{"id":1526,"date":"2022-02-27T22:02:00","date_gmt":"2022-02-27T22:02:00","guid":{"rendered":"https:\/\/tomeri.org\/notes\/?p=1526"},"modified":"2024-07-01T06:30:38","modified_gmt":"2024-07-01T06:30:38","slug":"ten-favorites-from-the-oxford-book-of-essays","status":"publish","type":"post","link":"https:\/\/tomeri.org\/notes\/2022\/02\/27\/ten-favorites-from-the-oxford-book-of-essays\/","title":{"rendered":"EP #1*: Ten Favorites from The Oxford Book of Essays**"},"content":{"rendered":"\n<p class=\"has-purple-color has-text-color wp-block-paragraph\"><em>February 27, 2022<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Favorites:<\/strong><br><em>The Haunted Mind<\/em>, Nathaniel Hawthorne, 1835<br><em>The Acorn-Gatherer<\/em>, Richard Jefferies, 1884<br><em>Cordova<\/em>, Arthur Symons, 1898<br><em>A Clergyman<\/em>, Sir Max Beerbohm, 1918<br><em>The Death of the Moth<\/em>, Virginia Woolf, 1925<br><em>Insouciance<\/em>, 1928,\u00a0\u00a0D H Lawrence<br><em>The Toy Farm<\/em>, J. B. Priestly, 1927<br><em>The Snout<\/em>, Loren Eisley, 1957<br><em>The Crisp at the Crossroads<\/em>, Reyner Banham, 1970<br><em>La Paz<\/em>, Jan Morris, 1963 <br><\/p>\n\n\n\n<!--more-->\n\n\n\n<p class=\"has-bright-blue-color has-text-color wp-block-paragraph\">* <em>Part 1 of  the Essays Project: A course of reading conducted with Charles Taliaferro. Note that these are my particular favorites and views, not CT&#8217;s, though no doubt some are influenced by him.<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">** The Oxford Book of Essays, edited by J. Gross<\/p>\n\n\n\n<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_84 counter-hierarchy ez-toc-counter ez-toc-light-blue ez-toc-container-direction\">\n<div class=\"ez-toc-title-container\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Contents<\/p>\n<span class=\"ez-toc-title-toggle\"><a href=\"#\" class=\"ez-toc-pull-right ez-toc-btn ez-toc-btn-xs ez-toc-btn-default ez-toc-toggle\" aria-label=\"Toggle Table of Content\"><span class=\"ez-toc-js-icon-con\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/span><\/a><\/span><\/div>\n<nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><ul class='ez-toc-list-level-2' ><li class='ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/tomeri.org\/notes\/2022\/02\/27\/ten-favorites-from-the-oxford-book-of-essays\/#The_Haunted_Mind_1835_Nathaniel_Hawthorne_1804-1864\" >The Haunted Mind, 1835, Nathaniel Hawthorne (1804-1864)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/tomeri.org\/notes\/2022\/02\/27\/ten-favorites-from-the-oxford-book-of-essays\/#The_Acorn-Gatherer_1884_Richard_Jefferies_1848-1887\" >The Acorn-Gatherer, 1884,&nbsp;&nbsp;Richard Jefferies (1848-1887)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/tomeri.org\/notes\/2022\/02\/27\/ten-favorites-from-the-oxford-book-of-essays\/#Cordova_1898_Arthur_Symons_1865-1945\" >Cordova, 1898, Arthur Symons (1865-1945)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/tomeri.org\/notes\/2022\/02\/27\/ten-favorites-from-the-oxford-book-of-essays\/#A_Clergyman_1918_Sir_Max_Beerbohm_1872-1956\" >A Clergyman, 1918, Sir Max Beerbohm (1872-1956)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/tomeri.org\/notes\/2022\/02\/27\/ten-favorites-from-the-oxford-book-of-essays\/#The_Death_of_the_Moth_1925_Virginia_Woolf_1882_-1941\" >The Death of the Moth, 1925, Virginia Woolf (1882 -1941)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/tomeri.org\/notes\/2022\/02\/27\/ten-favorites-from-the-oxford-book-of-essays\/#Insouciance_1928_D_H_Lawrence_1885-1930\" >Insouciance, 1928,&nbsp;&nbsp;D H Lawrence (1885-1930)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/tomeri.org\/notes\/2022\/02\/27\/ten-favorites-from-the-oxford-book-of-essays\/#The_Toy_Farm_1927_J_B_Priestly_1894-1984\" >The Toy Farm, 1927, J. B. Priestly (1894-1984)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/tomeri.org\/notes\/2022\/02\/27\/ten-favorites-from-the-oxford-book-of-essays\/#The_Snout_1957_Loren_Eiseley_1907_%E2%80%93_1977\" >The Snout, 1957, Loren Eiseley (1907 \u2013 1977)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/tomeri.org\/notes\/2022\/02\/27\/ten-favorites-from-the-oxford-book-of-essays\/#The_Crisp_at_the_Crossroads_1970_Reyner_Banham_1922_%E2%80%93_1998\" >The Crisp at the Crossroads, 1970, Reyner Banham (1922 \u2013 1998)&nbsp;<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/tomeri.org\/notes\/2022\/02\/27\/ten-favorites-from-the-oxford-book-of-essays\/#La_Paz_1963_Jan_Morris_1926_%E2%80%93_2020\" >La Paz, 1963. Jan Morris (1926 \u2013 2020)&nbsp;<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-1'><a class=\"ez-toc-link ez-toc-heading-11\" href=\"https:\/\/tomeri.org\/notes\/2022\/02\/27\/ten-favorites-from-the-oxford-book-of-essays\/#i\" ># # #<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_Haunted_Mind_1835_Nathaniel_Hawthorne_1804-1864\"><\/span>The Haunted Mind, 1835, Nathaniel Hawthorne (1804-1864)<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">On the experience of waking in the night, the accompanying thoughts, and going back to sleep. A very nice evocation of the varying dimensions of the hypnagogic state.