{"id":20823,"date":"2011-09-15T08:00:16","date_gmt":"2011-09-15T12:00:16","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=20823"},"modified":"2011-09-15T13:02:42","modified_gmt":"2011-09-15T17:02:42","slug":"managed-mayhem","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/","title":{"rendered":"Managed Mayhem"},"content":{"rendered":"
\"\"<\/a>

W. Eugene Smith, Jazz Loft<\/em>, ca. 1959, black-and-white photograph. Courtesy of the Heirs of W. Eugene Smith and the W. Eugene Smith Archive at the Center for Creative Photography at the University of Arizona.<\/p><\/div>\n

It\u2019s late August in Brooklyn, and two men are trying to figure out how to hoist a piano up to a third-floor window and then release it so that it smashes onto the sidewalk below. \u201cI think the major issue is just balancing out its weight,\u201d says one. They push open a door to the roof to explore their options. A security alarm goes off; they\u2019re undeterred.<\/p>\n

The two men, director Chris McElroen<\/a> and \u201cprofessional problem solver\u201d Dan Baker, are part of the team behind Chaos Manor<\/a><\/em>, a multimedia performance inspired by the unconventional life of W. Eugene Smith. In the 1950s, Smith, celebrated for his front-line World War II photography, found himself increasingly at odds with his Life<\/em> magazine editors. He quit his job and, several years later, embarking on what some might call a midlife crisis and others a visionary project, left his wife and children and moved into a dilapidated Manhattan building frequented not only by \u201cderelicts, hustlers, and thieves\u201d (in the words of his biographer) but also by some of the \u201cbiggest names in jazz.\u201d From his fourth-floor apartment, Smith spent the next eight years relentlessly documenting the sights and sounds around him. His forty thousand photographs and 4,500 hours of audio reels captured hundreds of musicians, including legends such as Thelonious Monk, Sonny Rollins, Bill Evans, and Roy Haynes.\u00a0<\/p>\n

If Smith made it his single-minded mission to document the cultural life of a five-story building in Manhattan, Sam Stephenson, in turn, has made it his <\/em>single-minded mission to chronicle Smith in his loft<\/a>. With a Jazz Loft Project <\/a><\/em>book<\/a>, ten-part radio series, and traveling exhibition under his belt\u2014as well as a Smith biography on the way\u2014Stephenson joined forces last November with McElroen to begin another project, this one perhaps a bit more experimental than the rest.<\/p>\n

In Chaos Manor<\/em>, they\u2019re planning a nighttime spectacle that will treat an entire building as a stage set of sorts. video will be projected on the building\u2019s brick facade, a live jazz band will play from within, and actors will appear in and out of windows\u2014all while audience members watch from the blocked-off street below. Their site, the Invisible Dog Art Center, is a former factory turned artists\u2019 space on Bergen Street. It\u2019s the sort of Brooklyn arts venue composed of musty, vast rooms with unfinished wood floors. Knobby garlic-shaped forms from previous exhibitions hang persistently from the rafters. The protean venue is an ideal container for the evening that Stephenson and McElroen envision: the clanking freight elevator, for instance, will house the band for the thirty-five-minute duration of the show. \u201cThe band\u2019s going to start in the basement,\u201d Stephenson says, \u201cand slowly make their way up to the top.\u201d<\/p>\n

\"\"<\/a>

W. Eugene Smith, Jazz Loft<\/em>, ca. 1959, black-and-white photograph. Courtesy of the Heirs of W. Eugene Smith and the W. Eugene Smith Archive at the Center for Creative Photography at the University of Arizona.<\/p><\/div>\n

According to Stephenson, chaos will build gradually throughout the performance, beginning with the sound of trickling water. \u201cThe building will be dark, and then one light will come on,\u201d he explains. \u201cThen an actor playing Smith will appear in the window, typing a letter. Character by character will be projected onto the side of the building: \u2018Dearest mother, I am as calm as a sleepy lagoon, but I may be a volcano on the verge of eruption.\u2019”<\/p>\n

\u201cAs cacophony builds [toward] a climactic moment when the piano crashes,\u201d adds Stephenson, \u201cthere\u2019ll be the band playing really dissonant, far-out jazz, and a whole bunch of Smith\u2019s tapes playing at once.\u201d<\/p>\n

