{"id":24873,"date":"2011-12-20T08:00:43","date_gmt":"2011-12-20T13:00:43","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=24873"},"modified":"2011-12-19T22:44:03","modified_gmt":"2011-12-20T03:44:03","slug":"jane%e2%80%99s-lace","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/","title":{"rendered":"Jane\u2019s Lace"},"content":{"rendered":"

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

One of the difficulties of adapting Persuasion<\/em>, Jane Austen\u2019s sixth and final finished novel, for film is that so much of its drama is internal: encoded in an indirect glance, in the brush of hand against skin, the muffled thump of a heart. Passion, passed through the sieve of eighteenth-century English propriety, is visible only diffusely in the text, as coloring in the landscape or in the minutiae of gesture. The novel quietly condemns the social conventions that demand this: Austen is archly dismissive of the Regency woman\u2019s \u201cart of pleasing,\u201d her \u201cusual stock of accomplishments,\u201d and her frivolous feminine occupations, like \u201ccutting up silk and gold paper.\u201d<\/p>\n

When Anne and Frederick, Persuasion<\/em>\u2019s lovers, do finally reach one another, it\u2019s through a remarkable letter written literally into and onto a separate conversation\u2014an almost postmodern moment of intertextuality\u2014that explodes such conventions:<\/p>\n

\n

I can listen no longer in silence. I must speak to you by such means as are within my reach. You pierce my soul. I am half agony, half hope. Tell me not that I am too late, that such precious feelings are gone for ever \u2026 I can hardly write. I am every instant hearing something which overpowers me. You sink your voice, but I can distinguish the tones of that voice when they would be lost on others. Too good, too excellent creature!<\/p>\n<\/blockquote>\n

As the scholar Robert Morrison argues in a beautiful new annotated edition of Persuasion<\/em><\/a> from Harvard\u2019s Belknap Press, it\u2019s the most romantic moment in Austen\u2019s work. But, romantic or not, Austen\u2019s form of kabuki can frustrate a modern preference for fervor.\u00a0 Charlotte Bront\u00eb, for one, found nothing to move her in her predecessor\u2019s work.\u00a0 She decried Austen for her \u201cChinese fidelity,\u201d writing that \u201cwhat throbs fast and full, though hidden, what the blood rushes through, what is the unseen seat of Life and the sentient target of death\u2014this <\/em>Miss Austen ignores.\u201d But by turning a rush of blood into a blush, Austen, as Virginia Woolf wrote, \u201cstimulates us to supply what is not there.\u201d The result of such stimulation is amply in evidence. Of the over one hundred Austen sequels and pastiches\u2014the most recent being P. D. James\u2019s murderous follow-up to Pride and Prejudice<\/em><\/a>\u2014all respond, in one way or another, to something thrumming suggestively below the surface. Prudishness conceals enough to excite the critical impulse: Austen teaches a reader to read through and below and beyond the signals of her world to the fastness and fullness beneath. In a letter to her nephew James Edward Austen, Jane Austen herself famously dismissed her work as a \u201clittle bit (two Inches wide) of Ivory.\u201d As Morrison notes in his introduction, it is just this form of holding back\u2014and what history has held back of herself\u2014that accounts in large part for her appeal.<\/p>\n

Austen\u2019s surviving letters (fewer than a tenth of those she reportedly wrote) have been reissued by Oxford University Press in a new and exhaustively indexed fourth edition<\/a> that\u2019s quite wieldy despite its 667 pages. Much of this correspondence is what editor Deirdre Le Faye compares to \u201ctelephone calls \u2026 hasty and elliptical\u201d between Austen and her older sister, friend, and confidant, Cassandra. There are also letters to her brother Frank at sea (most of those to Charles, Austen\u2019s other sea-faring brother, have been lost), advice to her niece Fanny Knight, teasing missives to her nephew James-Edward Austen-Leigh, and a few formal notes to acquaintances outside the family. The nimble, often bitingly sarcastic intelligence that animates the novels is visible in schematic in the letters: \u201cI will not say that your mulberry-trees are dead,\u201d Austen wrote her sister, \u201cbut I am afraid they are not alive.\u201d To Anna Austen, a niece seeking advice on a novel, Aunt Jane is more trenchant still: \u201cDevereaux Forester\u2019s being ruined by his Vanity is extremely good; but I wish you would not let him plunge into a \u2018vortex of Dissipation.\u2019 I do not object to the Thing, but I cannot bear the expression; it is such thorough novel slang\u2014and so old, that I dare say Adam met with it in the first novel he opened.\u201d Chastened, Anna ended in burning her manuscripts.<\/p>\n

