{"id":82701,"date":"2015-02-13T14:12:43","date_gmt":"2015-02-13T19:12:43","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=82701"},"modified":"2015-02-13T15:11:53","modified_gmt":"2015-02-13T20:11:53","slug":"the-chinese-photobook","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/","title":{"rendered":"The Chinese Photobook"},"content":{"rendered":"

\"4_web_hires_1\"<\/a><\/p>\n

\"4_web_hires_2\"<\/a>

Cover and interior selection from Pictorial Review of the Sino-Japanese Conflict in Shanghai<\/i>. Shanghai: Wen Hwa Fine Arts Press, Ltd., 1932. From The Chinese Photobook<\/i> (Aperture, 2015).<\/p><\/div>\n

Even with the advent of digital photography, it\u2019s never been easy to publish a book of photographs: time, labor, and production costs ensure that such projects can\u2019t be undertaken casually, at least not well. There\u2019s something inherently lavish in a book of pictures, something that makes the eyebrows rise. A photobook, with its unwieldy trim size, its color printing, and its demanding design constraints, always answers to a grave question of purpose: What does it do<\/em>? Why did it need to exist? Does it serve merely to bring prestige to your coffee table, or can it act to didactic, moral, or even geopolitical ends? If some publisher\u2019s going to pony up, those questions are less rhetorical than they might sound.<\/p>\n

\u201cThe Chinese Photobook<\/a>,\u201d a new exhibition at Aperture Gallery curated by\u00a0Martin Parr and the Dutch \u201cartist-duo\u201d WassinkLundgren, surveys more than a century of China\u2019s rich photo-book publishing history. It surprises both in its complex portrayal of Chinese history and in the depth it gives to photo-book publishing as an enterprise. <\/p>\n

\"6_web_hires_1\"<\/a>

Interior selection from Gli Impressioni di Manchiu-Cuo (Impressions of Manchukuo)<\/i>, documenting the visit of an Italian 6 delegation sent courtesy of Benito Mussolini. Liaoning Province, China: Manchukuo Imperial Government, 1938. From The Chinese Photobook<\/i> (Aperture, 2015).<\/p><\/div>\n

Parr was drawn to the subject by an interest in propaganda, and of course there\u2019s plenty of that to be seen here. Earlier in the twentieth century, publishers printed \u201cpictorial records and reviews\u201d to help wartime disasters and victories live in the national imagination: battles, bombings, fires, all of them carefully, precisely memorialized to teach the public how to tell its story. Later, there are lush, bright collections of photos that helped birth the social-realist tradition\u2014paeans to the architecture and landscape of Communist China, delicately altered portraits of Chairman Mao. (Admire the supreme, Party-line forthrightness of these titles: Recent Photographs of the Great Leader of the Chinese People Chairman Mao<\/em>, Grand Military Parade at the Inauguration of the Central People\u2019s Government of the People\u2019s Republic of China<\/em>, China\u2019s Women Workers.<\/em>) And there\u2019s at least one instance of a photo book as an act of diplomacy: a bilingual collection from 1938 documenting the visit of an Italian delegation sent by Mussolini, meant to shore up relations between those countries.<\/p>\n

The zenith of the propaganda books was China Traffic Police<\/em>, a 1989 publication from Shanghai\u2019s Traffic Administration Bureau that presents immaculate portraits of the fuzz in action, all of them dressed in spotless white uniforms with kid gloves, epaulets, peaked caps, the works. These photos elevate routine police-work to a sacred calling\u2014\u201ccivilised on duty,\u201d one caption reads. In another picture, a natty cop, his face reflecting nothing but emotionless public service, salutes an errant driver: \u201cSALUTE BEFORE CORRECTING THE OFFENCES.\u201d Then there\u2019s a collage of skywalks: \u201cOutstanding Examples of Skywalk.\u201d It\u2019s an exaltation of authority and discipline so foreign as to seem surreal.<\/p>\n