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cIn an hour like this, when the mind has a passive sensibility, but no active strength; when the imagination is a mirror, imparting vividness to all ideas, without the power of selecting or controlling them; then pray that your griefs may slumber, and the brotherhood of remorse not break their chain.\u201d<\/p>\n<cite>\u2014Nathaniel Hawthorne, 1835<\/cite><\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_Acorn-Gatherer_1884_Richard_Jefferies_1848-1887\"><\/span>The Acorn-Gatherer, 1884,&nbsp;&nbsp;Richard Jefferies (1848-1887)<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">More of a short story than an essay; striking in both its use of imagery and movement, and in the malign and macabre nature of its storyline. I particularly liked the opening figure of the rooks in the oak, and their acorn gathering and interaction.&nbsp;<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cThe happiest creatures in the world are the rooks at the acorns. It is not only the eating of them, but the finding: the fluttering up there and hopping from branch to branch, the sidling out to the extreme end of the bough, and the inward chuckling when a friend lets his acorn drop tip-tap from bough&nbsp;&nbsp;to bough. \u201d&nbsp;<\/p>\n<cite>\u2014Richard Jefferies, 1884<\/cite><\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Cordova_1898_Arthur_Symons_1865-1945\"><\/span>Cordova, 1898, Arthur Symons (1865-1945)<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">A beautiful short evocation of Cordova. I found it notable for its artfully constructed long sentences, which often, implicitly or explicitly, trace paths or lines of connection through the city that weave together people and places and streets and buildings. Also notable was the occasional sentence that provided a burst of color \u2013 amongst all the other sensory qualities.&nbsp;<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cSeen from the further end of the Moorish bridge by the Calahorra, where the road starts to Seville, Cordova is a long brown line between the red river and the purple hills, an irregular, ruinous line, following the windings of the river, and rising up to the yellow battlements and great middle bulk of the Cathedral.\u201d<\/p>\n<cite>\u2014Arthur Symons, 1898<\/cite><\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"A_Clergyman_1918_Sir_Max_Beerbohm_1872-1956\"><\/span>A Clergyman, 1918, Sir Max Beerbohm (1872-1956)<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">A beautifully constructed essay which envisions the mortifying experience of a young clergyman who, in his attempt to contribute to a conversation with Samuel Johnson, and was devastated by a crushing retort. The essay is notable for the author\u2019s facility in creating, entirely from his imagination, a compelling account of the situation and its precursors and aftermath, and of doing so in a way that showed compassion for both the clergyman and Johnson.&nbsp;<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cI see the curate\u2019s frame quiver with sudden impulse, and his mouth fly open, and \u2014 no, I can&#8217;t bear it, I shut my eyes and ears. But audible, even so, is something shrill, followed by something thunderous.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Presently I re-open my eyes. The crimson has not yet faded from the young face yonder, and slowly down either cheek falls a glistening tear.\u201d<\/p>\n<cite>\u2014Sir Max Beerbohm, 1918<\/cite><\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_Death_of_the_Moth_1925_Virginia_Woolf_1882_-1941\"><\/span>The Death of the Moth, 1925, Virginia Woolf (1882 -1941)<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">A transcendent essay that moves easily between a view of a numinous arcadian landscape and a moth fluttering against the window pane, the moth being an exemplar the life-energy that flows through the world.