{"id":55691,"date":"2013-07-05T12:00:43","date_gmt":"2013-07-05T16:00:43","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=55691"},"modified":"2013-07-09T14:54:18","modified_gmt":"2013-07-09T18:54:18","slug":"what-were-loving-tragedy-poetry-music","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/","title":{"rendered":"What We\u2019re Loving: Tragedy, Poetry, Music"},"content":{"rendered":"<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/07\/annecarsonlarge.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-55695\" alt=\"annecarsonlarge\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/07\/annecarsonlarge.jpg\" width=\"600\" height=\"489\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/07\/annecarsonlarge.jpg 600w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/07\/annecarsonlarge-300x244.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><\/p>\n<p>I\u2019ve been catching up on the last two issues of the Fairleigh Dickinson journal, <a href=\"http:\/\/www.theliteraryreview.org\/\" target=\"_blank\"><em>The Literary Review<\/em><\/a>. Of special\u00a0brilliance: a long polyphonic poem by Leon Weinmann about Simone Weil, a bravely whiny New York poem by Rachel Zucker (\u201cI don\u2019t want to have coffee or not have coffee \/ or listen to <i>This American Life<\/i> podcast on infidelity\u201d), and a novella by Paula Bomer, \u201cInside Madeleine,\u201d about a town slut destroyed by love. It\u2019s so arresting I raced to finish so I could pass the issue along to a friend. <strong>\u2014Lorin Stein<\/strong><\/p>\n<p><em><a href=\"http:\/\/www.imdb.com\/title\/tt2419978\/\" target=\"_blank\">Sing Me the Songs That Say I Love You: A Concert for Kate McGarrigle<\/a>\u00a0<\/em>is a strange mixture of concert film\u2014specifically, the 2011 tribute to the late Canadian folk singer at Town Hall\u2014and documentary. But if at times the biographical elements are unsatisfying, the music makes it well worth seeing. Beyond the lovely McGarrigles covers from the concert (I especially liked the version of \u201cWalking Song\u201d performed by her son, Rufus Wainwright), we are treated to original recordings by Kate and her sister Anna, as well as the kind of impromptu jam sessions that take place when everyone in the family is a professional musician. I promptly dug out all my McGarrigle albums, and have been listening to little else since.\u00a0<strong>\u2014Sadie O. Stein <\/strong> <!--more--><\/p>\n<p>This week I escaped the city and its fireworks for upstate New York, taking with me <a href=\"http:\/\/www.indiebound.org\/book\/9780811220415?aff=theparisreview\" target=\"_blank\"><i>Two American Scenes<\/i><\/a>, pendent poems by two of our finest translators, Lydia Davis and Eliot Weinberger. Davis has adapted the memoir of a mid-nineteenth-century forbear, turning it into long poem that remembers childhood in a Cape Cod idyll, where the fireplace fit cords of wood eight feet long and \u201cwe took our first lessons in astronomy \/ by observing the transit of the stars \/ through the telescope of the sooty chimney.\u201d Weinberger\u2019s \u201cA Journey on the Colorado River\u201d\u2014a sequel, it may be, to his earlier \u201cA Journey on the Yangtze River\u201d\u2014imagines an Adamic excursion through the river valley, whose landmarks are seen as though for the first time: \u201cCuriously shaped buttes. The head of the first canyon: bright vermilion rocks. We named this Flaming Gorge.\u201d <strong>\u2014Robyn Creswell<\/strong><\/p>\n<p>In tumultuous times, I often think of Euripides, \u201cthe most tragic of tragedians,\u201d who, more often than his Greek contemporaries Aeschylus and Sophocles, challenged the democratic order. Characters weren\u2019t simply set pieces for historical mythology; instead, his grief lessons resembled contemporary Athens. Heroes were foolish; women were powerful; barbarians sometimes won out in the end. <a href=\"http:\/\/www.indiebound.org\/book\/9781590172537?aff=theparisreview\" target=\"_blank\">Anne Carson\u2019s spare translation<\/a> of four of Euripides\u2019s lesser-known tragedies offers a reminder of the resonance of these ancient texts with our own time: confusing, shocking, prophetic, and a kind reminder that we\u2019re not alone in this wonderful mess. <strong>\u2014Justin Alvarez<\/strong><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>I\u2019ve been catching up on the last two issues of the Fairleigh Dickinson journal, The Literary Review. Of special\u00a0brilliance: a long polyphonic poem by Leon Weinmann about Simone Weil, a bravely whiny New York poem by Rachel Zucker (\u201cI don\u2019t want to have coffee or not have coffee \/ or listen to This American Life [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[438],"tags":[11327,3401,11328,11321,11326,11322,11325,11324,11323],"class_list":["post-55691","post","type-post","status-publish","format-standard","hentry","category-this-weeks-reading","tag-anna-mcgarrigle","tag-anne-carson","tag-euripides","tag-fairleigh-dickinson","tag-kate-mcgarrigle","tag-leon-weinmann","tag-paula-bomer","tag-rachel-zucker","tag-simone-weil"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>What We\u2019re Loving: Tragedy, Poetry, Music by The Paris Review<\/title>\n<meta name=\"description\" content=\"July 5, 2013 \u2013 I\u2019ve been catching up on the last two issues of the Fairleigh Dickinson journal, The Literary Review. Of special\u00a0brilliance: a long polyphonic poem by\" \/>\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\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"What We\u2019re Loving: Tragedy, Poetry, Music by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"July 5, 2013 \u2013 I\u2019ve been catching up on the last two issues of the Fairleigh Dickinson journal, The Literary Review. Of special\u00a0brilliance: a long polyphonic poem by\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/\" \/>\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=\"2013-07-05T16:00:43+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2013-07-09T18:54:18+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/07\/annecarsonlarge.