{"id":70191,"date":"2021-05-04T00:27:18","date_gmt":"2021-05-04T04:27:18","guid":{"rendered":"https:\/\/www.thebookbeat.com\/backroom\/?p=70191"},"modified":"2021-05-04T01:08:54","modified_gmt":"2021-05-04T05:08:54","slug":"i-arrogantly-recommend-by-tom-bowden-17","status":"publish","type":"post","link":"https:\/\/www.thebookbeat.com\/backroom\/2021\/05\/04\/i-arrogantly-recommend-by-tom-bowden-17\/","title":{"rendered":"i arrogantly recommend&#8230; by Tom Bowden"},"content":{"rendered":"<p><a href=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/1_MansPlace.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-70197\" src=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/1_MansPlace.jpg\" alt=\"\" width=\"260\" height=\"363\" srcset=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/1_MansPlace.jpg 357w, https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/1_MansPlace-107x150.jpg 107w\" sizes=\"auto, (max-width: 260px) 100vw, 260px\" \/><\/a><strong><a href=\"https:\/\/bookshop.org\/a\/1028\/9781609804039\">A Man\u2019s Place<\/a><\/strong><br \/>\nAnnie Ernaux (Tanya Leslie, trans.)<br \/>\nSeven Stories Press<\/p>\n<p>A memoir, biography, and homage to her father, Ernaux explores her upbringing in rural France by a man\u2014the main motivating force of the family\u2014who rose from poverty to the American equivalent of lower-middle class stability.<\/p>\n<p>Without romanticizing any of his past, Ernaux describes her father\u2019s birth into the French equivalent of sharecroppers: Workers of other peoples\u2019 land for poverty wages and little respect. Her father, she points out, was pulled out of school just days short of obtaining his elementary school certification. The family\u2019s reason was based on necessity: Now that he was 12, the landowners would not allow him to sleep in the house or feed him without pay. Ernaux\u2019s grandfather could not afford his son\u2019s room and board, and so it was off to the barn loft with him, with nothing but hard life ahead.<\/p>\n<p>Ernaux implies that she was on the outs with her father during her teen years, as she grew closer to her mother and he grew impatient with her teenage behavior. Typical of Ernaux\u2019s essays is an attempt to look as issues with eyes as cold as possible\u2014a French Didion, though of a different temperament and outlook. As a result, Ernaux focuses on her father\u2019s actions and their outcomes rather than the emotions they evoke; she recalls the phrases her father and mother emphasized time and again, drawing attention to how much she has internalized them in her own way of thinking and writing, even if just ironically; his commitment to modesty even when, well into middle age, he becomes the first person in his family to own property\u2014a small shop and house that he and her mother ran for many years.<\/p>\n<p>Despite his gruff exterior, he made sure his daughter got as much education as she qualified for, and never at his or his wife\u2019s insistence. Ernaux went to college to become a teacher, and two months after she passed her qualification exam, her father died.<\/p>\n<hr>\n<p><iframe loading=\"lazy\" title=\"Alta Ifland &amp; Eireene Nealand present their translation of Marguerite Duras&#039; The Darkroom\" width=\"635\" height=\"357\" src=\"https:\/\/www.youtube.com\/embed\/aaS4fqCMiQU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><br \/>\n<a href=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/2_Darkroom.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-70198\" src=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/2_Darkroom.jpg\" alt=\"\" width=\"200\" height=\"319\" srcset=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/2_Darkroom.jpg 313w, https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/2_Darkroom-94x150.jpg 94w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/a><strong><a href=\"https:\/\/bookshop.org\/a\/1028\/9781940625447\">The Darkroom<\/a><\/strong><br \/>\nMarguerite Duras (Alta Ifland and Eireene Nealand, trans.)<br \/>\nContra Mundum Press<\/p>\n<p>The Darkroom is the script to Duras\u2019s 1977 film <a href=\"https:\/\/www.youtube.com\/watch?v=J-0qxgG4FGg\">Le camion<\/a> (The Truck), plus \u201cexplanatory texts,\u201d an interview with Duras, and translators\u2019 notes. (Note: Le camion is available on Youtube, but after reading this book the English subtitles can be jarring both in their differences from this translation and Duras\u2019s stated intentions about what she was trying to achieve.)