&nbsp;&nbsp;<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cThe rooks too were keeping one of their annual festivities; soaring round the tree tops until it looked as if a vast net with thousands of black knots in it had been cast up into the air; which, after a few moments sank slowly down upon the trees until every twig seemed to have a knot at the end of it. \u201d&nbsp;<\/p>\n<cite>\u2014Virginia Woolf, 1925<\/cite><\/blockquote>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cIt was if someone had taken tiny bead of pure life and decking it as lightly as possible with down and feathers, had set it dancing and zigzagging to show us the true nature of life. Thus displayed one could not get over the strangeness of it.\u201d<\/p>\n<cite>\u2014Virginia Woolf, 1925<\/cite><\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Insouciance_1928_D_H_Lawrence_1885-1930\"><\/span>Insouciance, 1928,&nbsp;&nbsp;D H Lawrence (1885-1930)<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">This explores the discordance between direct appreciation of sensuous reality and intellectual immersion in abstract problems. Moreover, it does this in an amusing manner, through the figure of a little old lady, determined to engage the author in a discussion of international relations.&nbsp;<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cA hot, still afternoon! the lake shining rather glassy away below, the mountains rather sulky, the greeness very green, all a little silent and lurid, and two mowers mowing with scythes, downhill just near: slush! slush! sound the scythe-strokes. \u201d&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">[\u2026]<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cBefore I know where I am, the little white haired lady has swept me off my balcony, away from the glassy lake, the veiled mountains, the two men mowing, and the cherry trees, away into the troubled ether of international politics.\u201d&nbsp;<\/p>\n<cite>\u2014D H Lawrence, 1928<\/cite><\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_Toy_Farm_1927_J_B_Priestly_1894-1984\"><\/span>The Toy Farm, 1927, J. B. Priestly (1894-1984)<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">A vivid and whimsical description of a child\u2019s toy farm, segueing into a consideration of the attraction of toys and play and imagination.&nbsp;<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cHere is the bright epitome, not of the country we can find where the tram lines come to an end and the street lights fade out, but of the country that has always existed in our imagination, so clean, trim, lavishly colored.\u201d<\/p>\n<cite>\u2014 J. B. Priestly, 1927<\/cite><\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_Snout_1957_Loren_Eiseley_1907_%E2%80%93_1977\"><\/span>The Snout, 1957, Loren Eiseley (1907 \u2013 1977)<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">A fanciful account of the conditions and manner in which life moved from water to land, that also makes the point that evolution continues all around us. It is marked by a synecdochic use of humble terms \u2013 \u201cooze,\u201d \u201csnout\u201d \u2013 for abstract evolutionary processes and results, and by its vivid portrayal of how unpleasant evolution \u2014 the \u201cstealthy advance made in suffocation and terror\u201d \u2014 was for the&nbsp;&nbsp;\u2018snouts\u2019 involved. The marshaling of words with unpleasant connotations \u2013 reek, corruption , strangled gasping, fetid, oily, foul, hobbled, stumps, heavy, swamps, monstrous, forbidden, fermenting, ooze, desperation, noisome, uncomfortable, oxygen-starved, rotting, dripping \u2013 makes the description impressive and powerful.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cThere are two ways to seek the doorway: in the swamps of the inland waterways and along the tide flats of the estuaries where rivers come to the sea. By those two pathways life came ashore. It was not the magnificent march through the breakers and up the cliffs that we fondly imagine. It was a stealthy advance made in suffocation and terror, amidst the leaching bite of chemical discomfort. It was made by the failures of the sea.\u201d<\/p>\n<cite>\u2014 Loren Eiseley, 1957<\/cite><\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_Crisp_at_the_Crossroads_1970_Reyner_Banham_1922_%E2%80%93_1998\"><\/span>The Crisp at the Crossroads, 1970, Reyner Banham (1922 \u2013 1998)&nbsp;<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Reyner Banham, a noted Architectural critic, demonstrates that one can apply one\u2019s skill at analyzing the aesthetics of form and the systems and context in which it is situated to seemingly disparate constructions: in this case, the humble crisp. From the sensory qualities of crisps, to their packaging, to their social uses, Banham provides a brilliant examination of how the crisp is changing in response to evolving technologies and social needs.