{"id":80316,"date":"2014-12-01T19:30:17","date_gmt":"2014-12-02T00:30:17","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=80316"},"modified":"2014-12-02T10:58:26","modified_gmt":"2014-12-02T15:58:26","slug":"the-poetaster","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/","title":{"rendered":"The Poetaster"},"content":{"rendered":"
\"_Red_Laughter_-\"<\/a>

K\u0101rlis Padegs,\u00a0Red Laughter<\/i> (detail), 1931.<\/p><\/div>\n

In 1876, Julia A. Moore published The Sweet Singer of Michigan Salutes the Public<\/em>, a best-selling series of poems to honor our nation\u2019s centennial. Moore was an obituary poet: the elegy was her preferred mode. Local death notices and tales of wartime derring-do moved her to versify. She was especially fond of addressing poems to dead children.<\/p>\n

Her work is, in a word, bad.<\/p>\n

In fact, her collection sallied forth with such cloying sincerity\u2014a note from the publisher claimed that any profits would be used \u201cto complete the Washington monument\u201d\u2014that the satirists of the time decided to have a field day with it. Mark Twain parodied her in Huckleberry Finn<\/em>; Bill Nye\u2014the nineteenth-century humorist, not the contemporary scientist\u2014said that hers was a poetic license that ought to have been revoked; the Hartford Times<\/em> noted her collection\u2019s \u201csteady and unremitting demands on the lachrymal ducts\u201d; and a critic in the Rochester Democrat <\/em>wrote of her work, \u201cShakespeare, could he read it, would be glad that he was dead \u2026 If Julia A. Moore would kindly deign to shed some of her poetry on our humble grave, we should be but too glad to go out and shoot ourselves tomorrow.\u201d<\/p>\n

Best of all, maybe, was the review in the\u00a0Worcester Daily Press<\/em>: \u201c[Moore] reaches for the sympathy of humanity as a Rhode Islander reaches for a quahaug, clutches the tendrils of the soul as a garden rake clutches a hop vine, and hauls the reader into a closer sympathy than that which exists between a man and his undershirt.\u201d<\/p>\n

And so Moore gathered renown, like William McGonagall, as a poetaster, i.e., an inferior poet. (The word has fallen into disuse lately, but maybe it can have a renaissance in 2015.) You may chide her critics for their ironic jeering\u2014it took some time, apparently, for Moore to get the joke, and eventually she was cowed into silence. By 1878 she\u2019d been mocked from coast to coast and lampooned at her own public appearances. \u201cLiterary is a work very difficult to do,\u201d she said to those who teased her.<\/p>\n

But before you cluck, have a look at Moore\u2019s poetry, which may make you want to throw tomatoes at her.<\/p>\n

Here\u2019s the whole of \u201cGrand Rapids Cricket Club\u201d: <\/p>\n

\n

In Grand Rapids is a handsome club,
Of men that cricket play,
As fine a set of skillful men
That can their skill display.
They are the champions of the West,
They think they are quite fine,
They\u2019ve won a hundred honors well;
It is their most cunning design.<\/p>\n

Brave Kelso, he\u2019s considered great,
Chief of the club he is found;
Great crowds he draws to see him bowl
The ball upon the ground.
And Mr. Follet is very brave,
A lighter player than the rest,
He got struck severe at the fair ground
For which he took a rest.<\/p>\n

When Mr. Dennis does well play,
His courage is full great,
And accidents to him occur,
But not much, though, of late.
This ball play is a dangerous game,
Brave knights to play it though;
Those boys would be the nation\u2019s pride,
If they to war would go.<\/p>\n

From Milwaukee their club did come,
With thoughts of skill at play,
But beat they was, and then went home\u2014
Had nothing more to say.
Grand Rapids club that cricket play,
Will soon be known afar,
Much prouder do the members stand,
Like many a noble star.<\/p>\n<\/blockquote>\n

Has there ever been a couplet as perfectly unpoetic as \u201cAnd accidents to him occur, \/ But not much, though, of late\u201d?<\/p>\n

And lest you think maybe she was just having an off day, here\u2019s some of \u201cRoll on Time, Roll on.\u201d (Note the absence of that direct-address comma\u2014this may actually be a poem about punctual rollers.)<\/p>\n

\n

I was happy then as a girl could ever be,
And live on this earth here below\u2014
I was happy as a lark and as busy as a bee,
For in fashion or in style I did not go.<\/p>\n

My parents were poor and they could not dress me so,
For they had not got the money to spare,
And it may be better so, for I do not think fine clothes
Make a person any better than they are.<\/p>\n

Some people are getting so they think a poor girl,
Though she be bright and intelligent and gay,
She must have nice clothes, or she is nothing in this world,
If she is not dressed in style every day.<\/p>\n

Remember never to judge people by their clothes,
For our brave, noble Washington said,
\u201cHonorable are rags, if a true heart they enclose,\u201d
And I found it was the truth when I married.<\/p>\n<\/blockquote>\n

You can read more of Moore here<\/a>; and I\u2019d be remiss if I forgot to include a link to Walter Blair\u2019s impassioned, well-argued defense of Moore<\/a>, written as an introduction to her collected works. \u201cMrs. Moore deserved a better fate,\u201d he says. \u201cRead without any thought of their historical setting, her songs endure the test of true literature by charming the reader. Considered against the background which made them possible, they present an interesting and vivid picture of a forgotten period in America\u2019s past.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