<\/p>\n<p>In 120 pages of text and 120 minutes of film, Duras creates a story that on reflection would make for a very weird episode of \u201cThe Twilight Zone,\u201d even by its standards: A \u201cwoman of a certain\u201d age hitches a ride from a truck driver, who pays her little to no attention during the trip, while she tells him the story of her life. When she reaches the present day in her tale, she says that her daughter gave birth today. The woman\u2019s car has broken down, and hence the hitch hiking. After announcing this, she asks the driver to stop and let her off where there are: on a two-lane highway in the middle of nowhere. He obliges, end of story.<\/p>\n<p>Except: She apparently does this every night: hitches a ride from a stranger and tells him the story of her life, to which he pays no attention. Think of it as an inverted version of the legend of Phantom 309.<\/p>\n<p>And none of it appears odd while it is happening. That\u2019s the script.<\/p>\n<p>As a film, Duras adds the following touches (quoted from the translators\u2019 notes, which nicely sum up everything):<\/p>\n<p>\u201cNeither of the characters are ever shown. Instead. . . the juxtaposed voice-over text and cutaways prompt the film\u2019s audience members to their own images of the trucker and hitch hiker onto the screen. Between the images of the truck, juxtaposed voice-overs, and the cutaways to Duras and [G\u00e8rard] Depardieu [reading the script], the art of film becomes the art of coordinating multiple faculties\u2014not only the visual and aural, but also those of memory, imagination, and desire.\u201d<\/p>\n<div id=\"attachment_70207\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/md-3.jpeg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-70207\" class=\"size-full wp-image-70207\" src=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/md-3.jpeg\" alt=\"\" width=\"600\" height=\"300\" srcset=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/md-3.jpeg 600w, https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/md-3-150x75.jpeg 150w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><p id=\"caption-attachment-70207\" class=\"wp-caption-text\"><br \/>Jacques Haillot \/ portrait of Marguerite Duras, 1974<\/p><\/div>\n<hr>\n<p><strong><a href=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/3_PurplePerilla.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-70199\" src=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/3_PurplePerilla.jpg\" alt=\"\" width=\"169\" height=\"240\" srcset=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/3_PurplePerilla.jpg 400w, https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/3_PurplePerilla-105x150.jpg 105w\" sizes=\"auto, (max-width: 169px) 100vw, 169px\" \/><\/a>Purple Perilla<\/strong><br \/>\nCan Xue (Karen Gernant and Chen Ziping, trans.)<br \/>\n<a href=\"https:\/\/isolarii.com\/\">isolarii<\/a><\/p>\n<p>Purple Perilla is made up of three stories that blend realism with enough fantasy to lend the narratives a feel of the uncanny, as the characters transform themselves with newfound knowledge about themselves and their relationship with nature. \u201cAn Affair\u201d deals with a single, 36-year-old woman slowly seduced (and seeking seduction) by a fellow bus traveler who drops hints on how to find him. \u201cMountain Ants\u201d and \u201cPurple Perilla\u201d also feature characters who are at a turning point in their lives, open to new experiences, and showing uncharacteristic bravery in setting out on new paths that quickly become obsessions to follow. People are prone to falling asleep in Can\u2019s stories\u2014usually a sign that their lives are about to become fascinating and rich. The introduction, by Scholastique Mukasonga, is available only online: https:\/\/www.isolarii.com\/media\/pages\/home\/1291681238-1608228572\/foreword_scholastique_mukasonga.pdf<\/p>\n<hr>\n<p>https:\/\/youtu.be\/3st_hP9KDts<\/p>\n<p><a href=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/4_LetMe.