{"id":6305,"date":"2010-10-14T14:12:59","date_gmt":"2010-10-14T18:12:59","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=6305"},"modified":"2010-10-14T23:14:06","modified_gmt":"2010-10-15T03:14:06","slug":"michael-cunningham","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/","title":{"rendered":"Michael Cunningham"},"content":{"rendered":"

\"\"

Photograph by Richard Phibbs. <\/p><\/div>By Nightfall<\/a>, the sixth novel by Pulitzer Prize\u2013winning Michael Cunningham, tells the story of Peter Harris, a gallery owner in Manhattan whose comfortable marriage is interrupted by the arrival of Mizzy (short for \u201cthe Mistake\u201d), the younger brother of his wife, Rebecca. Peter\u2014a straight man\u2014finds Mizzy\u2019s youth intoxicating and seductive. Soon, Peter is questioning his life, his marriage, even his sexuality, and wondering if it\u2019s worth throwing it all away. Earlier this week, Cunningham answered my questions about his book over e-mail. <\/p>\n

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

You write, \u201cHistory favors the tragic lovers, the Gatsbys and the Anna K.s, it forgives them, even as it grinds them down. But Peter, a small figure on an undistinguished corner of Manhattan, will have to forgive himself, he\u2019ll have to grind himself down because it seems no one is going to do it for him.\u201d Why create someone like Peter and not \u2026 well, a Gatsby?<\/strong> <\/p>\n

A Peter as opposed to a Gatsby. I don\u2019t think I\u2019ve ever recovered from reading the modernists, particularly Woolf and Joyce, who insisted that fiction depict the 99.9 percent of the population who are not<\/em> Gatsby or Nostromo or David Copperfield; who insisted that part of the novelist\u2019s job is to ferret out the epic story of outwardly unextraordinary people, who are of course extraordinary to themselves. I just don\u2019t feel much interested in the lifestyles of the rich and famous.<\/p>\n

At one point, Peter says, \u201cI don\u2019t know. I mean, how could I love another guy and not be gay?\u201d \u201cEasy,\u201d says Uta. Why is it easy? <\/strong><\/p>\n

Human sexuality is tremendously complicated, so much so that the designations \u201cgay,\u201d \u201cstraight,\u201d and \u201cbisexual\u201d are all but meaningless. How many of us have had crushes, and even sexual experiences, with people who fall outside our official \u201cerotic category\u201d? Okay, not everyone, but many of us. I\u2019m interested in sexuality that falls outside the official lines of demarcation. As is Uta.<\/p>\n

The seed of By Nightfall<\/em> was really Mann\u2019s Death in Venice<\/em>. Although I didn\u2019t want to rewrite Death in Venice<\/em>, I\u2019ve always been fascinated by Aschenbach\u2019s fascination with Tadzio, which is eroticized but not exactly sexual; it\u2019s more about Aschenbach\u2019s love of youth and beauty and ephemerality. If it was just a book about an old letch hungering for a young boy, what good would it be? I wanted to write about an essentially straight guy who finds himself powerfully drawn not only to a boy but to what the boy represents. If Peter had simply become obsessed with a girl, the story would have been too conventional. <\/p>\n

You write this of Peter and Rebecca\u2019s marriage: \u201cHe has the slightly trickier hope that he and Rebecca will be happy again. Happy enough.\u201d And also: \u201cYou have brought down your house not through passion but by neglect.\u201d What are your thoughts on marriage? Love? Is happiness everything? What about companionship? <\/strong><\/p>\n

I have no useful theories about love and marriage. When I depict love and marriage in a novel, it\u2019s always a particular marriage, between two (or more) people who love or fail to love in their own, idiosyncratic, human ways. I do, for the record, believe in love. And companionship. Happiness is much, but it isn\u2019t everything. One wants\u2014one hopes for\u2014the full ride during a lifetime, which includes not only happiness but other rich emotions like sorrow, anger, and yes, even grief.<\/p>\n

How long did it take you to write this novel?<\/strong><\/p>\n

It took almost exactly three years. I seem to produce a novel approximately once every three years.<\/p>\n

And do you revise? <\/strong><\/p>\n

I revise constantly, as I go along and then again after I\u2019ve finished a first draft. Few of my novels contain a single sentence that closely resembles the sentence I first set down. I just find that I have to keep zapping and zapping the English language until it starts to behave in some way that vaguely matches my intentions.<\/p>\n

Can we discuss The Hours<\/em>? Did you like the film adaptation? Why do some fail and others succeed?<\/strong><\/p>\n