The ellipses in the Austen\u2019s correspondence are not all the result of haste. As Austen\u2019s fame as a writer began to grow after her death at forty-one, Cassandra destroyed a great number of her sister\u2019s letters to excise what La Faye believes were less-than-charitable references to members of the family or discussions of physical ailment deemed inappropriate for the public eye. Cassandra had certainly read Persuasion<\/em>, in which Austen\u2019s Anne Elliot, having been given a compromising note, recalls that \u201cseeing the letter was a violation of the laws of honour, that no one ought to be judged or to be known by such testimonies, that no private correspondence could bear the eye of others.\u201d<\/p>\n

In keeping with the philosophy of her sister\u2019s creation, Cassandra not only destroyed a large fraction of the letters, but took great pains to censor those that remained, cutting away with scissors lines and even words she preferred the public not to see. The excisions are painstaking, and touchingly precise: in a long letter from March 1814, La Faye notes a space where Cassandra removed just five words. She was a bit harsher with Jane\u2019s letter of June 1799, taking six or seven lines from two of its pages (\u201cBut I shall speak no more of\u2014\u201d Jane writes\u2014and indeed she shall not) and making this reader cry out for a facsimile. On that letter is also a drawing, beside which Austen wrote: \u201cMy cloak is come home, and here is the pattern of its lace.\u201d\u00a0 It\u2019s not only the fault of Cassandra\u2019s Scherenschnitte if Jane\u2019s lace is all that remains.<\/p>\n