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-70200\" src=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/4_LetMe.jpg\" alt=\"\" width=\"145\" height=\"234\" srcset=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/4_LetMe.jpg 310w, https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/4_LetMe-93x150.jpg 93w\" sizes=\"auto, (max-width: 145px) 100vw, 145px\" \/><\/a><a href=\"https:\/\/bookshop.org\/a\/1028\/9780593318485\">Let Me Tell You What I Mean<\/a><br \/>\nJoan Didion<br \/>\nKnopf<\/p>\n<p>Previously unpublished essays by Didion from 1968 to 2000, tracking her changes in rhetorical choices\u2014precision here, implication there\u2014as the narrative \u201cI\u201d changes from implying a specific person of a certain breeding to a generalized person of a certain sensibility: the former talking just a bit louder than the latter, the latter tempered by a cold, analytic eye, long wakened to the deceits of romanticism and ironies of history, expressed in tight, clipped prose.<\/p>\n<p>Topics include college expectations vs. reality, gung-ho WWII vets and the deaths of their own sons in Vietnam, why she doesn\u2019t write short stories, a photo shoot with Robert Mapplethorpe, and so forth. Memories of film directors and actors, sets, collaborators. The final essay on <a href=\"https:\/\/www.vanityfair.com\/style\/2021\/01\/01\/joan-didion-martha-stewart-essay\">Martha Stewart<\/a> is almost worth the price of admission. Hilton Als writes a sympathetic and astute assessment of Didion in the book\u2019s introduction.<\/p>\n<hr>\n<p><a href=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/5_StoriesIForgot.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-70201\" src=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/5_StoriesIForgot.jpg\" alt=\"\" width=\"162\" height=\"226\" srcset=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/5_StoriesIForgot.jpg 357w, https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/5_StoriesIForgot-107x150.jpg 107w\" sizes=\"auto, (max-width: 162px) 100vw, 162px\" \/><\/a><strong><a href=\"https:\/\/bookshop.org\/a\/1028\/9781681374802\">Stories I Forgot to Tell You<\/a><\/strong><br \/>\nBy Dorothy Gallagher<br \/>\nNYRB<\/p>\n<p>Even after several years had passed since Dorothy Gallagher\u2019s husband died, she found herself still talking to him about what was happening in her life, sharing her random musings, recalling shared incidents with him and how she feels about them now, looking back. But rather than continue to merely talk to herself, Gallagher decided to write down her thoughts to husband. The essays collected here are less a memoir of her life with her husband but of her present life, as influenced by her marriage, and the responses she imagines her husband making were he still alive.<\/p>\n<hr>\n<p><strong><a href=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/6_Street-Cop.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-70202\" src=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/6_Street-Cop.jpg\" alt=\"\" width=\"139\" height=\"217\" srcset=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/6_Street-Cop.jpg 389w, https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/6_Street-Cop-96x150.jpg 96w\" sizes=\"auto, (max-width: 139px) 100vw, 139px\" \/><\/a>Street Cop<\/strong><br \/>\nRobert Coover (story), Art Spiegelman (drawings)<br \/>\n<a href=\"https:\/\/isolarii.com\/\">isolarii<\/a><\/p>\n<p>A little gem by two masters of fiction (Coover) and drawing (Spiegelman) covering the shift of a cop on his beat. The time is past present and future, but when it comes to crime, motivations and social positions result in similar fashion, and thus it makes sense that Spiegelman uses Sluggo as his archetype\u2014rough\u2019n\u2019tough with a heart of gold, a heart now placed in a middle-aged body that has expanded by 2 pounds each year since adulthood. (Nancy appears even worse for wear.) It\u2019s a noir tale that plays with genre conventions\u2014and yes, there\u2019s even a kiss from a femme fatale (he said misleadingly) the street cop will never forget.<\/p>\n<hr>\n<p><iframe loading=\"lazy\" title=\"NYRB: Robert Walser&#039;s &quot;Little Snow Landscape,&quot; with translator Tom Whalen &amp; Edwin Frank\" width=\"635\" height=\"357\" src=\"https:\/\/www.youtube.com\/embed\/kZIFbvLMagg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><a href=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/7_Little-Snow.