I liked the adaptation of The Hours<\/em> very much, which may make me the only living novelist who\u2019s happy with the way Hollywood has treated one of his books. I suspect that most book-into-film adaptations fail because almost everything fails\u2014books, movies, plays, paintings, what have you. Having spent some time on movie sets, knowing what I now know about the gazillion variables that go into the making of a movie, the hundreds of people involved, I\u2019m amazed that any movie gets made at all. The fact that some of them are actually good is a miracle.<\/p>\n

Earlier in your career, you were published by George Plimpton in this magazine<\/a>. What was that experience like?<\/strong><\/p>\n

I had a story in The Paris Review<\/em> early in my writing life, and it was and remains one of my biggest thrills. Especially because George was one of the first people to publish anything of mine. God bless you, George, wherever you are.<\/p>\n

You\u2019re also a teacher of creative writing. There\u2019s been a lot of debate recently about whether creative-writing programs works (see: Elif Batuman<\/a>, Louis Menand<\/a>). What\u2019s your opinion? <\/strong><\/p>\n

If I didn\u2019t think creative-writing programs were helpful, I would not, of course, teach in one. I\u2019m always a little puzzled by people\u2019s insistence that writing, alone among the art forms, be sui generis. Few people question artists going to art school, or musicians going to music school. There\u2019s some strange romance about the writer as a Bunyanesque figure who goes untutored and unaccompanied into the mountains and returns years later with a newborn novel in his hands.<\/p>\n

People do point to all the writers in history who had no schooling, but most of them had communities of other writers, or, at the very least, mentors. Hemingway had Gertrude Stein, Eliot had Pound. And both those guys had a world of caf\u00e9s and salons in which they could talk about writing to their hearts\u2019 content. Most young writers today, in America at least, find themselves all alone in Dallas or Buffalo or wherever. Or, for that matter, in New York, where as far as I know there are few caf\u00e9s in which young Turks argue into the night about the future of the semicolon. A writing program, even if it teaches students relatively little in the literal sense, provides them with a body of other writers who will, in fact, argue into the night about semicolons and other writerly matters.<\/p>\n","protected":false},"excerpt":{"rendered":"

