{"id":59074,"date":"2013-09-06T15:00:05","date_gmt":"2013-09-06T19:00:05","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=59074"},"modified":"2014-12-17T12:37:29","modified_gmt":"2014-12-17T17:37:29","slug":"franzen-on-kraus-footnote-89","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/","title":{"rendered":"Franzen on Kraus: Footnote 89"},"content":{"rendered":"
\"Oskar<\/a>

Oskar Kokoschka\u2019s 1925 portrait of Karl Kraus. Museum Moderner Kunst, Vienna.<\/p><\/div>\n

This week, to celebrate the launch of our Fall issue, we will preview a few of our favorite footnotes from \u201cAgainst Heine,\u201d Jonathan Franzen\u2019s translation of the Austrian writer Karl Kraus. Click here<\/a> to get your subscription now!<\/em><\/p>\n

In the end, the people who never came out of their province will go farther than the people who never came into one.89<\/sup><\/h2>\n

(p. 216)<\/h2>\n

89<\/sup> I think there\u2019s a lot of truth in this, but Kraus also seems to be making an implicit claim about his own decision to remain rooted in Vienna, in contradistinction to Heine.\u00a0Here\u2019s the story I tell myself about his agon with Heine.\u00a0Basically, Kraus arrives too late.\u00a0He\u2019s an assimilated Jew who has an enormous facility with language but strikingly less talent with \u201coriginal\u201d forms like poetry, drama, and fiction.\u00a0And unfortunately there\u2019s already been a German-speaking Jew like him—Heine—who, worse yet, became one of the most famous and influential writers of the previous century.\u00a0Kraus needs room to live and to work and to believe in the necessity of his work, and what does he have to hold on to in his struggle against his famous precursor?\u00a0His feeling that there was something wrong with Heine—with the work, the man, his language.\u00a0And so the story that he<\/i> tells himself is that Heine was a proto-Kraus who betrayed his gifts by his moral failings and thereby betrayed assimilated German Jews, too<\/i>.\u00a0Heine helped create<\/i> the stereotype of the rootless, linguistically facile Jew.\u00a0Without Heine, no feuilleton, yes.\u00a0But also:\u00a0without Heine, Kraus could simply have been a great satirist who happened to be Jewish.\u00a0Hence, I propose, the ferocity of the attack in this essay, and the peculiarly moral tone of it.\u00a0If Kraus also sounds an anti-Semitic note, it\u2019s because he\u2019s trying to annihilate the bad Jew, the stereotypical Jew, so as not<\/i> to hate himself. That so many Gentile German philistines are willing to forgive Heine\u2019s Jewishness only adds to his rage.<\/p>\n

I, too, often make moral arguments about art, but on my better days I\u2019m suspicious of them, because I\u2019m aware of the envy, the powerlessness and self-pity, that lurks behind them.\u00a0Back in the nineties, I spent a lot of time assembling a moral case against John Updike.\u00a0I was offended (rightly, I still think) by Updike\u2019s famous comparison of a writer\u2019s work to excretion:\u00a0you take in life, digest it, and shit it out in paragraphs.\u00a0Updike was very proud of his three-pages-per-day regularity, and I didn\u2019t need to know much about his personal history to imagine his mother crowing over the neatness and beauty of his daily bowel movements.\u00a0My moral complaint was that Updike had tremendous, Nabokov-level talent and was wasting it, because he was too charmed by his daily dumps and too afraid of irregularity to take the kind of big literary risks that might have blocked him for a year or two.\u00a0His lifelong penchant for alliteration was of a piece with this.\u00a0It made reading even his otherwise fine stories about the Maples painful; I couldn\u2019t get through more than a few lines without running aground on the anal-retentive preciousness of his prose.\u00a0Updike was exquisitely preoccupied with his own literary digestive processes, and his virtuosity in clocking and rendering the minutiae of daily life was undeniably unparalleled, but his lack of interest in the bigger postwar, postmodern, socio-technological picture marked him, in my mind, as a classic self-absorbed sixties-style narcissist.\u00a0David Foster Wallace was the one who actually called Updike an asshole in print (in the New York Observer<\/i>), but I felt the same way.\u00a0If you\u2019d suggested that I envied Updike for his unobstructed productivity, or for all the women he got to go to bed with him (and then wrote about in graphic detail), I would only have restated my moral case more trenchantly.<\/p>\n

