{"id":96763,"date":"2016-04-08T17:15:28","date_gmt":"2016-04-08T21:15:28","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=96763"},"modified":"2016-04-08T19:41:29","modified_gmt":"2016-04-08T23:41:29","slug":"merle-haggard-1937-2016","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/","title":{"rendered":"Merle Haggard, 1937\u20132016"},"content":{"rendered":"
\"\"<\/a>

The cover of Serving 190 Proof<\/i>, 1979.<\/p><\/div>\n

Ever since I started editing\u00a0The Paris Review<\/em>, I\u2019ve wished we could interview Merle Haggard. No songwriter means as much to me. Unfortunately, the Review<\/em> doesn\u2019t have a series on the Art of Songwriting (and for good reasons), so for the past six years I just wished. Then last Friday, at a friend\u2019s wedding, I met a country deejay named Rebecca Birmingham. We happened to start talking about Merle and how much his songs moved us both, how true they were to experience, how original they sound even now. We both knew he was in poor health, he\u2019d been in poor health for years, but she had a friend who\u2019d know how to get in touch \u2026\u00a0Four days later\u00a0we got the news that he was dead.\u00a0<\/p>\n

The print headline of Haggard\u2019s\u00a0New York Times<\/em>\u00a0obituary called him \u201ca poet of the common man<\/a>.\u201d He was that, certainly. When Merle released his first singles, in the early sixties, he had spent half his adult life in prison, and in his songs he wrote eloquently\u2014for a mass audience\u2014about being in prison, getting out of prison, and running from the law. My sister and I used to sing those songs with our father, pretty much from the time we could talk. I remember asking my father about the explosive refrain of \u201cMama Tried<\/a>\u201d: \u201cI turned twenty-one in prison, doing life without parole.\u201d I understood the words, but I found the past tense confusing and upsetting. Didn\u2019t it mean the man singing was still in prison \u2026 and always would be? That refrain is the key to the song. It\u2019s about having\u00a0already<\/em>\u00a0been condemned to life. It is a line from beyond the grave.<\/p>\n

As I got older, we sang together less and I listened to records more. Merle still had hits on the radio in those days\u2014the late seventies and early eighties. These songs weren\u2019t all about prison, or about growing up in the dust bowl and the oil fields. His 1979 LP,\u00a0Serving 190 Proof<\/a><\/em>,\u00a0is not about the common man at all. \u201cI live the kind of life most men only dream of\u201d is how the first song, \u201cFootlights<\/a>,\u201d begins:<\/p>\n

\n

I make my living writing songs and singing them.
But I\u2019m forty-one years old, and I ain\u2019t got no place to go when it\u2019s over,
So I\u2019ll hide my age and take the stage
And try to kick the footlights out again.<\/p>\n<\/blockquote>\n

The songs in\u00a0Serving 190 Proof<\/em>\u00a0are about losing your youth, masking and self-medicating depression, going to a shrink, watching a marriage unravel on the road, feeling crushed by failure and success equally. There are conventional country songs on the album, too. But\u00a0Merle had found a new vein. He would spend the eighties recording a kind of confessional verse like nothing that came before. The women in his songs became particular people. The words were no longer strictly \u201ccountry\u201d:<\/p>\n

\n

The first time we met is a favorite memory of mine.
They say time changes all it pertains to,
But your memory is stronger than time.<\/p>\n<\/blockquote>\n

The songs became, for a kid, almost too sad to listen to. But hard\u00a0to turn away from, like a secret you don’t want to hear.<\/p>\n

Serving 190 Proof<\/em>\u00a0came out when I was six. A year later my parents split up. My father, it occurs to me now, was forty-one at the time. Now I\u2019m forty-two, and when I listen to those songs again, what I notice is how concerned they were with adult loneliness\u2014not romantic suffering, exactly, not heartache, but the feeling of being condemned, helpless, consumed with regret. The feeling was somehow, in the songs, specifically male and unspeakable, unshareable. The songs were a keyhole into a cell.<\/p>\n

Last week, at that wedding, I realized we didn\u2019t need to invent a new genre for Merle. His art was the Art of Nonfiction. So I assigned the interview that very night, to a stranger\u2014just six years late.<\/p>\n

You can listen\u00a0here<\/a>\u00a0to Rebecca\u2019s tribute to Merle on WFMU. It features cuts from the 1972 LP\u00a0Let Me Tell You About a Song<\/em>, where he sketches the genesis of some of his early work. For listeners who are interested, I recommend his autobiographies,\u00a0My House of Memories<\/em>\u00a0and\u00a0Sing Me Back Home<\/em>, and Nicholas Dawidoff\u2019s 1997 profile in\u00a0In the Country of Country<\/em>.<\/p>\n