\"24_web_hires_1\"<\/a><\/p>\n

\"24_web_hires_2\"<\/a>

Cover and interior selection from China Traffic Police<\/i>.\u00a0<\/i>Shanghai: Traffic Administration Bureau, Public Security Ministry and Shanghai Joint Publishing Company, 1989. From The Chinese Photobook<\/i> (Aperture, 2015).<\/p><\/div>\n

Another group of photo books aimed to subvert propaganda\u2014most hauntingly in Chairman Mao Is the Red Sun in Our Hearts<\/em>, from 1967, which collects photos secreted away by one of the documentarians of the Cultural Revolution. He hid his negatives beneath his floorboards instead of destroying them, thus preserving a record of the Party\u2019s ruthless manipulation. His photos show how certain political figures, once members of Mao\u2019s inner circle, were literally erased from history. There are smaller acts of sedition, too: a pocket-size book of pornography, for example, printed quietly after hours and distributed as samizdat.<\/p>\n

\"18_web_hires_1\"<\/a><\/p>\n

\"18_web_hires_2\"<\/a><\/p>\n

\"18_web_hires_3\"<\/a>

Cover and interior selection from Chairman Mao is the Red Sun in Our Hearts.\u00a0<\/i>Beijing: People’s Fine Arts Publishing House, 1967). From The Chinese Photobook<\/i> (Aperture, 2015).<\/p><\/div>\n

And then there are some puzzling anomalies. A 1982 collection, The Hairy People of China<\/em>, shows exactly that: page after page of hirsute Chinese. One of the exhibition\u2019s artier books was opened to a picture of a man standing in the snow in a Speedo, clutching a pair of snowballs to his nipples, with a companion nearby in a pool of presumably frigid water. (\u201cWinter swimmers in icy snow land,\u201d the caption read.) It\u2019s also illuminating to see China\u2019s photographers exoticize the West; a book called America: A Chinese Photographer in America<\/em> depicts a sunbather in Santa Monica with a strange blend of candor and distance, as if capturing a rare species in its native environment.<\/p>\n

The more you see, the more it seems that what\u2019s preserved in these books is both arbitrary and necessary: \u201cThe Chinese Photobook\u201d presents a patchwork history of China, but not an incomplete one. It\u2019s also a study in the teleology of photography, or in the publication of photography: it makes essential points about what groups of pictures mean when you bind them together in books. It\u2019s a chronicle of photo books\u2019 unique capacity to commemorate, instruct, provoke, and mislead.<\/p>\n

\"11_web_hires_2\"<\/a><\/p>\n

\"11_web_hires_3\"<\/a><\/p>\n

\"11_web_hires_1\"<\/a>

A selection of four album-style books, each including original prints, from the five-volume set published as part of the Silvermine<\/i> project by Thomas Sauvin. London: Archive of Modern Conflict, 2013. From The Chinese Photobook<\/i> (Aperture, 2015).<\/p><\/div>\n

\u201cThe Chinese Photobook<\/a>\u201d is at Aperture Gallery through April 2; after that it heads to Beijing, and then to London. In June, Aperture will collect a series of the images in a book by the same name<\/a>.<\/em><\/p>\n

Dan Piepenbring is the web editor of <\/em>The Paris Review.<\/p>\n","protected":false},"excerpt":{"rendered":"

