{"id":86412,"date":"2015-06-05T16:40:42","date_gmt":"2015-06-05T20:40:42","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=86412"},"modified":"2015-06-05T17:56:42","modified_gmt":"2015-06-05T21:56:42","slug":"skyscrapers-and-everything","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/","title":{"rendered":"Skyscrapers and Everything"},"content":{"rendered":"

The trouble with gazing upward in New York<\/em>.<\/p>\n

\"\"<\/a>

Don\u2019t look up, Stevie!<\/p><\/div>\n

About four minutes into Stevie Wonder\u2019s 1973 classic \u201cLiving for the City<\/a>\u201d\u2014a surging, seven-plus minute thumper track about racial injustice, migration, and the failure of the latter to cure the former\u2014the song emerges from its second chorus and breaks down to its sparest parts. We hear the quizzical staccato of the synthesizer flit in and out like lingering sunlight; the dry drums, which just seconds ago were rolling out an elaborate fill, tap quarter-note rimshots on the snare; all the other instruments stop playing. Welcome to New York.<\/p>\n

This interlude, barely a minute long but seemingly much longer, is a marvel within an already marvelous song. It\u2019s an early example in popular music of that moment when a song recognizes its limits and turns, momentarily, into something larger and stranger. After all, Stevie could\u2019ve just tagged on another verse about New York, keeping the song\u2019s structure intact, but wouldn\u2019t there be something thin and dreamy about that? New York collects anthems like medals: \u201cNew York, New York<\/a>,\u201d \u201cOn Broadway<\/a>,\u201d and \u201cEmpire State of Mind<\/a>\u201d are all, in essence, odes to skylines, with outsized grandeur to match. Their scale grows out of proportion; aphorism replaces emotion; the music hits its mark and no one gets hurt. The lesson for songwriters tackling New York has always been this: if you\u2019re going to sing to the city, sing big. The skyline, as more than few writers have reminded us, can even look like musical notation if you squint hard enough. <\/p>\n

But \u201cLiving for the City\u201d begins far from New York and brings us there. We arrive not only by way of lyrical exposition, but by sensory experience. At that four-minute mark, the song, as though it needs you to see something you\u2019d otherwise miss, turns into a radio play: the absence of instruments brings an elaborate soundscape. We hear an engine rev, a driver announcing that the bus is bound for New York, and Stevie\u2014or his character\u2014calling out and getting on board. This is, of course, the boy \u201cborn in hard time Mississippi \/ Surrounded by four walls that ain\u2019t so pretty,\u201d et cetera\u2014an archetype. When he steps off of the bus into the typical bustle of Manhattan, the strange city encircles him in an uroboros of sound, an ekphrasis of sirens and engines with sudden moments of sonic sharpness.<\/p>\n

You know what comes next: having spent a mere seconds in Manhattan, our hero is approached by someone who hurriedly offers him five dollars to carry a package across the street. Before our man can process what\u2019s going on, the police have descended on him\u2014doesn\u2019t seem to matter that he\u2019s not the guy they were after. Splice in a judge\u2019s imperious voice: completely innocent, he\u2019s sentenced to ten years in prison. Our protagonist is still in disbelief as he\u2019s forced into his cell, the door closing on him as the correctional officer calls him a nigger. Then the verse picks up again, charging to its conclusion, Wonder\u2019s voice full of snarl and flame.<\/p>\n

This last part of the interlude seems to have stuck with us most, and understandably so: rapid, unjust incarceration with an n<\/em>-bomb cherry on top. The barking dog protects its home. \u201cGet in that cell, nigger\u201d has taken on a life of its own, having been sampled by Public Enemy, Slick Rick, Eazy-E, Ice Cube. But the end of the interlude, for all of its catastrophe, obscures an important moment at the beginning. What happened to the protagonist could have happened\u2014and without a doubt did<\/em> happen\u2014in Chicago, Philadelphia, Los Angeles, Baltimore, Wonder\u2019s own Detroit, and so on. So why is \u201cLiving for the City\u201d set in New York? What in particular makes it a New York song?<\/p>\n

The skyline.<\/p>\n

The lyrics, granted, have nothing to say about the Gotham horizon. But of the few sentences spoken by Wonder\u2019s character, the longest is entirely concerned with the skyline: \u201cWow! New York! Just like I pictured it: skyscrapers and everything!\u201d<\/p>\n

