoe_lava_at_kilauea_volcano_in_hawaii_-_2004-06-06_a.jpeg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2022\/06\/10\/on-prince-sara-dosa-and-forsythe\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"On Prince, Volcanologists, and Forsythe\u2019s Ballets"}]},{"@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\/160034","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=160034"}],"version-history":[{"count":14,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/160034\/revisions"}],"predecessor-version":[{"id":160598,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/160034\/revisions\/160598"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=160034"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=160034"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=160034"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}