Later on, after Updike ceased to seem like such a threat, I went through a period of feeling deeply censorious of Philip Roth, because he didn\u2019t seem to care about his many glaring technical deficiencies as a fiction writer, and because his admirers didn\u2019t seem to, either.\u00a0Roth\u2019s writing seemed to me, as Kraus says of Heine\u2019s, \u201calways and overplainly informative,\u201d which was why, I believed, the philistines had come to tolerate him a lot better than he tolerated the philistines.\u00a0As with Updike, my judgments had a flavor of Krausian moralism:\u00a0Roth was lazy, Roth was an asshole, etc.\u00a0Naturally, I believed that I was merely sticking up for vital aesthetic virtues—a fiction writer ought to be able to write good dialogue, create convincing and well-rounded female characters, and let a story tell itself without discursive intrusions—but these \u201cvital\u201d virtues happened to coincide with some of my own abilities as a fiction writer. To make my moral case against Roth, I had to ignore or downplay other plausible virtues, most notably Roth\u2019s heroic fearlessness of his readers\u2019 moral judgments, because I subterraneanly envied his fearlessness and wanted people to pay attention to me<\/i> and not him.\u00a0This was the kind of thing that Nietzsche had in mind when he mocked the \u201cslave\u201d mentality of moral judgments.<\/p>\n

\u201cHeine and the Consequences\u201d is the document of Kraus\u2019s struggle to overcome his great precursor.\u00a0On his own terms, he may have succeeded; his best-known and most shattering work, The Last Days of Mankind<\/i> (a documentary \u201cdrama\u201d of the First World War) was written in the decade that followed.\u00a0German readers, however, are not so convinced that he vanquished Heine.\u00a0My friend Daniel Kehlmann, the Austrian novelist, loves the essay and grants that Kraus scores a lot of points off Heine in it.\u00a0\u201cBut,\u201d he says, \u201cHeine is still wonderful, too.\u201d<\/p>\n