His exclamation is in the same key as \u201cNew York, New York,\u201d \u201cOn Broadway,\u201d \u201cEmpire State of Mind\u201d \u2026 and it may just have been the worst thing he could have said. Say you were to advise a visiting friend of a list of all the things not<\/em> to say on a crowded street in the middle of New York\u2014especially seventies-era New York. If this isn\u2019t near the top of your list, you are a bad friend. There\u2019s nothing wrong with awe, of course, until it makes you as a target. And given that Wonder clearly wanted the fall of his main character to be swift, dizzying, and brutal, the skyline was perfect. Just by being there, it starts the action.<\/p>\n

Skyscrapers \u2026 and everything<\/em>. That \u201cand everything\u201d betrays all possible meanings. We use \u201cand everything\u201d when we mean nothing. The only thing that matters in \u201cand everything\u201d is what\u2019s said before it. It\u2019s a form of emphasis, a placebo. This house has a pool and everything<\/em> means this house has a pool and I\u2019m very excited that this house has a pool.<\/p>\n

So when Wonder\u2019s character exclaims that his view of New York is everything he pictured it would be\u2014\u201cpictured it,\u201d not imagined<\/em> or dreamed<\/em>, but \u201cpictured,\u201d recalling the skyline on postcards, as a thing bought and sold\u2014he is seeing nothing but skyscrapers. He\u2019s incognizant of life at the street level. (There\u2019s a reason why those indoctrinated into the hard life of the city turn to synecdoche and call the city \u201cthe streets.\u201d) He is picturing, but not seeing, and certainly not seeing how he is being seen.<\/p>\n

What one learns quickly living in New York is that one looks up in awe at one\u2019s own peril. The street-bound, skyward gaze is a guilty pleasure, something to be glimpsed in a hidden second. Inhabiting New York carries with it an indoctrinated indifference to what, from elsewhere and for elsewhere, most represents New York. There is little uncanny or sublime about it. Or, if there is, to show yourself basking in sublimity \u2026 well, that\u2019s what targets do. Far more ideology than art, the skyline, as Stevie knew, signifies nothing. This is why you don\u2019t look up. New York is what\u2019s in front of you.<\/p>\n

Rowan Ricardo Phillips\u2019s new book of poems, <\/em>Heaven<\/a>, is out this month.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

