{"id":95095,"date":"2016-02-29T15:28:06","date_gmt":"2016-02-29T20:28:06","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=95095"},"modified":"2016-02-29T23:46:44","modified_gmt":"2016-03-01T04:46:44","slug":"where-the-boyz-are","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/","title":{"rendered":"Where the Boyz Are"},"content":{"rendered":"<p><em>The challenges of an all-male ballet troupe.<\/em><\/p>\n<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/screen-shot-2016-02-29-at-2.47.16-pm.png\" rel=\"attachment wp-att-95102\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter  wp-image-95102\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/screen-shot-2016-02-29-at-2.47.16-pm.png\" alt=\"Screen Shot 2016-02-29 at 2.47.16 PM\" width=\"601\" height=\"330\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/screen-shot-2016-02-29-at-2.47.16-pm.png 954w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/screen-shot-2016-02-29-at-2.47.16-pm-300x165.png 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/screen-shot-2016-02-29-at-2.47.16-pm-768x422.png 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><\/p>\n<p>Like Oulipo fiction or gluten-free bakeries, an all-male ballet troupe draws its allure from what\u2019s missing. You wonder: Can they really pull it off? How <em>not bad<\/em> can it be? After all, Balanchine, in oracular mode, once said that \u201cBallet is woman\u201d; he later added, \u201cYou put a man and a woman on stage, already it\u2019s a story.\u201d So what happens when you put ten men on stage together? Last week\u2019s Ballet Boyz run at the Joyce Theater in New York provided an answer of sorts.\u00a0<!--more--><\/p>\n<p>Ballet Boyz is a fifteen-year-old British company founded by two former Royal Ballet alumni, Michael Nunn and William Trevitt; the dancers, all but one formally trained, are strong and technically impressive, commanding a range of dance styles besides ballet. The Joyce program comprised two commissioned works by Alexander Whitley, a New Wave Associate at the Sadlers Wells Theater, and Christopher Wheeldon, an established choreographer. Whitley\u2019s \u201cThe Murmuring,\u201d set to an electronic score by the London-based duo Raime and costumed in Gap-type flannels, T-shirts and jeans, succeeded brilliantly in leveraging the strengths of the troupe. Wheeldon\u2019s \u201cMesmerics,\u201d using scores by Philip Glass and clad in glimmering leotards, was impressive architecture emptied of life.<\/p>\n<p>A brief video prefaced each piece. In the first, dancers described how Whitley oriented them by showing videos of flocks of birds as they formed and reformed and wheeled around in the air. The dancers were instructed to watch and to imitate each other, and to be a little free in how they did that. In the \u201cMesmerics,\u201d video, Wheeldon commented on the constraints of the space in which the piece was made\u2014he described it as a hallway\u2014and gave the audience permission not to seek meaning in the piece: just enjoy it, he said, there\u2019s no sense to be made. These friendly prologues, intended to make dance accessible and inviting, were supplemented at intermission by a trailer for a forthcoming full-length Ballet Boyz film\u2014which includes, gasp, <em>a girl<\/em>\u2014set in the trenches of World War I.<\/p>\n<p>Wheeldon\u2019s choreography is elaborate and fast. Most often we are watching a spotlighted pair of dancers partner each other while another, and sometimes two, mirror-image sets of dancers perform the same steps in dark shadows further backstage. The pairs move quickly and closely, but the partners indicate no connection apart from using each other as props\u2014and truthfully, props are often handled with more presence. There\u2019s much to admire in terms of technique and structure, but the cumulative effect of \u201cMesmerics\u201d was like staring into a lava lamp set on high. It has the perfect title\u2014I\u2019ll give Wheeldon that. I just wish he\u2019d snapped his fingers and broken the spell.<\/p>\n<p>Whitley\u2019s \u201cThe Murmuring\u201d was another story. Because it <em>was<\/em> a kind of tale, one with a moral center that can be expressed through dance, and maybe only by this particular troupe. Mass movements are the substance of the piece, and the men flow into and out of gang-like packs, bold flight patterns, and spooky tribal circles. Occasionally, brilliant solo riffs punctuate the design. Bradley Waller and Flavien Esmieu were given combinations that showed, in contrast to the groupthink, their idiosyncratic movement qualities and eclectic capabilities. It\u2019s satisfying to register such felicities and contrasts, to recognize that Whitley\u2019s incorporated break-dance moves and gestures from vernacular and natural sources, giving them classical inflection without a lick of affectation or shtick\u2014and to sense a dialectic about belonging at the piece\u2019s beating heart.