{"id":99541,"date":"2016-06-21T09:23:15","date_gmt":"2016-06-21T13:23:15","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=99541"},"modified":"2016-06-27T12:21:23","modified_gmt":"2016-06-27T16:21:23","slug":"portraits-by-kitty-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/","title":{"rendered":"Portraits by Kitty, and Other News"},"content":{"rendered":"<div id=\"attachment_99542\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/figure-15-ny-690.jpg\" rel=\"attachment wp-att-99542\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-99542\" class=\"wp-image-99542\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/figure-15-ny-690.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/figure-15-ny-690.jpg 690w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/figure-15-ny-690-150x150.jpg 150w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/figure-15-ny-690-300x300.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-99542\" class=\"wp-caption-text\">A 1978 photo from Kitty\u2019s, a South African portrait studio. Courtesy the Walther Collection. Image via <i>The New Yorker<\/i>.<\/p><\/div>\n<ul>\n<li>I don\u2019t keep a diary. I prefer the raw material of anxiety, guilt, and neurosis\u2014my \u201cspecial sauce\u201d\u2014to remain entirely unprocessed in my brain. But for those who diarize with reckless abandon, there emerges a question of audience, as Elisa Segrave writes: \u201c<a href=\"http:\/\/www.spectator.co.uk\/2016\/06\/the-pleasure-of-keeping-and-rereading-diaries\/\" target=\"_blank\">Compulsive diarists are ambivalent: we want to be private but we want our thoughts to be appreciated<\/a>. When Jean Lucey Pratt, some of whose diaries have been published as <em>A\u00a0Notable Woman<\/em>, began her first in 1926, aged sixteen, she wrote: \u2018This document is private.\u2019 But as her life unfolded and she realized that her career as an author was not going to take off, she started to treat her diaries more seriously. On Christmas Day 1934, she wrote: \u20187\u00a0p.m. A\u00a0diarist must do what other writers may not \u2026 His purpose is special and peculiar. He has to capture and crystallize moments on the wing so that future generations will say as they turn the glittering pages, \u2018This was the present then. This was true.\u2019 \u201d<\/li>\n<\/ul>\n<ul>\n<li>Charlotte Bront\u00eb and Thackeray met once for a tremendously awkward dinner, and in the 165 years since, people have clucked at the severe dress she wore to the encounter: plain blue and white, buttoned up to the neck. (Her contemporaries would\u2019ve gone in for something more low-cut\u2014in silk, maybe, or velvet or lace.) <a href=\"https:\/\/www.theguardian.com\/books\/2016\/jun\/16\/charlotte-brontes-dress-gaffe-ruled-out-165-years-after-thackeray-dinner\" target=\"_blank\">New analysis suggests that Bront\u00eb had better fashion sense than history has credited her for\u2014but the dinner itself was still nothing to write home about<\/a>. \u201cThe dinner, with other literary and artistic guests invited to meet the best-selling author, was an abject failure. Conversation faltered, and [Thackeray] later recalled her shocked look as he reached for another potato. One guest recalled it as \u2018one of the dullest evenings she ever spent in her life\u2019 \u2026 One guest, desperate to break the silence, asked Bront\u00eb if she was enjoying London. After a long silence, she finally replied: \u2018Yes; and no.\u2019 \u201d<\/li>\n<\/ul>\n<ul>\n<li>Luke Mogelson teases out that nauseous link between journalism and Schadenfreude: \u201c<a href=\"http:\/\/lithub.com\/the-dark-side-of-longform-journalism\/\" target=\"_blank\">I do my best to observe things firsthand<\/a> \u2026 This approach, despite its obvious journalistic advantages (you\u2019re less likely to get stuff wrong), can frequently put you in awkward positions. You can find yourself, for instance, visiting a river every morning hoping to find a murder victim. Most foreign correspondents I know would probably object to my use of that word, <em>hoping<\/em>. They would probably say that we don\u2019t want bad things to happen; we just want to witness them if they do. It\u2019s a legitimate distinction, but one that, in the field, can feel semantic. In the field, we are actively, aggressively seeking to see with our own eyes the reality of war, famine, disaster\u2014and who isn\u2019t at least somewhat gratified when he discovers what he\u2019s sought, at least somewhat disappointed when he doesn\u2019t?\u201d<\/li>\n<\/ul>\n<ul>\n<li>I see you\u2019re smiling, Internet user\u2014you\u2019re probably pretty jazzed about that new form of creative expression you\u2019ve found! But I\u2019m here to tell you that it\u2019s doomed to commodification. Witness the death of the emoji and the <small>GIF<\/small>: \u201c<a href=\"http:\/\/www.nytimes.com\/2016\/06\/21\/arts\/design\/hands-off-my-smiley-face-emoji-become-corporate-tools.html?smid=tw-nytimesarts&amp;smtyp=cur\" target=\"_blank\">When emojis and <small>GIF<\/small>s are filtered through the interests of tech companies, they often become slickly automated<\/a> \u2026 Buying into these features means giving tech companies the power to shape our creative expressions in ways that further enrich the companies themselves. A limited emotional range helps collect data on users\u2019 states of mind. Twitter advertisers can now target users based on the emoji they tweet \u2026 The commodification of digital culture has engendered more explicit corporate branding, too. On Snapchat, where users embellish their selfies with emoji, crayon scribbles, and elaborate \u2018lenses\u2019 that cover their faces with virtual masks, marketers like McDonalds are seizing the opportunity to write their messages across people\u2019s faces.\u201d<\/li>\n<\/ul>\n<ul>\n<li>In 1957, S. J. \u201cKitty\u201d Moodley opened a neighborhood portrait studio in Pietermaritzburg, South Africa. A newly discovered trove of photos from Kitty\u2019s\u2014fourteen hundred of them, dating from 1972 to 1984\u2014offers an intimate glimpse of life under apartheid: \u201c<a href=\"http:\/\/www.newyorker.com\/culture\/photo-booth\/lost-and-found-photos-from-a-south-african-portrait-studio\" target=\"_blank\">Every detail in the photos hints at an untold story. A full-length portrait of a woman bedecked in intricate beads and bracelets, her breasts uncovered, was probably taken to send to a fianc\u00e9 who had left a rural home to find work in the city<\/a>. Two dapper young men in pageboy caps and khaki trousers are wearing the outfit that young Xhosa men would wear for about six months after their coming-of-age circumcision ceremony. A woman sits for a straight-ahead portrait, possibly a picture for the identification document that all non-white South Africans\u00a0were required to carry during apartheid. (In a shot of the exterior of Kitty\u2019s studio, this service is advertised on a sign using the colloquial, objecting term <em>dompass<\/em>, literally, \u2018dumb pass.