Even with the advent of digital photography, it\u2019s never been easy to publish a book of photographs: time, labor, and production costs ensure that such projects can\u2019t be undertaken casually, at least not well. There\u2019s something inherently lavish in a book of pictures, something that makes the eyebrows rise. A photobook, with its unwieldy trim […]<\/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":[2384],"tags":[16328,17,5241,1815,3156,10661,17047,17045,180,14340,272,17046,15948,17044,17048],"class_list":["post-82701","post","type-post","status-publish","format-standard","hentry","category-look","tag-aperture","tag-books","tag-chairman-mao","tag-china","tag-communism","tag-images","tag-martin-parr","tag-pictures-photography","tag-pornography","tag-propaganda","tag-publishing","tag-samizdat","tag-social-realism","tag-the-chinese-photobook","tag-wassinklundgren"],"acf":[],"yoast_head":"\nHistory and Mystery: A Century of Chinese Photobooks<\/title>\n<meta name=\"description\" content=\"A new exhibition collects 100 years of Chinese photobooks\u2014a dizzying array of propaganda, portraiture, history, and oddities.\" \/>\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\/2015\/02\/13\/the-chinese-photobook\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Chinese Photobook by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"February 13, 2015 \u2013 Even with the advent of digital photography, it\u2019s never been easy to publish a book of photographs: time, labor, and production costs ensure that such\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/\" \/>\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=\"2015-02-13T19:12:43+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2015-02-13T20:11:53+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/4_web_hires_1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"669\" \/>\n\t<meta property=\"og:image:height\" content=\"884\" \/>\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=\"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\/2015\/02\/13\/the-chinese-photobook\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/\"},\"author\":{\"name\":\"Dan Piepenbring\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8\"},\"headline\":\"The Chinese Photobook\",\"datePublished\":\"2015-02-13T19:12:43+00:00\",\"dateModified\":\"2015-02-13T20:11:53+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/\"},\"wordCount\":979,\"commentCount\":5,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/4_web_hires_1.jpg\",\"keywords\":[\"Aperture\",\"books\",\"Chairman Mao\",\"China\",\"Communism\",\"images\",\"Martin Parr\",\"pictures. photography\",\"pornography\",\"propaganda\",\"publishing\",\"samizdat\",\"social realism\",\"the Chinese Photobook\",\"WassinkLundgren\"],\"articleSection\":[\"Look\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/\",\"name\":\"History and Mystery: A Century of Chinese Photobooks\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/4_web_hires_1.jpg\",\"datePublished\":\"2015-02-13T19:12:43+00:00\",\"dateModified\":\"2015-02-13T20:11:53+00:00\",\"description\":\"A new exhibition collects 100 years of Chinese photobooks\u2014a dizzying array of propaganda, portraiture, history, and oddities.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/4_web_hires_1.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/4_web_hires_1.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"The Chinese Photobook\"}]},{\"@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":"History and Mystery: A Century of Chinese Photobooks","description":"A new exhibition collects 100 years of Chinese photobooks\u2014a dizzying array of propaganda, portraiture, history, and oddities.","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\/2015\/02\/13\/the-chinese-photobook\/","og_locale":"en_US","og_type":"article","og_title":"The Chinese Photobook by Dan Piepenbring","og_description":"February 13, 2015 \u2013 Even with the advent of digital photography, it\u2019s never been easy to publish a book of photographs: time, labor, and production costs ensure that such","og_url":"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2015-02-13T19:12:43+00:00","article_modified_time":"2015-02-13T20:11:53+00:00","og_image":[{"width":669,"height":884,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/4_web_hires_1.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":"5 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/"},"author":{"name":"Dan Piepenbring","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8"},"headline":"The Chinese Photobook","datePublished":"2015-02-13T19:12:43+00:00","dateModified":"2015-02-13T20:11:53+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/"},"wordCount":979,"commentCount":5,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/4_web_hires_1.jpg","keywords":["Aperture","books","Chairman Mao","China","Communism","images","Martin Parr","pictures. photography","pornography","propaganda","publishing","samizdat","social realism","the Chinese Photobook","WassinkLundgren"],"articleSection":["Look"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/","url":"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/","name":"History and Mystery: A Century of Chinese Photobooks","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/4_web_hires_1.jpg","datePublished":"2015-02-13T19:12:43+00:00","dateModified":"2015-02-13T20:11:53+00:00","description":"A new exhibition collects 100 years of Chinese photobooks\u2014a dizzying array of propaganda, portraiture, history, and oddities.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/4_web_hires_1.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/4_web_hires_1.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2015\/02\/13\/the-chinese-photobook\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"The Chinese Photobook"}]},{"@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\/82701","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=82701"}],"version-history":[{"count":7,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/82701\/revisions"}],"predecessor-version":[{"id":82719,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/82701\/revisions\/82719"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=82701"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=82701"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=82701"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}