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-70203\" src=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/7_Little-Snow.jpg\" alt=\"\" width=\"218\" height=\"348\" srcset=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/7_Little-Snow.jpg 313w, https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/7_Little-Snow-94x150.jpg 94w\" sizes=\"auto, (max-width: 218px) 100vw, 218px\" \/><\/a><strong><a href=\"https:\/\/bookshop.org\/a\/1028\/9781681375229\">Little Snow Landscape<\/a><\/strong><br \/>\nRobert Walser (Tom Whalen, translator)<br \/>\nNYRB Classics<\/p>\n<p>\u201cThe desire and passion for sketching life with words stems finally only from a certain precision and beautiful pedantry of the soul that suffers when it has to witness so many lovely, vibrant, urgent, transitory things flying off into the world without having been able to capture them in a notebook. What endless worries!\u201d<\/p>\n<p>As with Bola\u00f1o\u2014but for more years now\u2014Robert Walser is a writer with a higher rate of post-mortem publishing than during his lifetime. In Walser\u2019s case, it\u2019s not just a matter of making available in English his previously published works, it\u2019s also of publishing newly discovered manuscripts and manuscripts that could not be read until the \u201ccode\u201d Walser employed could be cracked. (He wrote not so much in code but in an old German idiom at \u201cmicroscript\u201d scale. Just how micro was this script? Walser managed to write an entire novel on a single sheet of paper that was (as I recall) similar in size to a sheet of legal paper. There are 570+ plus of these sheets now in the Walser Archive. Only a few decades ago were these sheets decoded, after the markings were first thought to be some sort of nonsense Walser engaged in with pencils while institutionalized. \u201cI came here to be mad,\u201d he allegedly said, \u201cnot write,\u201d which apparently was far from true.)<\/p>\n<p>And so it seems that while at least 3,700 pages of published Walser exist (in the 1985 version of the complete works), the translation tap is set to about 150-180 pages a year in English.<\/p>\n<p>And the pages continue to impress, especially in the capable hands of a good translator, as we have here with Tom Whalen, who\u2014like Susan Bernofsky and Christopher Middleton\u2014are aces at replicating the nuances in Walser\u2019s prose, which emotionally often has the feel of forced cheerfulness, of someone battling between optimism and resignation, elation and offense.<\/p>\n<p>The stories gathered in <em>Little Snow Landscape<\/em>, arranged chronologically, follow Walser from 1905 to 1933, four years into the institutional living in which he would remain until his death in 1956. Let a couple of lines stand in for some of Walser\u2019s tics, one of them being to comment on the quality of his writing while he\u2019s writing: \u201cThe sky had the deep, blushing-with-joy blue of a little frock fluttering around pretty legs, which without doubt constitutes a rather serious contemplation of nature\u201d (from \u201cFragment\u201d).<\/p>\n<div id=\"attachment_70208\" style=\"width: 809px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/Robert_WAlser.jpeg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-70208\" class=\"wp-image-70208 size-full\" src=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/Robert_WAlser.jpeg\" alt=\"\" width=\"799\" height=\"420\" srcset=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/Robert_WAlser.jpeg 799w, https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/Robert_WAlser-150x79.jpeg 150w, https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/Robert_WAlser-768x404.jpeg 768w\" sizes=\"auto, (max-width: 799px) 100vw, 799px\" \/><\/a><p id=\"caption-attachment-70208\" class=\"wp-caption-text\">Robert Walser<\/p><\/div>\n<p>In \u201cWenzel,\u201d Walser describes a person of a (self-defeating) mercurial temperament, another Walserian tic. In this case, Wenzel is someone whose sudden ardor for acting is challenged when he receives his first role. \u201cWenzel is to play a prince\u2019s lackey who, among other things, has to take a slap in the face. No, that he cannot play, that\u2019s too deplorable. . . He absents himself from the performance, it\u2019s too stupid.