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

This week, to celebrate the launch of our Fall issue, we will preview a few of our favorite footnotes from \u201cAgainst Heine,\u201d Jonathan Franzen\u2019s translation of the Austrian writer Karl Kraus. Click here to get your subscription now! In the end, the people who never came out of their province will go farther than the […]<\/p>\n","protected":false},"author":512,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[807],"tags":[11781,11769,615,110,11750,99],"class_list":["post-59074","post","type-post","status-publish","format-standard","hentry","category-on-translation","tag-daniel-kehlmann","tag-heinrich-heine","tag-john-updike","tag-jonathan-franzen","tag-karl-kraus","tag-philip-roth"],"acf":[],"yoast_head":"\nFranzen on Kraus: Footnote 89 by Jonathan Franzen<\/title>\n<meta name=\"description\" content=\"September 6, 2013 \u2013 This week, to celebrate the launch of our Fall issue, we will preview a few of our favorite footnotes from \u201cAgainst Heine,\u201d Jonathan Franzen\u2019s translation\" \/>\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\/09\/06\/franzen-on-kraus-footnote-89\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Franzen on Kraus: Footnote 89 by Jonathan Franzen\" \/>\n<meta property=\"og:description\" content=\"September 6, 2013 \u2013 This week, to celebrate the launch of our Fall issue, we will preview a few of our favorite footnotes from \u201cAgainst Heine,\u201d Jonathan Franzen\u2019s translation\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/\" \/>\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=\"2013-09-06T19:00:05+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2014-12-17T17:37:29+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/09\/kokoshka_kraus.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"525\" \/>\n\t<meta property=\"og:image:height\" content=\"331\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Jonathan Franzen\" \/>\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=\"Jonathan Franzen\" \/>\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\/2013\/09\/06\/franzen-on-kraus-footnote-89\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/\"},\"author\":{\"name\":\"Jonathan Franzen\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/68e0e8aba1eeedfe88cb76905b898f84\"},\"headline\":\"Franzen on Kraus: Footnote 89\",\"datePublished\":\"2013-09-06T19:00:05+00:00\",\"dateModified\":\"2014-12-17T17:37:29+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/\"},\"wordCount\":1003,\"commentCount\":8,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/09\/kokoshka_kraus.jpg\",\"keywords\":[\"daniel kehlmann\",\"Heinrich Heine\",\"John Updike\",\"Jonathan Franzen\",\"Karl Kraus\",\"Philip Roth\"],\"articleSection\":[\"On Translation\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/\",\"name\":\"Franzen on Kraus: Footnote 89 by Jonathan Franzen\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/09\/kokoshka_kraus.jpg\",\"datePublished\":\"2013-09-06T19:00:05+00:00\",\"dateModified\":\"2014-12-17T17:37:29+00:00\",\"description\":\"September 6, 2013 \u2013 This week, to celebrate the launch of our Fall issue, we will preview a few of our favorite footnotes from \u201cAgainst Heine,\u201d Jonathan Franzen\u2019s translation\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/09\/kokoshka_kraus.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/09\/kokoshka_kraus.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Franzen on Kraus: Footnote 89\"}]},{\"@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\/68e0e8aba1eeedfe88cb76905b898f84\",\"name\":\"Jonathan Franzen\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/ee4e168d0efd61b13d42a41355f61d4b16fa8cbeb02fcec98c05b2a63e5bee5c?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/ee4e168d0efd61b13d42a41355f61d4b16fa8cbeb02fcec98c05b2a63e5bee5c?s=96&d=mm&r=g\",\"caption\":\"Jonathan Franzen\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/jfranzen\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Franzen on Kraus: Footnote 89 by Jonathan Franzen","description":"September 6, 2013 \u2013 This week, to celebrate the launch of our Fall issue, we will preview a few of our favorite footnotes from \u201cAgainst Heine,\u201d Jonathan Franzen\u2019s translation","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\/09\/06\/franzen-on-kraus-footnote-89\/","og_locale":"en_US","og_type":"article","og_title":"Franzen on Kraus: Footnote 89 by Jonathan Franzen","og_description":"September 6, 2013 \u2013 This week, to celebrate the launch of our Fall issue, we will preview a few of our favorite footnotes from \u201cAgainst Heine,\u201d Jonathan Franzen\u2019s translation","og_url":"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2013-09-06T19:00:05+00:00","article_modified_time":"2014-12-17T17:37:29+00:00","og_image":[{"width":525,"height":331,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/09\/kokoshka_kraus.jpg","type":"image\/jpeg"}],"author":"Jonathan Franzen","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Jonathan Franzen","Est. reading time":"5 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/"},"author":{"name":"Jonathan Franzen","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/68e0e8aba1eeedfe88cb76905b898f84"},"headline":"Franzen on Kraus: Footnote 89","datePublished":"2013-09-06T19:00:05+00:00","dateModified":"2014-12-17T17:37:29+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/"},"wordCount":1003,"commentCount":8,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/09\/kokoshka_kraus.jpg","keywords":["daniel kehlmann","Heinrich Heine","John Updike","Jonathan Franzen","Karl Kraus","Philip Roth"],"articleSection":["On Translation"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/","url":"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/","name":"Franzen on Kraus: Footnote 89 by Jonathan Franzen","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/09\/kokoshka_kraus.jpg","datePublished":"2013-09-06T19:00:05+00:00","dateModified":"2014-12-17T17:37:29+00:00","description":"September 6, 2013 \u2013 This week, to celebrate the launch of our Fall issue, we will preview a few of our favorite footnotes from \u201cAgainst Heine,\u201d Jonathan Franzen\u2019s translation","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/09\/kokoshka_kraus.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2013\/09\/kokoshka_kraus.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2013\/09\/06\/franzen-on-kraus-footnote-89\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Franzen on Kraus: Footnote 89"}]},{"@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\/68e0e8aba1eeedfe88cb76905b898f84","name":"Jonathan Franzen","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/ee4e168d0efd61b13d42a41355f61d4b16fa8cbeb02fcec98c05b2a63e5bee5c?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/ee4e168d0efd61b13d42a41355f61d4b16fa8cbeb02fcec98c05b2a63e5bee5c?s=96&d=mm&r=g","caption":"Jonathan Franzen"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/jfranzen\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/59074","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\/512"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=59074"}],"version-history":[{"count":10,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/59074\/revisions"}],"predecessor-version":[{"id":59086,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/59074\/revisions\/59086"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=59074"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=59074"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=59074"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}