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cThe sense that there is no diet-busting&nbsp;&nbsp;substance in crisps is reinforced by their performance in the mouth. Apply tooth-pressure and you and you get deafening action; bite again and there is nothing left. It&#8217;s a food that vanishes in the mouth so, I mean, it can&#8217;t be fattening, can it?&nbsp;&nbsp;It certainly isn&#8217;t satisfying in any normal food sense; the satisfactions of crisps, over and above the sting of flavor, are audio-masticatory \u2014 lots of response for little substance.<\/p>\n<cite>\u2014 Reyner Banham, 1970<\/cite><\/blockquote>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;\u201cThe pack is analogous in its performance. [\u2026] What with the crisps rattling about inside, and the pack crackling and rustling outside, you got an audio signal distinctive enough to be picked up by childish ears at 200 or 300 yards.\u201d<\/p>\n<cite>\u2014 Reyner Banham, 1970<\/cite><\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"La_Paz_1963_Jan_Morris_1926_%E2%80%93_2020\"><\/span>La Paz, 1963. Jan Morris (1926 \u2013 2020)&nbsp;<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">A wonderful description of La Paz; rich and beautiful phrasing that captures the energy of the place. And an interesting ending that ought to, but does not, subvert what came before.&nbsp;<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cFor sixty miles the road plods on through this monotony and then it falls over a precipice. Suddenly it crosses the lip of the high plateau and tumbles helter-skelter, lickety-split into a chasm: and as you slither down the horse-shoe bends you see in the ravine below you, secreted in a fold of the massif, the city of La Paz.\u201d &amp;mdash; Jan Morris, 1963<\/p>\n<cite>\u2014 Jan Morris, 1963<\/cite><\/blockquote>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u201cBut here\u2019s an odd thing. When you come to La Paz from the north over the escarpment, it seems a very prodigy among cities; but if you drive away from it towards Lilmani and the south, looking back over your shoulder as you cross the last ridge, why, all the magic has drained from it, all the color has faded, all that taut neurosis seems an illusion, and it looks like some drab old mining camp, sluttish among the tailings.\u201d<\/p>\n<cite>\u2014 Jan Morris, 1963<\/cite><\/blockquote>\n\n\n\n<h1 class=\"wp-block-heading has-text-align-center\"><span class=\"ez-toc-section\" id=\"i\"><\/span># # #<span class=\"ez-toc-section-end\"><\/span><\/h1>\n<p>Views: 38<\/p>","protected":false},"excerpt":{"rendered":"<p>February 27, 2022 Favorites:The Haunted Mind, Nathaniel Hawthorne, 1835The Acorn-Gatherer, Richard Jefferies, 1884Cordova, Arthur Symons, 1898A Clergyman, Sir Max Beerbohm, 1918The Death of the Moth, Virginia Woolf, 1925Insouciance, 1928,\u00a0\u00a0D H LawrenceThe Toy Farm, J. B. Priestly, 1927The Snout, Loren Eisley, 1957The Crisp at the Crossroads, Reyner Banham, 1970La Paz, Jan Morris, 1963 Views: 38<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"activitypub_content_warning":"","activitypub_content_visibility":"","activitypub_max_image_attachments":4,"activitypub_interaction_policy_quote":"anyone","activitypub_status":"federate","footnotes":""},"categories":[41,68,67],"tags":[],"class_list":["post-1526","post","type-post","status-publish","format-standard","hentry","category-essays","category-favorites","category-the-essays-project"],"_links":{"self":[{"href":"https:\/\/tomeri.org\/notes\/wp-json\/wp\/v2\/posts\/1526","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tomeri.org\/notes\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tomeri.org\/notes\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tomeri.org\/notes\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tomeri.org\/notes\/wp-json\/wp\/v2\/comments?post=1526"}],"version-history":[{"count":6,"href":"https:\/\/tomeri.org\/notes\/wp-json\/wp\/v2\/posts\/1526\/revisions"}],"predecessor-version":[{"id":3475,"href":"https:\/\/tomeri.org\/notes\/wp-json\/wp\/v2\/posts\/1526\/revisions\/3475"}],"wp:attachment":[{"href":"https:\/\/tomeri.org\/notes\/wp-json\/wp\/v2\/media?parent=1526"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tomeri.org\/notes\/wp-json\/wp\/v2\/categories?post=1526"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tomeri.org\/notes\/wp-json\/wp\/v2\/tags?post=1526"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}