The trouble with gazing upward in New York. About four minutes into Stevie Wonder\u2019s 1973 classic \u201cLiving for the City\u201d\u2014a surging, seven-plus minute thumper track about racial injustice, migration, and the failure of the latter to cure the former\u2014the song emerges from its second chorus and breaks down to its sparest parts. We hear the […]<\/p>\n","protected":false},"author":457,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1187],"tags":[18375,46,124,8902,16538,18376,18377,18374,10608],"class_list":["post-86412","post","type-post","status-publish","format-standard","hentry","category-on-music","tag-living-for-the-city","tag-music","tag-new-york","tag-prison","tag-rb","tag-skylines","tag-songs-in-the-key-of-life","tag-stevie-wonder","tag-tourism"],"acf":[],"yoast_head":"\nOn Stevie Wonder\u2019s \u201cLiving for the City\u201d and the NYC Skyline<\/title>\n<meta name=\"description\" content=\"Rowan Ricardo Phillips on the unexpected role of the skyline in Stevie Wonder\u2019s classic song.\" \/>\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\/06\/05\/skyscrapers-and-everything\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Skyscrapers and Everything by Rowan Ricardo Phillips\" \/>\n<meta property=\"og:description\" content=\"June 5, 2015 \u2013 The trouble with gazing upward in New York.About four minutes into Stevie Wonder\u2019s 1973 classic \u201cLiving for the City\u201d\u2014a surging, seven-plus minute thumper\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/\" \/>\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=\"2015-06-05T20:40:42+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2015-06-05T21:56:42+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/06\/114972420.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1035\" \/>\n\t<meta property=\"og:image:height\" content=\"1043\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Rowan Ricardo Phillips\" \/>\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=\"Rowan Ricardo Phillips\" \/>\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\/2015\/06\/05\/skyscrapers-and-everything\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/\"},\"author\":{\"name\":\"Rowan Ricardo Phillips\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/be3bd23d16be720b66c71dff453eda35\"},\"headline\":\"Skyscrapers and Everything\",\"datePublished\":\"2015-06-05T20:40:42+00:00\",\"dateModified\":\"2015-06-05T21:56:42+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/\"},\"wordCount\":1104,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/06\/114972420.jpg\",\"keywords\":[\"Living for the City\",\"music\",\"New York\",\"prison\",\"R&B\",\"Skylines\",\"Songs in the Key of Life\",\"Stevie Wonder\",\"tourism\"],\"articleSection\":[\"On Music\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/\",\"name\":\"On Stevie Wonder\u2019s \u201cLiving for the City\u201d and the NYC Skyline\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/06\/114972420.jpg\",\"datePublished\":\"2015-06-05T20:40:42+00:00\",\"dateModified\":\"2015-06-05T21:56:42+00:00\",\"description\":\"Rowan Ricardo Phillips on the unexpected role of the skyline in Stevie Wonder\u2019s classic song.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/06\/114972420.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/06\/114972420.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Skyscrapers and Everything\"}]},{\"@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\/be3bd23d16be720b66c71dff453eda35\",\"name\":\"Rowan Ricardo Phillips\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/fc2f2839e66c78ae7f016a103fe290570bf36ea8d37a840c4d7b58ad54a29533?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/fc2f2839e66c78ae7f016a103fe290570bf36ea8d37a840c4d7b58ad54a29533?s=96&d=mm&r=g\",\"caption\":\"Rowan Ricardo Phillips\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/rrphillips\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"On Stevie Wonder\u2019s \u201cLiving for the City\u201d and the NYC Skyline","description":"Rowan Ricardo Phillips on the unexpected role of the skyline in Stevie Wonder\u2019s classic song.","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\/06\/05\/skyscrapers-and-everything\/","og_locale":"en_US","og_type":"article","og_title":"Skyscrapers and Everything by Rowan Ricardo Phillips","og_description":"June 5, 2015 \u2013 The trouble with gazing upward in New York.About four minutes into Stevie Wonder\u2019s 1973 classic \u201cLiving for the City\u201d\u2014a surging, seven-plus minute thumper","og_url":"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2015-06-05T20:40:42+00:00","article_modified_time":"2015-06-05T21:56:42+00:00","og_image":[{"width":1035,"height":1043,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/06\/114972420.jpg","type":"image\/jpeg"}],"author":"Rowan Ricardo Phillips","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Rowan Ricardo Phillips","Est. reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/"},"author":{"name":"Rowan Ricardo Phillips","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/be3bd23d16be720b66c71dff453eda35"},"headline":"Skyscrapers and Everything","datePublished":"2015-06-05T20:40:42+00:00","dateModified":"2015-06-05T21:56:42+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/"},"wordCount":1104,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/06\/114972420.jpg","keywords":["Living for the City","music","New York","prison","R&B","Skylines","Songs in the Key of Life","Stevie Wonder","tourism"],"articleSection":["On Music"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/","url":"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/","name":"On Stevie Wonder\u2019s \u201cLiving for the City\u201d and the NYC Skyline","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/06\/114972420.jpg","datePublished":"2015-06-05T20:40:42+00:00","dateModified":"2015-06-05T21:56:42+00:00","description":"Rowan Ricardo Phillips on the unexpected role of the skyline in Stevie Wonder\u2019s classic song.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/06\/114972420.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/06\/114972420.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2015\/06\/05\/skyscrapers-and-everything\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Skyscrapers and Everything"}]},{"@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\/be3bd23d16be720b66c71dff453eda35","name":"Rowan Ricardo Phillips","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/fc2f2839e66c78ae7f016a103fe290570bf36ea8d37a840c4d7b58ad54a29533?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/fc2f2839e66c78ae7f016a103fe290570bf36ea8d37a840c4d7b58ad54a29533?s=96&d=mm&r=g","caption":"Rowan Ricardo Phillips"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/rrphillips\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/86412","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\/457"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=86412"}],"version-history":[{"count":5,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/86412\/revisions"}],"predecessor-version":[{"id":86426,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/86412\/revisions\/86426"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=86412"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=86412"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=86412"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}