Lorin Stein is\u00a0<\/em>editor of<\/em>\u00a0The Paris Review.\u00a0<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Ever since I started editing\u00a0The Paris Review, I\u2019ve wished we could interview Merle Haggard. No songwriter means as much to me. Unfortunately, the Review doesn\u2019t have a series on the Art of Songwriting (and for good reasons), so for the past six years I just wished. Then last Friday, at a friend\u2019s wedding, I met […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[27],"tags":[19216,21887,1132,13106,21884,19557,46,2165,11989,8902,21886,21885,14881],"class_list":["post-96763","post","type-post","status-publish","format-standard","hentry","category-in-memoriam","tag-country-music","tag-footlights","tag-interviews","tag-lyrics","tag-mama-tried","tag-merle-haggard","tag-music","tag-nonfiction","tag-obituaries","tag-prison","tag-rebecca-birmingham","tag-serving-190-proof","tag-songwriting"],"acf":[],"yoast_head":"\nHow Merle Haggard Found a New Kind of Confessional Verse<\/title>\n<meta name=\"description\" content=\"Lorin Stein on the late songwriter.\" \/>\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\/04\/08\/merle-haggard-1937-2016\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Merle Haggard, 1937\u20132016 by Lorin Stein\" \/>\n<meta property=\"og:description\" content=\"April 8, 2016 \u2013 Ever since I started editing\u00a0The Paris Review, I\u2019ve wished we could interview Merle Haggard. No songwriter means as much to me. Unfortunately, the Review\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/\" \/>\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=\"2016-04-08T21:15:28+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2016-04-08T23:41:29+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/merlehaggardserving190proof.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1280\" \/>\n\t<meta property=\"og:image:height\" content=\"1280\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Lorin Stein\" \/>\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=\"Lorin Stein\" \/>\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\/04\/08\/merle-haggard-1937-2016\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/\"},\"author\":{\"name\":\"Lorin Stein\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/ccd66e9829fecb87371ce574d778e34b\"},\"headline\":\"Merle Haggard, 1937\u20132016\",\"datePublished\":\"2016-04-08T21:15:28+00:00\",\"dateModified\":\"2016-04-08T23:41:29+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/\"},\"wordCount\":760,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/merlehaggardserving190proof.jpg\",\"keywords\":[\"country music\",\"Footlights\",\"interviews\",\"lyrics\",\"Mama Tried\",\"Merle Haggard\",\"music\",\"nonfiction\",\"obituaries\",\"prison\",\"Rebecca Birmingham\",\"Serving 190 Proof\",\"songwriting\"],\"articleSection\":[\"In Memoriam\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/\",\"name\":\"How Merle Haggard Found a New Kind of Confessional Verse\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/merlehaggardserving190proof.jpg\",\"datePublished\":\"2016-04-08T21:15:28+00:00\",\"dateModified\":\"2016-04-08T23:41:29+00:00\",\"description\":\"Lorin Stein on the late songwriter.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/merlehaggardserving190proof.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/merlehaggardserving190proof.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Merle Haggard, 1937\u20132016\"}]},{\"@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\/ccd66e9829fecb87371ce574d778e34b\",\"name\":\"Lorin Stein\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/336124c76cd6e539d4400e8b6c72da18130705594d9fe99e18f431d949440f1c?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/336124c76cd6e539d4400e8b6c72da18130705594d9fe99e18f431d949440f1c?s=96&d=mm&r=g\",\"caption\":\"Lorin Stein\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/lstein\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"How Merle Haggard Found a New Kind of Confessional Verse","description":"Lorin Stein on the late songwriter.","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\/04\/08\/merle-haggard-1937-2016\/","og_locale":"en_US","og_type":"article","og_title":"Merle Haggard, 1937\u20132016 by Lorin Stein","og_description":"April 8, 2016 \u2013 Ever since I started editing\u00a0The Paris Review, I\u2019ve wished we could interview Merle Haggard. No songwriter means as much to me. Unfortunately, the Review","og_url":"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2016-04-08T21:15:28+00:00","article_modified_time":"2016-04-08T23:41:29+00:00","og_image":[{"width":1280,"height":1280,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/merlehaggardserving190proof.jpg","type":"image\/jpeg"}],"author":"Lorin Stein","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Lorin Stein","Est. reading time":"4 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/"},"author":{"name":"Lorin Stein","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/ccd66e9829fecb87371ce574d778e34b"},"headline":"Merle Haggard, 1937\u20132016","datePublished":"2016-04-08T21:15:28+00:00","dateModified":"2016-04-08T23:41:29+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/"},"wordCount":760,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/merlehaggardserving190proof.jpg","keywords":["country music","Footlights","interviews","lyrics","Mama Tried","Merle Haggard","music","nonfiction","obituaries","prison","Rebecca Birmingham","Serving 190 Proof","songwriting"],"articleSection":["In Memoriam"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/","url":"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/","name":"How Merle Haggard Found a New Kind of Confessional Verse","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/merlehaggardserving190proof.jpg","datePublished":"2016-04-08T21:15:28+00:00","dateModified":"2016-04-08T23:41:29+00:00","description":"Lorin Stein on the late songwriter.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/merlehaggardserving190proof.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/04\/merlehaggardserving190proof.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2016\/04\/08\/merle-haggard-1937-2016\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Merle Haggard, 1937\u20132016"}]},{"@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\/ccd66e9829fecb87371ce574d778e34b","name":"Lorin Stein","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/336124c76cd6e539d4400e8b6c72da18130705594d9fe99e18f431d949440f1c?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/336124c76cd6e539d4400e8b6c72da18130705594d9fe99e18f431d949440f1c?s=96&d=mm&r=g","caption":"Lorin Stein"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/lstein\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/96763","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\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=96763"}],"version-history":[{"count":10,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/96763\/revisions"}],"predecessor-version":[{"id":96791,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/96763\/revisions\/96791"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=96763"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=96763"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=96763"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}