{"id":72090,"date":"2014-06-02T16:00:48","date_gmt":"2014-06-02T20:00:48","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=72090"},"modified":"2014-06-04T11:01:08","modified_gmt":"2014-06-04T15:01:08","slug":"recapping-dante-canto-31-or","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/","title":{"rendered":"Recapping Dante: Canto 31, or Dante the Television Writer"},"content":{"rendered":"
\"canto31\"<\/a>

Gustave Dor\u00e9, Canto 31<\/i><\/p><\/div>\n

We\u2019re recapping<\/a> the <\/em>Inferno. Read along<\/a>! This week: the thirty-first canto<\/em> as explained by a breathless contemporary TV critic<\/em>.<\/p>\n

By now it is clear that this season\u2019s sleeper star is the breakout show-runner, Dante Alighieri. His show The Inferno<\/em>, an unlikely gem of narratological genius, has consistently stood out from the televisual pack, relying for the most part on the rarefied taste of its audience and the poignant, lyrical style of the head writer. This most recent episode, canto 31, is no exception.<\/p>\n

This divine segment uses, as ever, a canny rhetorical device to dispense with exposition: the question<\/em>. In this case, our hero, Dante, entering the next circle of hell, gazes through a thick fog, through which he can faintly perceive the outline of various towers. So what does he do? He asks a question about them, of course, and his companion Virgil helpfully informs him\u2014and us\u2014that these are giants, not towers. Simple! Elegant! Where other shows go in for flash and gimmickry, The Inferno<\/em> just tells us what\u2019s what. <\/p>\n

Likewise, the show\u2019s oft-criticized habit of alluding to classic texts is, in this viewer\u2019s opinion, a refreshing break from the crude, pseudo-mythological subtext of HBO\u2019s Game of Thrones<\/em>. This week, Dante compares the sound of a bugle in hell to the resounding bellow of Roland\u2019s horn in the Chanson de Roland<\/em>, the French epic poem: an apt comparison, even if it\u2019s lost on a contemporary audience.<\/p>\n

As Dante and Virgil continue through the infernal domain of giants, the first giant they encounter begins speaking in gibberish: Raph\u00e8l ma\u00ec am\u00e8cche zab\u00ec almi<\/em>. It\u2019s a phrase that fans around the world have been frantically attempting to decode, to no avail. After all, the giant who spits out this nonsense is Nimrod, who built the tower of Babel. (It\u2019s my opinion that Dante means to use hell as a sort of moral landscape, in which punishments reflect a sinner\u2019s crime\u2014but this is pure speculation.) The ultimate genius of The Inferno <\/em>may be that it brings an intellectual component to one of the oldest adventure stories in history. Odysseus and Aeneas traveled through hell, and here Dante has crafted a Christian notion of the underworld without disregarding these ancient traditions.<\/p>\n

At the end of this episode, Dante and Virgil speak with a far more reasonable giant, who takes them into his hand and carries them, lowering them gently into hell\u2019s final circle. Of course, the action breaks off there\u2014Dante knows a thing or two about cliffhangers. And so we wait with bated breath for the next installment of this national treasure.<\/p>\n

Never has an adventure story been so intellectually rewarding, and seldom is a theological and lyrical masterpiece ever so thrilling to read. It is probably true that there won\u2019t be a Dante line of clothing at Banana Republic, and there certainly won\u2019t be a fleet of Dante cosplayers at next year\u2019s Comic Con. But I feel certain that the lone fan will show up in a red bonnet, and that a discerning few will get the reference right away, even though the shortsighted network will probably cancel the show. In time the one season of The Inferno<\/em> will be remembered as fondly as all seasons of Breaking Bad.<\/em> AMC might have had Walter White, but Dante has Lucifer himself.<\/p>\n

To catch up on our Dante series, click here<\/a>.<\/em><\/p>\n

Alexander Aciman is the author of <\/em>Twitterature<\/a>. He has written for the <\/em>New York Times, <\/em>Tablet, the <\/em>Wall Street Journal, and <\/em>TIME. Follow him on Twitter at @acimania<\/a>.<\/em><\/p>\n