<\/p>\n<p>Traditionally, whenever male dancers are left to their own devices, they end up in games, in sport, in rumbles and tussles. There\u2019s plenty of competition in male\/female ballet, too, but it\u2019s nearly always sublimated seduction: the dancers show off to earn each other\u2019s esteem as romantic partners. In the schoolyard or mean streets, which is, to repurpose a line from Connie Francis, where the boys are, showing off has nowhere to go. At their best, as in \u201cThe Murmuring,\u201d Ballet Boyz find new depths in that limitation. The experience feels risky and rich, and not just in dance terms. The vexed, overheated, veering gestalt Whitley has created, driven by testosterone and insecurity, is just the ticket for a bunch of boyz.<\/p>\n<p><em>Watch a clip of <a href=\"https:\/\/vimeo.com\/153266728\">BalletBoyz<\/a>.<\/em><\/p>\n<p>\u00a0<em>J<\/em><i>eff Seroy is senior vice president at Farrar, Straus and Giroux.<\/i><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The challenges of an all-male ballet troupe. Like Oulipo fiction or gluten-free bakeries, an all-male ballet troupe draws its allure from what\u2019s missing. You wonder: Can they really pull it off? How not bad can it be? After all, Balanchine, in oracular mode, once said that \u201cBallet is woman\u201d; he later added, \u201cYou put a [&hellip;]<\/p>\n","protected":false},"author":811,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[21317],"tags":[21322,1942,21324,17818,55,21318,21323,21320,12085,21319,21325,21321],"class_list":["post-95095","post","type-post","status-publish","format-standard","hentry","category-on-dance","tag-alexander-whitley","tag-ballet","tag-ballet-boyz","tag-choreography","tag-dance","tag-male-dancers","tag-mesmerics","tag-michael-nunn","tag-philip-glass","tag-royal-ballet","tag-the-murmuring","tag-william-trevitt"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Where the Boyz Are: The Challenges of an All-Male Ballet Troupe<\/title>\n<meta name=\"description\" content=\"Jeff Seroy on two new works by Alexander Whitley and Ballet Boyz, the all-male dance troupe that performs them.\" \/>\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\/2016\/02\/29\/where-the-boyz-are\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Where the Boyz Are by Jeff Seroy\" \/>\n<meta property=\"og:description\" content=\"February 29, 2016 \u2013 The challenges of an all-male ballet troupe.Like Oulipo fiction or gluten-free bakeries, an all-male ballet troupe draws its allure from what\u2019s missing.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/\" \/>\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=\"2016-02-29T20:28:06+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2016-03-01T04:46:44+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/screen-shot-2016-02-29-at-2.47.16-pm.png\" \/>\n\t<meta property=\"og:image:width\" content=\"954\" \/>\n\t<meta property=\"og:image:height\" content=\"524\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Jeff Seroy\" \/>\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=\"Jeff Seroy\" \/>\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\/2016\/02\/29\/where-the-boyz-are\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/\"},\"author\":{\"name\":\"Jeff Seroy\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/0e90548b40d3f1378d98ec2d371a1f0a\"},\"headline\":\"Where the Boyz Are\",\"datePublished\":\"2016-02-29T20:28:06+00:00\",\"dateModified\":\"2016-03-01T04:46:44+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/\"},\"wordCount\":745,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/screen-shot-2016-02-29-at-2.47.16-pm.png\",\"keywords\":[\"Alexander Whitley\",\"ballet\",\"Ballet Boyz\",\"choreography\",\"dance\",\"Male dancers\",\"Mesmerics\",\"Michael Nunn\",\"Philip Glass\",\"Royal Ballet\",\"The Murmuring\",\"William Trevitt\"],\"articleSection\":[\"On Dance\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/\",\"name\":\"Where the Boyz Are: The Challenges of an All-Male Ballet Troupe\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/screen-shot-2016-02-29-at-2.47.16-pm.png\",\"datePublished\":\"2016-02-29T20:28:06+00:00\",\"dateModified\":\"2016-03-01T04:46:44+00:00\",\"description\":\"Jeff Seroy on two new works by Alexander Whitley and Ballet Boyz, the all-male dance troupe that performs them.