Jenny Hendrix is a freelance writer living in Brooklyn.<\/em><\/p>\n

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

One of the difficulties of adapting Persuasion, Jane Austen\u2019s sixth and final finished novel, for film is that so much of its drama is internal: encoded in an indirect glance, in the brush of hand against skin, the muffled thump of a heart. Passion, passed through the sieve of eighteenth-century English propriety, is visible only […]<\/p>\n","protected":false},"author":262,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[489],"tags":[5419,5417,4217,5421,5420,5424,5422,300,5423,5426,5418,5425,5427,969],"class_list":["post-24873","post","type-post","status-publish","format-standard","hentry","category-books-2","tag-anne-elliot","tag-cassandra-austen","tag-charlotte-bronte","tag-deirdre-le-faye","tag-fanny-knight","tag-frank-austen","tag-james-edward-austen-leigh","tag-jane-austen","tag-oxford-university-press","tag-p-d-james","tag-persuasion","tag-pride-and-prejudice","tag-robert-morrison","tag-virginia-woolf"],"acf":[],"yoast_head":"\nJane\u2019s Lace by Jenny Hendrix<\/title>\n<meta name=\"description\" content=\"December 20, 2011 \u2013 One of the difficulties of adapting Persuasion, Jane Austen\u2019s sixth and final finished novel, for film is that so much of its drama is internal: encoded\" \/>\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\/12\/20\/jane\u2019s-lace\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Jane\u2019s Lace by Jenny Hendrix\" \/>\n<meta property=\"og:description\" content=\"December 20, 2011 \u2013 One of the difficulties of adapting Persuasion, Jane Austen\u2019s sixth and final finished novel, for film is that so much of its drama is internal: encoded\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane\u2019s-lace\/\" \/>\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=\"2011-12-20T13:00:43+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/12\/austen1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"574\" \/>\n\t<meta property=\"og:image:height\" content=\"429\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Jenny Hendrix\" \/>\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=\"Jenny Hendrix\" \/>\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\/12\/20\/jane%e2%80%99s-lace\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/\"},\"author\":{\"name\":\"Jenny Hendrix\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6bf106b518a78800de8d102373c462c4\"},\"headline\":\"Jane\u2019s Lace\",\"datePublished\":\"2011-12-20T13:00:43+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/\"},\"wordCount\":995,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/12\/austen1.jpg\",\"keywords\":[\"Anne Elliot\",\"Cassandra Austen\",\"Charlotte Bronte\",\"Deirdre Le Faye\",\"Fanny Knight\",\"Frank AUsten\",\"James-Edward Austen-Leigh\",\"Jane Austen\",\"Oxford University Press\",\"P.D. James\",\"Persuasion\",\"Pride and Prejudice\",\"Robert Morrison\",\"Virginia Woolf\"],\"articleSection\":[\"Books\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/\",\"name\":\"Jane\u2019s Lace by Jenny Hendrix\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/12\/austen1.jpg\",\"datePublished\":\"2011-12-20T13:00:43+00:00\",\"description\":\"December 20, 2011 \u2013 One of the difficulties of adapting Persuasion, Jane Austen\u2019s sixth and final finished novel, for film is that so much of its drama is internal: encoded\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/12\/austen1.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/12\/austen1.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Jane\u2019s Lace\"}]},{\"@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\/6bf106b518a78800de8d102373c462c4\",\"name\":\"Jenny Hendrix\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/7c18122061a8afabad3b10e44db686f74ad5ec0b4922d4aea4e7bd514734dae3?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/7c18122061a8afabad3b10e44db686f74ad5ec0b4922d4aea4e7bd514734dae3?s=96&d=mm&r=g\",\"caption\":\"Jenny Hendrix\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/jenny-hendrix\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Jane\u2019s Lace by Jenny Hendrix","description":"December 20, 2011 \u2013 One of the difficulties of adapting Persuasion, Jane Austen\u2019s sixth and final finished novel, for film is that so much of its drama is internal: encoded","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\/12\/20\/jane\u2019s-lace\/","og_locale":"en_US","og_type":"article","og_title":"Jane\u2019s Lace by Jenny Hendrix","og_description":"December 20, 2011 \u2013 One of the difficulties of adapting Persuasion, Jane Austen\u2019s sixth and final finished novel, for film is that so much of its drama is internal: encoded","og_url":"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane\u2019s-lace\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2011-12-20T13:00:43+00:00","og_image":[{"width":574,"height":429,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/12\/austen1.jpg","type":"image\/jpeg"}],"author":"Jenny Hendrix","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Jenny Hendrix","Est. reading time":"5 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/"},"author":{"name":"Jenny Hendrix","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6bf106b518a78800de8d102373c462c4"},"headline":"Jane\u2019s Lace","datePublished":"2011-12-20T13:00:43+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/"},"wordCount":995,"commentCount":0,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/12\/austen1.jpg","keywords":["Anne Elliot","Cassandra Austen","Charlotte Bronte","Deirdre Le Faye","Fanny Knight","Frank AUsten","James-Edward Austen-Leigh","Jane Austen","Oxford University Press","P.D. James","Persuasion","Pride and Prejudice","Robert Morrison","Virginia Woolf"],"articleSection":["Books"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/","url":"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/","name":"Jane\u2019s Lace by Jenny Hendrix","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/12\/austen1.jpg","datePublished":"2011-12-20T13:00:43+00:00","description":"December 20, 2011 \u2013 One of the difficulties of adapting Persuasion, Jane Austen\u2019s sixth and final finished novel, for film is that so much of its drama is internal: encoded","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/12\/austen1.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2011\/12\/austen1.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2011\/12\/20\/jane%e2%80%99s-lace\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Jane\u2019s Lace"}]},{"@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\/6bf106b518a78800de8d102373c462c4","name":"Jenny Hendrix","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/7c18122061a8afabad3b10e44db686f74ad5ec0b4922d4aea4e7bd514734dae3?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/7c18122061a8afabad3b10e44db686f74ad5ec0b4922d4aea4e7bd514734dae3?s=96&d=mm&r=g","caption":"Jenny Hendrix"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/jenny-hendrix\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/24873","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\/262"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=24873"}],"version-history":[{"count":15,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/24873\/revisions"}],"predecessor-version":[{"id":24893,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/24873\/revisions\/24893"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=24873"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=24873"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=24873"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}