\u2019)\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>I don\u2019t keep a diary. I prefer the raw material of anxiety, guilt, and neurosis\u2014my \u201cspecial sauce\u201d\u2014to remain entirely unprocessed in my brain. But for those who diarize with reckless abandon, there emerges a question of audience, as Elisa Segrave writes: \u201cCompulsive diarists are ambivalent: we want to be private but we want our thoughts [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[14607,4217,13794,7682,21410,10786,19365,188,13046,100,15618,9045,87,12213],"class_list":["post-99541","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-apartheid","tag-charlotte-bronte","tag-commodification","tag-diaries","tag-diarizing","tag-emoji","tag-gifs","tag-journalism","tag-luke-mogelson","tag-photography","tag-portraiture","tag-schadenfreude","tag-south-africa","tag-william-makepeace-thackeray"],"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>Long-Lost Photos from a South African Portrait Studio<\/title>\n<meta name=\"description\" content=\"This and more in today\u2019s roundup.\" \/>\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\/06\/21\/portraits-by-kitty-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Portraits by Kitty, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"June 21, 2016 \u2013 I don\u2019t keep a diary. I prefer the raw material of anxiety, guilt, and neurosis\u2014my \u201cspecial sauce\u201d\u2014to remain entirely unprocessed in my brain. But for\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/\" \/>\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=\"2016-06-21T13:23:15+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2016-06-27T16:21:23+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/figure-15-ny-690.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"690\" \/>\n\t<meta property=\"og:image:height\" content=\"690\" \/>\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\/2016\/06\/21\/portraits-by-kitty-and-other-news\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/\"},\"author\":{\"name\":\"Dan Piepenbring\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8\"},\"headline\":\"Portraits by Kitty, and Other News\",\"datePublished\":\"2016-06-21T13:23:15+00:00\",\"dateModified\":\"2016-06-27T16:21:23+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/\"},\"wordCount\":824,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/figure-15-ny-690.jpg\",\"keywords\":[\"apartheid\",\"Charlotte Bronte\",\"commodification\",\"diaries\",\"diarizing\",\"emoji\",\"GIFs\",\"journalism\",\"Luke Mogelson\",\"photography\",\"portraiture\",\"schadenfreude\",\"South Africa\",\"William Makepeace Thackeray\"],\"articleSection\":[\"On the Shelf\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/\",\"name\":\"Long-Lost Photos from a South African Portrait Studio\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/figure-15-ny-690.jpg\",\"datePublished\":\"2016-06-21T13:23:15+00:00\",\"dateModified\":\"2016-06-27T16:21:23+00:00\",\"description\":\"This and more in today\u2019s roundup.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/figure-15-ny-690.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/figure-15-ny-690.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Portraits by Kitty, and Other News\"}]},{\"@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":"Long-Lost Photos from a South African Portrait Studio","description":"This and more in today\u2019s roundup.","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\/06\/21\/portraits-by-kitty-and-other-news\/","og_locale":"en_US","og_type":"article","og_title":"Portraits by Kitty, and Other News by Dan Piepenbring","og_description":"June 21, 2016 \u2013 I don\u2019t keep a diary. I prefer the raw material of anxiety, guilt, and neurosis\u2014my \u201cspecial sauce\u201d\u2014to remain entirely unprocessed in my brain. But for","og_url":"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2016-06-21T13:23:15+00:00","article_modified_time":"2016-06-27T16:21:23+00:00","og_image":[{"width":690,"height":690,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/figure-15-ny-690.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\/2016\/06\/21\/portraits-by-kitty-and-other-news\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/"},"author":{"name":"Dan Piepenbring","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8"},"headline":"Portraits by Kitty, and Other News","datePublished":"2016-06-21T13:23:15+00:00","dateModified":"2016-06-27T16:21:23+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/"},"wordCount":824,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/figure-15-ny-690.jpg","keywords":["apartheid","Charlotte Bronte","commodification","diaries","diarizing","emoji","GIFs","journalism","Luke Mogelson","photography","portraiture","schadenfreude","South Africa","William Makepeace Thackeray"],"articleSection":["On the Shelf"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/","url":"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/","name":"Long-Lost Photos from a South African Portrait Studio","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/figure-15-ny-690.jpg","datePublished":"2016-06-21T13:23:15+00:00","dateModified":"2016-06-27T16:21:23+00:00","description":"This and more in today\u2019s roundup.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/figure-15-ny-690.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/figure-15-ny-690.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2016\/06\/21\/portraits-by-kitty-and-other-news\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Portraits by Kitty, and Other News"}]},{"@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\/99541","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=99541"}],"version-history":[{"count":5,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/99541\/revisions"}],"predecessor-version":[{"id":99811,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/99541\/revisions\/99811"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=99541"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=99541"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=99541"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}