Clearly, Chaos Manor<\/em> isn\u2019t the sort of production that involves actors delivering lines on a stage, and so rehearsals haven\u2019t been of the recite-and-tweak variety either. Stephenson explains, \u201cOur idea is that it is done in a way that embraces the spirit of the loft, where everything was improvised.\u201d One day of preparations involved the cast reading Smith\u2019s letters and jointly delving into his psyche. \u201cSmith\u2019s persona is exactly like that of Blanche Dubois,\u201d actor Lucy Owens remarked during that session, \u201cwith all their posturing and self presentation.\u201d Stephenson noted that the often-grandiose Smith compared his own work to Beethoven\u2019s symphonies and Joyce\u2019s Ulysses.<\/em><\/p>\n

Several days ago, with a week and a half remaining before showtime, rehearsals had progressed to the point that the cast was now standing in Bergen Street, looking up at the building as technicians tested out front and rear projections on the facade. \u201cThat looks good!\u201d cast members yelled toward the third floor as black-and-white footage of Smith\u2019s Life<\/em> magazine images came into view. At that stage, several actors didn\u2019t even know yet what characters they would be playing. They didn\u2019t seem worried. As with anything this innovative and free-form, one had to wonder: What would be considered a successful performance? Or a failed one?<\/p>\n

Reflecting for a moment, McElroen responded, \u201cI don\u2019t think it\u2019s possible to fail if your goal is to make chaos. So I don\u2019t think we could fail unless technology implodes on us and nothing works. But other than that, if we start with Smith in a window and end with Smith in a window, and we see chaos in between those two points, then I think we\u2019ve succeeded.\u201d<\/p>\n

Chaos Manor will be performed at the Invisible Dog Art Center<\/a>, at 51 Bergen Street, on September 16 and 17 at 8:30 P.M.<\/em><\/p>\n

Dawn Chan is a writer living in New York.<\/em><\/p>\n

Read Sam Stephenson’s dispatches for The Paris Review Daily here<\/a>. <\/em><\/p>\n