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/screen-shot-2016-02-29-at-2.47.16-pm.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/screen-shot-2016-02-29-at-2.47.16-pm.png\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Where the Boyz Are\"}]},{\"@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\/0e90548b40d3f1378d98ec2d371a1f0a\",\"name\":\"Jeff Seroy\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/07fb8a65e3333c03e2fadf15b7a5a0a19414b1ccea3254080bdbd9ab4531b444?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/07fb8a65e3333c03e2fadf15b7a5a0a19414b1ccea3254080bdbd9ab4531b444?s=96&d=mm&r=g\",\"caption\":\"Jeff Seroy\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/jseroy\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Where the Boyz Are: The Challenges of an All-Male Ballet Troupe","description":"Jeff Seroy on two new works by Alexander Whitley and Ballet Boyz, the all-male dance troupe that performs them.","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\/2016\/02\/29\/where-the-boyz-are\/","og_locale":"en_US","og_type":"article","og_title":"Where the Boyz Are by Jeff Seroy","og_description":"February 29, 2016 \u2013 The challenges of an all-male ballet troupe.Like Oulipo fiction or gluten-free bakeries, an all-male ballet troupe draws its allure from what\u2019s missing.","og_url":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2016-02-29T20:28:06+00:00","article_modified_time":"2016-03-01T04:46:44+00:00","og_image":[{"width":954,"height":524,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/screen-shot-2016-02-29-at-2.47.16-pm.png","type":"image\/png"}],"author":"Jeff Seroy","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Jeff Seroy","Est. reading time":"4 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/"},"author":{"name":"Jeff Seroy","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/0e90548b40d3f1378d98ec2d371a1f0a"},"headline":"Where the Boyz Are","datePublished":"2016-02-29T20:28:06+00:00","dateModified":"2016-03-01T04:46:44+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/"},"wordCount":745,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/screen-shot-2016-02-29-at-2.47.16-pm.png","keywords":["Alexander Whitley","ballet","Ballet Boyz","choreography","dance","Male dancers","Mesmerics","Michael Nunn","Philip Glass","Royal Ballet","The Murmuring","William Trevitt"],"articleSection":["On Dance"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/","url":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/","name":"Where the Boyz Are: The Challenges of an All-Male Ballet Troupe","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/screen-shot-2016-02-29-at-2.47.16-pm.png","datePublished":"2016-02-29T20:28:06+00:00","dateModified":"2016-03-01T04:46:44+00:00","description":"Jeff Seroy on two new works by Alexander Whitley and Ballet Boyz, the all-male dance troupe that performs them.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/screen-shot-2016-02-29-at-2.47.16-pm.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/screen-shot-2016-02-29-at-2.47.16-pm.png"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/29\/where-the-boyz-are\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Where the Boyz Are"}]},{"@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\/0e90548b40d3f1378d98ec2d371a1f0a","name":"Jeff Seroy","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/07fb8a65e3333c03e2fadf15b7a5a0a19414b1ccea3254080bdbd9ab4531b444?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/07fb8a65e3333c03e2fadf15b7a5a0a19414b1ccea3254080bdbd9ab4531b444?s=96&d=mm&r=g","caption":"Jeff Seroy"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/jseroy\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/95095","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\/811"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=95095"}],"version-history":[{"count":11,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/95095\/revisions"}],"predecessor-version":[{"id":95118,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/95095\/revisions\/95118"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=95095"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=95095"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=95095"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}