By Nightfall, the sixth novel by Pulitzer Prize\u2013winning Michael Cunningham, tells the story of Peter Harris, a gallery owner in Manhattan whose comfortable marriage is interrupted by the arrival of Mizzy (short for \u201cthe Mistake\u201d), the younger brother of his wife, Rebecca. Peter\u2014a straight man\u2014finds Mizzy\u2019s youth intoxicating and seductive. Soon, Peter is questioning his […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[907],"tags":[1069,1072,1074,657,1068,112,1070,1071,1073],"class_list":["post-6305","post","type-post","status-publish","format-standard","hentry","category-at-work","tag-by-nightfall","tag-creative-writing","tag-death-in-venice","tag-marriage","tag-michael-cunningham","tag-novel","tag-sexuality","tag-the-hours","tag-thomas-mann"],"acf":[],"yoast_head":"\nMichael Cunningham, By Nightfall, Thessaly La Force<\/title>\n<meta name=\"description\" content=\"October 14, 2010 \u2013 By Nightfall, the sixth novel by Pulitzer Prize\u2013winning Michael Cunningham, tells the story of Peter Harris, a gallery owner in Manhattan whose\" \/>\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\/2010\/10\/14\/michael-cunningham\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Michael Cunningham by Thessaly La Force\" \/>\n<meta property=\"og:description\" content=\"October 14, 2010 \u2013 By Nightfall, the sixth novel by Pulitzer Prize\u2013winning Michael Cunningham, tells the story of Peter Harris, a gallery owner in Manhattan whose\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/\" \/>\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=\"2010-10-14T18:12:59+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2010-10-15T03:14:06+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2010\/10\/CunninghamcRichard-Phibbs-Color.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"270\" \/>\n\t<meta property=\"og:image:height\" content=\"360\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Thessaly La Force\" \/>\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=\"Thessaly La Force\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/\"},\"author\":{\"name\":\"Thessaly La Force\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/fe886cd28f24e6684c57915a05ba24a2\"},\"headline\":\"Michael Cunningham\",\"datePublished\":\"2010-10-14T18:12:59+00:00\",\"dateModified\":\"2010-10-15T03:14:06+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/\"},\"wordCount\":1122,\"commentCount\":3,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2010\/10\/CunninghamcRichard-Phibbs-Color.jpg\",\"keywords\":[\"By Nightfall\",\"creative writing\",\"Death in Venice\",\"marriage\",\"Michael Cunningham\",\"novel\",\"sexuality\",\"The Hours\",\"Thomas Mann\"],\"articleSection\":[\"At Work\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/\",\"name\":\"Michael Cunningham, By Nightfall, Thessaly La Force\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2010\/10\/CunninghamcRichard-Phibbs-Color.jpg\",\"datePublished\":\"2010-10-14T18:12:59+00:00\",\"dateModified\":\"2010-10-15T03:14:06+00:00\",\"description\":\"October 14, 2010 \u2013 By Nightfall, the sixth novel by Pulitzer Prize\u2013winning Michael Cunningham, tells the story of Peter Harris, a gallery owner in Manhattan whose\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2010\/10\/CunninghamcRichard-Phibbs-Color.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2010\/10\/CunninghamcRichard-Phibbs-Color.jpg\",\"width\":270,\"height\":360,\"caption\":\"Photograph by Richard Phibbs.\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Michael Cunningham\"}]},{\"@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\/fe886cd28f24e6684c57915a05ba24a2\",\"name\":\"Thessaly La Force\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/b7961be4c54b1d2f5efdb88829b306e49e8de30be479e36fd6372b8aa91a73df?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/b7961be4c54b1d2f5efdb88829b306e49e8de30be479e36fd6372b8aa91a73df?s=96&d=mm&r=g\",\"caption\":\"Thessaly La Force\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/thessaly\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Michael Cunningham, By Nightfall, Thessaly La Force","description":"October 14, 2010 \u2013 By Nightfall, the sixth novel by Pulitzer Prize\u2013winning Michael Cunningham, tells the story of Peter Harris, a gallery owner in Manhattan whose","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\/2010\/10\/14\/michael-cunningham\/","og_locale":"en_US","og_type":"article","og_title":"Michael Cunningham by Thessaly La Force","og_description":"October 14, 2010 \u2013 By Nightfall, the sixth novel by Pulitzer Prize\u2013winning Michael Cunningham, tells the story of Peter Harris, a gallery owner in Manhattan whose","og_url":"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2010-10-14T18:12:59+00:00","article_modified_time":"2010-10-15T03:14:06+00:00","og_image":[{"width":270,"height":360,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2010\/10\/CunninghamcRichard-Phibbs-Color.jpg","type":"image\/jpeg"}],"author":"Thessaly La Force","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Thessaly La Force","Est. reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/"},"author":{"name":"Thessaly La Force","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/fe886cd28f24e6684c57915a05ba24a2"},"headline":"Michael Cunningham","datePublished":"2010-10-14T18:12:59+00:00","dateModified":"2010-10-15T03:14:06+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/"},"wordCount":1122,"commentCount":3,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2010\/10\/CunninghamcRichard-Phibbs-Color.jpg","keywords":["By Nightfall","creative writing","Death in Venice","marriage","Michael Cunningham","novel","sexuality","The Hours","Thomas Mann"],"articleSection":["At Work"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/","url":"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/","name":"Michael Cunningham, By Nightfall, Thessaly La Force","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2010\/10\/CunninghamcRichard-Phibbs-Color.jpg","datePublished":"2010-10-14T18:12:59+00:00","dateModified":"2010-10-15T03:14:06+00:00","description":"October 14, 2010 \u2013 By Nightfall, the sixth novel by Pulitzer Prize\u2013winning Michael Cunningham, tells the story of Peter Harris, a gallery owner in Manhattan whose","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2010\/10\/CunninghamcRichard-Phibbs-Color.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2010\/10\/CunninghamcRichard-Phibbs-Color.jpg","width":270,"height":360,"caption":"Photograph by Richard Phibbs."},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2010\/10\/14\/michael-cunningham\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Michael Cunningham"}]},{"@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\/fe886cd28f24e6684c57915a05ba24a2","name":"Thessaly La Force","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/b7961be4c54b1d2f5efdb88829b306e49e8de30be479e36fd6372b8aa91a73df?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/b7961be4c54b1d2f5efdb88829b306e49e8de30be479e36fd6372b8aa91a73df?s=96&d=mm&r=g","caption":"Thessaly La Force"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/thessaly\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/6305","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\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=6305"}],"version-history":[{"count":23,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/6305\/revisions"}],"predecessor-version":[{"id":6360,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/6305\/revisions\/6360"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=6305"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=6305"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=6305"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}