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

We\u2019re recapping the Inferno. Read along! This week: the thirty-first canto as explained by a breathless contemporary TV critic. By now it is clear that this season\u2019s sleeper star is the breakout show-runner, Dante Alighieri. His show The Inferno, an unlikely gem of narratological genius, has consistently stood out from the televisual pack, relying for […]<\/p>\n","protected":false},"author":419,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[14135,2930,1176,13883,54,12028,7043],"class_list":["post-72090","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-canto-xxxi","tag-dante","tag-giants","tag-hell","tag-television","tag-the-divine-comedy","tag-the-inferno"],"acf":[],"yoast_head":"\nRecap of Canto 30 of Dante\u2019s \u201cInferno\u201d<\/title>\n<meta name=\"description\" content=\"In this week\u2019s recap of Dante\u2019s \u201cInferno,\u201d the thirty-first canto as explained by a breathless contemporary TV critic.\" \/>\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\/2014\/06\/02\/recapping-dante-canto-31-or\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Recapping Dante: Canto 31, or Dante the Television Writer by Alexander Aciman\" \/>\n<meta property=\"og:description\" content=\"June 2, 2014 \u2013 We\u2019re recapping the Inferno. Read along! This week: the thirty-first canto as explained by a breathless contemporary TV critic. By now it is clear that\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/\" \/>\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=\"2014-06-02T20:00:48+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2014-06-04T15:01:08+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/06\/canto31.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"640\" \/>\n\t<meta property=\"og:image:height\" content=\"457\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Alexander Aciman\" \/>\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=\"Alexander Aciman\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/\"},\"author\":{\"name\":\"Alexander Aciman\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/ed568ba52b1fc3e70ec2043f18e06041\"},\"headline\":\"Recapping Dante: Canto 31, or Dante the Television Writer\",\"datePublished\":\"2014-06-02T20:00:48+00:00\",\"dateModified\":\"2014-06-04T15:01:08+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/\"},\"wordCount\":623,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/06\/canto31.jpg\",\"keywords\":[\"Canto XXXI\",\"Dante\",\"Giants\",\"Hell\",\"television\",\"The Divine Comedy\",\"The Inferno\"],\"articleSection\":[\"Arts & Culture\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/\",\"name\":\"Recap of Canto 30 of Dante\u2019s \u201cInferno\u201d\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/06\/canto31.jpg\",\"datePublished\":\"2014-06-02T20:00:48+00:00\",\"dateModified\":\"2014-06-04T15:01:08+00:00\",\"description\":\"In this week\u2019s recap of Dante\u2019s \u201cInferno,\u201d the thirty-first canto as explained by a breathless contemporary TV critic.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/06\/canto31.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/06\/canto31.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Recapping Dante: Canto 31, or Dante the Television Writer\"}]},{\"@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\/ed568ba52b1fc3e70ec2043f18e06041\",\"name\":\"Alexander Aciman\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/b0ab098cf359985358dcb130f2519adc3b0ae96b2429eeb02e85c20fbba24e86?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/b0ab098cf359985358dcb130f2519adc3b0ae96b2429eeb02e85c20fbba24e86?s=96&d=mm&r=g\",\"caption\":\"Alexander Aciman\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/aaciman\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Recap of Canto 30 of Dante\u2019s \u201cInferno\u201d","description":"In this week\u2019s recap of Dante\u2019s \u201cInferno,\u201d the thirty-first canto as explained by a breathless contemporary TV critic.","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\/2014\/06\/02\/recapping-dante-canto-31-or\/","og_locale":"en_US","og_type":"article","og_title":"Recapping Dante: Canto 31, or Dante the Television Writer by Alexander Aciman","og_description":"June 2, 2014 \u2013 We\u2019re recapping the Inferno. Read along! This week: the thirty-first canto as explained by a breathless contemporary TV critic. By now it is clear that","og_url":"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2014-06-02T20:00:48+00:00","article_modified_time":"2014-06-04T15:01:08+00:00","og_image":[{"width":640,"height":457,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/06\/canto31.jpg","type":"image\/jpeg"}],"author":"Alexander Aciman","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Alexander Aciman","Est. reading time":"3 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/"},"author":{"name":"Alexander Aciman","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/ed568ba52b1fc3e70ec2043f18e06041"},"headline":"Recapping Dante: Canto 31, or Dante the Television Writer","datePublished":"2014-06-02T20:00:48+00:00","dateModified":"2014-06-04T15:01:08+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/"},"wordCount":623,"commentCount":0,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/06\/canto31.jpg","keywords":["Canto XXXI","Dante","Giants","Hell","television","The Divine Comedy","The Inferno"],"articleSection":["Arts & Culture"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/","url":"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/","name":"Recap of Canto 30 of Dante\u2019s \u201cInferno\u201d","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/06\/canto31.jpg","datePublished":"2014-06-02T20:00:48+00:00","dateModified":"2014-06-04T15:01:08+00:00","description":"In this week\u2019s recap of Dante\u2019s \u201cInferno,\u201d the thirty-first canto as explained by a breathless contemporary TV critic.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/06\/canto31.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/06\/canto31.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2014\/06\/02\/recapping-dante-canto-31-or\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Recapping Dante: Canto 31, or Dante the Television Writer"}]},{"@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\/ed568ba52b1fc3e70ec2043f18e06041","name":"Alexander Aciman","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/b0ab098cf359985358dcb130f2519adc3b0ae96b2429eeb02e85c20fbba24e86?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/b0ab098cf359985358dcb130f2519adc3b0ae96b2429eeb02e85c20fbba24e86?s=96&d=mm&r=g","caption":"Alexander Aciman"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/aaciman\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/72090","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\/419"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=72090"}],"version-history":[{"count":8,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/72090\/revisions"}],"predecessor-version":[{"id":72168,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/72090\/revisions\/72168"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=72090"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=72090"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=72090"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}