\u201d But finally, Wenzel tells himself, \u201c\u2018Love and ardor endure everything, even a slap in the face.\u2019\u201d And that\u2019s pretty much how Walser lived his life.<\/p>\n<p>COMING SOON: <a href=\"https:\/\/yalebooks.yale.edu\/book\/9780300220643\/clairvoyant-small\">Clairvoyant of the Small: The Life of Robert Walser<\/a> By Susan Bernofsky<\/p>\n<hr>\n<p><a href=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/8_CowboyGraves.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-70205\" src=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/8_CowboyGraves.jpg\" alt=\"\" width=\"211\" height=\"318\" srcset=\"https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/8_CowboyGraves.jpg 331w, https:\/\/www.thebookbeat.com\/backroom\/wp-content\/uploads\/2021\/05\/8_CowboyGraves-99x150.jpg 99w\" sizes=\"auto, (max-width: 211px) 100vw, 211px\" \/><\/a><strong><a href=\"https:\/\/bookshop.org\/a\/1028\/9780735222885\">Cowboy Graves<\/a><\/strong><br \/>\nBy Roberto Bola\u00f1o<br \/>\nPenguin Press<\/p>\n<p>Every time Roberto Bola\u00f1o\u2019s estate produces a new batch of writings recovered from his disc drives, I fear that the law of diminishing returns will kick in and that henceforth all new books published under his name should be labeled \u201cFor irrational fans only.\u201d<\/p>\n<p>Fortunately, that time has yet to come. But. Of the three novellas printed here, the first, \u201cCowboy Graves\u201d is the strongest. \u201cFrench Comedy of Horrors\u201d and \u201cFatherland\u201d have their strengths and the usual themes and characters: a pair of beautiful, literary sisters; Pinochet\u2019s right-wing, quasi-Nazi war against the citizens of Chile; championing poets little known in their own countries, and so forth. But many of the short pieces that comprise each novella read less like deleted scenes from published works than trial pieces, working out ideas.<\/p>\n<p>Although Bola\u00f1o\u2019s writing is typically discursive, the stories here\u2014such as the \u201cFrench Comedy\u201d\u2014feel too talkie, too much like Bola\u00f1o spinning webs to catch ideas. He improvises well, but despite the discursive nature of his narratives, they rarely feel flaccid, in need of further editing. <em>Cowboy Graves<\/em> isn\u2019t for irrational fans only, but novices to Bola\u00f1o will have difficulty finding in it the narrative impulse that made the thousand pages of 2666 pass by too quickly.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>A Man&rsquo;s Place Annie Ernaux (Tanya Leslie, trans.) Seven Stories Press A memoir, biography, and homage to her father, Ernaux explores her upbringing in rural France by a man&mdash;the main motivating force of the family&mdash;who rose from poverty to the American equivalent of lower-middle class stability. Without romanticizing any of his past, Ernaux describes her [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":70207,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[3],"tags":[466,461],"class_list":["post-70191","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-general","tag-i-arrogantly-recommend","tag-tom-bowden"],"_links":{"self":[{"href":"https:\/\/www.thebookbeat.com\/backroom\/wp-json\/wp\/v2\/posts\/70191","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.thebookbeat.com\/backroom\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thebookbeat.com\/backroom\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thebookbeat.com\/backroom\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thebookbeat.com\/backroom\/wp-json\/wp\/v2\/comments?post=70191"}],"version-history":[{"count":0,"href":"https:\/\/www.thebookbeat.com\/backroom\/wp-json\/wp\/v2\/posts\/70191\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thebookbeat.com\/backroom\/wp-json\/wp\/v2\/media\/70207"}],"wp:attachment":[{"href":"https:\/\/www.thebookbeat.com\/backroom\/wp-json\/wp\/v2\/media?parent=70191"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thebookbeat.com\/backroom\/wp-json\/wp\/v2\/categories?post=70191"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thebookbeat.com\/backroom\/wp-json\/wp\/v2\/tags?post=70191"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}