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"600\" \/>\n\t<meta property=\"og:image:height\" content=\"489\" \/>\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=\"2 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/\"},\"author\":{\"name\":\"The Paris Review\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\"},\"headline\":\"What We\u2019re Loving: Tragedy, Poetry, Music\",\"datePublished\":\"2013-07-05T16:00:43+00:00\",\"dateModified\":\"2013-07-09T18:54:18+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/\"},\"wordCount\":473,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/07\/annecarsonlarge.jpg\",\"keywords\":[\"Anna McGarrigle\",\"Anne Carson\",\"Euripides\",\"Fairleigh Dickinson\",\"Kate McGarrigle\",\"Leon Weinmann\",\"Paula Bomer\",\"Rachel Zucker\",\"Simone Weil\"],\"articleSection\":[\"This Week\u2019s Reading\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/\",\"name\":\"What We\u2019re Loving: Tragedy, Poetry, Music by The Paris Review\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/07\/annecarsonlarge.jpg\",\"datePublished\":\"2013-07-05T16:00:43+00:00\",\"dateModified\":\"2013-07-09T18:54:18+00:00\",\"description\":\"July 5, 2013 \u2013 I\u2019ve been catching up on the last two issues of the Fairleigh Dickinson journal, The Literary Review. Of special\u00a0brilliance: a long polyphonic poem by\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/07\/annecarsonlarge.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/07\/annecarsonlarge.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"What We\u2019re Loving: Tragedy, Poetry, Music\"}]},{\"@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":"What We\u2019re Loving: Tragedy, Poetry, Music by The Paris Review","description":"July 5, 2013 \u2013 I\u2019ve been catching up on the last two issues of the Fairleigh Dickinson journal, The Literary Review. Of special\u00a0brilliance: a long polyphonic poem by","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\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/","og_locale":"en_US","og_type":"article","og_title":"What We\u2019re Loving: Tragedy, Poetry, Music by The Paris Review","og_description":"July 5, 2013 \u2013 I\u2019ve been catching up on the last two issues of the Fairleigh Dickinson journal, The Literary Review. Of special\u00a0brilliance: a long polyphonic poem by","og_url":"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2013-07-05T16:00:43+00:00","article_modified_time":"2013-07-09T18:54:18+00:00","og_image":[{"width":600,"height":489,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/07\/annecarsonlarge.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":"2 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/"},"author":{"name":"The Paris Review","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e"},"headline":"What We\u2019re Loving: Tragedy, Poetry, Music","datePublished":"2013-07-05T16:00:43+00:00","dateModified":"2013-07-09T18:54:18+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/"},"wordCount":473,"commentCount":0,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/07\/annecarsonlarge.jpg","keywords":["Anna McGarrigle","Anne Carson","Euripides","Fairleigh Dickinson","Kate McGarrigle","Leon Weinmann","Paula Bomer","Rachel Zucker","Simone Weil"],"articleSection":["This Week\u2019s Reading"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/","url":"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/","name":"What We\u2019re Loving: Tragedy, Poetry, Music by The Paris Review","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/07\/annecarsonlarge.jpg","datePublished":"2013-07-05T16:00:43+00:00","dateModified":"2013-07-09T18:54:18+00:00","description":"July 5, 2013 \u2013 I\u2019ve been catching up on the last two issues of the Fairleigh Dickinson journal, The Literary Review. Of special\u00a0brilliance: a long polyphonic poem by","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/07\/annecarsonlarge.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/07\/annecarsonlarge.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2013\/07\/05\/what-were-loving-tragedy-poetry-music\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"What We\u2019re Loving: Tragedy, Poetry, Music"}]},{"@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\/55691","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=55691"}],"version-history":[{"count":11,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/55691\/revisions"}],"predecessor-version":[{"id":55864,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/55691\/revisions\/55864"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=55691"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=55691"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=55691"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}