<\/em><\/p>\n

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

It\u2019s late August in Brooklyn, and two men are trying to figure out how to hoist a piano up to a third-floor window and then release it so that it smashes onto the sidewalk below. \u201cI think the major issue is just balancing out its weight,\u201d says one. They push open a door to the […]<\/p>\n","protected":false},"author":77,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[9],"tags":[1260,3879,3882,3873,1554,3874,3875,3876,3881,1553,3877,3883,3880,1551,3878,1747,946,1550],"class_list":["post-20823","post","type-post","status-publish","format-standard","hentry","category-events","tag-beethoven","tag-bill-evans","tag-blanche-dubois","tag-brooklyn-book-festival","tag-center-for-creative-photography","tag-chaos-manor","tag-chris-mcelroen","tag-dan-baker","tag-invisible-dog-art-center","tag-jazz-loft-project","tag-life-magazine","tag-lucy-owens","tag-roy-haynes","tag-sam-stephenson","tag-sonny-rollins","tag-thelonious-monk","tag-ulysses","tag-w-eugene-smith"],"acf":[],"yoast_head":"\nManaged Mayhem by Dawn Chan<\/title>\n<meta name=\"description\" content=\"September 15, 2011 \u2013 It\u2019s late August in Brooklyn, and two men are trying to figure out how to hoist a piano up to a third-floor window and then release it so that it smashes\" \/>\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\/2011\/09\/15\/managed-mayhem\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Managed Mayhem by Dawn Chan\" \/>\n<meta property=\"og:description\" content=\"September 15, 2011 \u2013 It\u2019s late August in Brooklyn, and two men are trying to figure out how to hoist a piano up to a third-floor window and then release it so that it smashes\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/\" \/>\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=\"2011-09-15T12:00:16+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2011-09-15T17:02:42+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/09\/jazzloft.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"574\" \/>\n\t<meta property=\"og:image:height\" content=\"395\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Dawn Chan\" \/>\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=\"Dawn Chan\" \/>\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\/2011\/09\/15\/managed-mayhem\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/\"},\"author\":{\"name\":\"Dawn Chan\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/fd7d05235f7c9dd46fe56a41bfd6bd8d\"},\"headline\":\"Managed Mayhem\",\"datePublished\":\"2011-09-15T12:00:16+00:00\",\"dateModified\":\"2011-09-15T17:02:42+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/\"},\"wordCount\":983,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/09\/jazzloft.jpg\",\"keywords\":[\"Beethoven\",\"Bill Evans\",\"Blanche Dubois\",\"Brooklyn Book Festival\",\"Center for Creative Photography\",\"Chaos Manor\",\"Chris McElroen\",\"Dan Baker\",\"Invisible Dog Art Center\",\"Jazz Loft Project\",\"Life Magazine\",\"Lucy Owens\",\"Roy Haynes\",\"Sam Stephenson\",\"Sonny Rollins\",\"Thelonious Monk\",\"Ulysses\",\"W. Eugene Smith\"],\"articleSection\":[\"Events\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/\",\"name\":\"Managed Mayhem by Dawn Chan\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/09\/jazzloft.jpg\",\"datePublished\":\"2011-09-15T12:00:16+00:00\",\"dateModified\":\"2011-09-15T17:02:42+00:00\",\"description\":\"September 15, 2011 \u2013 It\u2019s late August in Brooklyn, and two men are trying to figure out how to hoist a piano up to a third-floor window and then release it so that it smashes\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/09\/jazzloft.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/09\/jazzloft.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Managed Mayhem\"}]},{\"@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\/fd7d05235f7c9dd46fe56a41bfd6bd8d\",\"name\":\"Dawn Chan\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/b42b0e8f4937b6fdcdd8e4f3e85e5ec6fc37311fd01005ba67f240171ee4ebf9?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/b42b0e8f4937b6fdcdd8e4f3e85e5ec6fc37311fd01005ba67f240171ee4ebf9?s=96&d=mm&r=g\",\"caption\":\"Dawn Chan\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/dchan\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Managed Mayhem by Dawn Chan","description":"September 15, 2011 \u2013 It\u2019s late August in Brooklyn, and two men are trying to figure out how to hoist a piano up to a third-floor window and then release it so that it smashes","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\/2011\/09\/15\/managed-mayhem\/","og_locale":"en_US","og_type":"article","og_title":"Managed Mayhem by Dawn Chan","og_description":"September 15, 2011 \u2013 It\u2019s late August in Brooklyn, and two men are trying to figure out how to hoist a piano up to a third-floor window and then release it so that it smashes","og_url":"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2011-09-15T12:00:16+00:00","article_modified_time":"2011-09-15T17:02:42+00:00","og_image":[{"width":574,"height":395,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/09\/jazzloft.jpg","type":"image\/jpeg"}],"author":"Dawn Chan","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Dawn Chan","Est. reading time":"5 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/"},"author":{"name":"Dawn Chan","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/fd7d05235f7c9dd46fe56a41bfd6bd8d"},"headline":"Managed Mayhem","datePublished":"2011-09-15T12:00:16+00:00","dateModified":"2011-09-15T17:02:42+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/"},"wordCount":983,"commentCount":0,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/09\/jazzloft.jpg","keywords":["Beethoven","Bill Evans","Blanche Dubois","Brooklyn Book Festival","Center for Creative Photography","Chaos Manor","Chris McElroen","Dan Baker","Invisible Dog Art Center","Jazz Loft Project","Life Magazine","Lucy Owens","Roy Haynes","Sam Stephenson","Sonny Rollins","Thelonious Monk","Ulysses","W. Eugene Smith"],"articleSection":["Events"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/","url":"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/","name":"Managed Mayhem by Dawn Chan","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/09\/jazzloft.jpg","datePublished":"2011-09-15T12:00:16+00:00","dateModified":"2011-09-15T17:02:42+00:00","description":"September 15, 2011 \u2013 It\u2019s late August in Brooklyn, and two men are trying to figure out how to hoist a piano up to a third-floor window and then release it so that it smashes","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/09\/jazzloft.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/09\/jazzloft.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2011\/09\/15\/managed-mayhem\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Managed Mayhem"}]},{"@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\/fd7d05235f7c9dd46fe56a41bfd6bd8d","name":"Dawn Chan","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/b42b0e8f4937b6fdcdd8e4f3e85e5ec6fc37311fd01005ba67f240171ee4ebf9?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/b42b0e8f4937b6fdcdd8e4f3e85e5ec6fc37311fd01005ba67f240171ee4ebf9?s=96&d=mm&r=g","caption":"Dawn Chan"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/dchan\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/20823","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\/77"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=20823"}],"version-history":[{"count":20,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/20823\/revisions"}],"predecessor-version":[{"id":20852,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/20823\/revisions\/20852"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=20823"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=20823"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=20823"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}