In 1876, Julia A. Moore published The Sweet Singer of Michigan Salutes the Public, a best-selling series of poems to honor our nation\u2019s centennial. Moore was an obituary poet: the elegy was her preferred mode. Local death notices and tales of wartime derring-do moved her to versify. She was especially fond of addressing poems to […]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2157],"tags":[16228,7896,16234,16230,478,16227,16232,16229,2047,16233,16231],"class_list":["post-80316","post","type-post","status-publish","format-standard","hentry","category-on-poetry","tag-american-poets","tag-bad-poetry","tag-bad-reviews","tag-bill-nye","tag-criticism","tag-julia-a-moore","tag-michigan","tag-poetasters","tag-poets","tag-walter-blair","tag-william-mcgonagall"],"acf":[],"yoast_head":"\nThe Poetry of Julia A. Moore<\/title>\n<meta name=\"description\" content=\"Dan Piepenbring on the history of the poetaster.\" \/>\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\/12\/01\/the-poetaster\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Poetaster by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"December 1, 2014 \u2013 In 1876, Julia A. Moore published The Sweet Singer of Michigan Salutes the Public, a best-selling series of poems to honor our nation\u2019s centennial. Moore\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/\" \/>\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=\"2014-12-02T00:30:17+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2014-12-02T15:58:26+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/red_laughter_-.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"819\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Dan Piepenbring\" \/>\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=\"Dan Piepenbring\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 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\/12\/01\/the-poetaster\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/\"},\"author\":{\"name\":\"Dan Piepenbring\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8\"},\"headline\":\"The Poetaster\",\"datePublished\":\"2014-12-02T00:30:17+00:00\",\"dateModified\":\"2014-12-02T15:58:26+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/\"},\"wordCount\":890,\"commentCount\":2,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/red_laughter_-.jpg\",\"keywords\":[\"American poets\",\"bad poetry\",\"bad reviews\",\"Bill Nye\",\"criticism\",\"Julia A. Moore\",\"Michigan\",\"poetasters\",\"poets\",\"Walter Blair\",\"William McGonagall\"],\"articleSection\":[\"On Poetry\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/\",\"name\":\"The Poetry of Julia A. Moore\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/red_laughter_-.jpg\",\"datePublished\":\"2014-12-02T00:30:17+00:00\",\"dateModified\":\"2014-12-02T15:58:26+00:00\",\"description\":\"Dan Piepenbring on the history of the poetaster.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/red_laughter_-.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/red_laughter_-.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"The Poetaster\"}]},{\"@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\/6b16ca558fc538230f135c3220dfd3c8\",\"name\":\"Dan Piepenbring\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/6fde7ced443ba5b52db3b06239dca8a2eaeff111fccecd7bf483663c99d2762b?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/6fde7ced443ba5b52db3b06239dca8a2eaeff111fccecd7bf483663c99d2762b?s=96&d=mm&r=g\",\"caption\":\"Dan Piepenbring\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/dpiepenbring\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"The Poetry of Julia A. Moore","description":"Dan Piepenbring on the history of the poetaster.","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\/12\/01\/the-poetaster\/","og_locale":"en_US","og_type":"article","og_title":"The Poetaster by Dan Piepenbring","og_description":"December 1, 2014 \u2013 In 1876, Julia A. Moore published The Sweet Singer of Michigan Salutes the Public, a best-selling series of poems to honor our nation\u2019s centennial. Moore","og_url":"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2014-12-02T00:30:17+00:00","article_modified_time":"2014-12-02T15:58:26+00:00","og_image":[{"width":1000,"height":819,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/red_laughter_-.jpg","type":"image\/jpeg"}],"author":"Dan Piepenbring","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Dan Piepenbring","Est. reading time":"4 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/"},"author":{"name":"Dan Piepenbring","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8"},"headline":"The Poetaster","datePublished":"2014-12-02T00:30:17+00:00","dateModified":"2014-12-02T15:58:26+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/"},"wordCount":890,"commentCount":2,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/red_laughter_-.jpg","keywords":["American poets","bad poetry","bad reviews","Bill Nye","criticism","Julia A. Moore","Michigan","poetasters","poets","Walter Blair","William McGonagall"],"articleSection":["On Poetry"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/","url":"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/","name":"The Poetry of Julia A. Moore","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/red_laughter_-.jpg","datePublished":"2014-12-02T00:30:17+00:00","dateModified":"2014-12-02T15:58:26+00:00","description":"Dan Piepenbring on the history of the poetaster.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/red_laughter_-.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2014\/12\/red_laughter_-.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2014\/12\/01\/the-poetaster\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"The Poetaster"}]},{"@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\/6b16ca558fc538230f135c3220dfd3c8","name":"Dan Piepenbring","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/6fde7ced443ba5b52db3b06239dca8a2eaeff111fccecd7bf483663c99d2762b?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/6fde7ced443ba5b52db3b06239dca8a2eaeff111fccecd7bf483663c99d2762b?s=96&d=mm&r=g","caption":"Dan Piepenbring"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/dpiepenbring\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/80316","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\/38"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=80316"}],"version-history":[{"count":7,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/80316\/revisions"}],"predecessor-version":[{"id":80335,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/80316\/revisions\/80335"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=80316"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=80316"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=80316"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}