{"id":407883,"date":"2022-02-08T18:17:05","date_gmt":"2022-02-08T15:17:05","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/sheila-heti-redefines-what-a-novel-can-be\/"},"modified":"2022-02-08T18:17:05","modified_gmt":"2022-02-08T15:17:05","slug":"sheila-heti-redefines-what-a-novel-can-be","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/sheila-heti-redefines-what-a-novel-can-be\/","title":{"rendered":"#Sheila Heti redefines what a novel can be"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_84 counter-hierarchy ez-toc-counter ez-toc-custom ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6a26baa814ae6\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #dd3333;color:#dd3333\" 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: #dd3333;color:#dd3333\" 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><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6a26baa814ae6\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/buradabiliyorum.com\/en\/sheila-heti-redefines-what-a-novel-can-be\/#Heti_on_three_paintings\" >Heti on three paintings:<\/a><\/li><\/ul><\/nav><\/div>\n<p>&#8220;<strong>#Sheila Heti redefines what a novel can be<\/strong>&#8221;<\/p>\n<div>\n                <br \/>It\u2019s one of the last warm nights in October. I meet Sheila Heti at Bar Mordecai in Toronto for a drink before our recorded interview over dinner. She orders a gin and tonic and I have a dirty martini. It\u2019s early, and the bar is empty apart from us, though the music is a touch too loud. Heti wants to know what\u2019s been going on. I tell her that I\u2019m still recovering from my U.S. book tour, which had me hiding in my New York hotel room and practising breathing exercises. After I flew home, I sent Heti an email saying, \u201cThe past few weeks have definitely been a challenge . . . quite an adjustment. I don\u2019t know how you did it the first time around. I had the worst dread every day new press came out.\u201d<\/p>\n<p>I had wanted Heti\u2019s advice on how to <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/download-scripts-themes-apps\/\" data-internallinksmanager029f6b8e52c=\"9\" title=\"Download Scripts &amp; Themes &amp; Apps\" target=\"_blank\" rel=\"noopener\">app<\/a>roach being thrust into the public sphere, which felt like being captain of a ship that steered itself with no input from me. The culture around books tends to conflate a novel with the author\u2019s biography, persona and morals, which can be dizzying, especially when you suddenly find yourself the subject. Though I understand this is a covetable position, the attention feels adverse to the actual writing\u2014the production of art. Heti is no stranger to this phenomenon in the press, and has playfully courted its mechanics for two decades. Already established in Canada, she gained international prominence after publishing How Should a Person Be? in the U.S. in 2012, and has been touted as a leading writer of \u201cautofiction,\u201d which is often defined as fictionalized autobiography. In How Should a Person Be? the characters keep the names of their real-life counterparts while the novel makes use of conversations drawn from audio recordings of Heti and artist Margaux Williamson.<\/p>\n<p>As we sip our drinks, Heti and I laugh about having to distinguish ourselves from our characters. Even though we share similar biographies with our respective protagonists, they are still fictional creations. Before we head off to dinner, Heti insists on paying the tab. I insist back, saying I have allocated funds for this night in particular, and I want to take her out. She refuses and says that it\u2019s just what older writers should do.<\/p>\n<blockquote><p><strong>MORE:\u00a0Tanya Talaga is telling the stories Canada needs to hear<\/strong><\/p>\n<\/blockquote>\n<p>Our correspondence began thanks to publisher Martha Sharpe, who released my novel, <em>Happy Hour<\/em>, at her independent press, Flying Books, in 2020. Sharpe acquired Heti\u2019s first two books, <em>The Middle Stories<\/em> (2001) and <em>Ticknor<\/em> (2005), during her time as publisher at House of Anansi. Later, while at Simon &amp; Schuster, Sharpe acquired <em>Motherhood<\/em>, which was published in 2018. Over the years, the two have stayed close, with Heti sending early drafts of whatever she\u2019s working on to Sharpe. It was Heti\u2019s ability to be both \u201cwise and wide-eyed\u201d that caught Sharpe\u2019s attention early on. \u201cHer writing is so alert,\u201d Sharpe tells me.<\/p>\n<p>Four years on from <em>Motherhood<\/em>, Heti returns with <em>Pure Colour<\/em>. \u201cFor me, the frustration with publishing <em>Motherhood<\/em> was that everyone was like, \u2018Oh, it\u2019s a book about whether or not she wants a baby,\u2019 \u201d says Heti. \u201cIt\u2019s much more than that.\u201d She didn\u2019t want a subject that people could easily reduce by hanging a neat tagline on it. \u201cI was like, \u2018I\u2019m going to write a book that no one can say what it\u2019s about.\u2019 \u201d Heti laughs mischievously.<\/p>\n<p>When I first heard whispers about the novel, I was of the mind that this would be a new turn for Heti, a new era, something that flirted with genre or at least the surreal. A father and daughter become a leaf\u2014how else could you describe it? Upon reading the book, I was struck by the gentle, tender philosophies it holds. It is a novel, yes, but it is also poetry, and a treatise on grief, art, criticism and love. It moves Heti away from any preconceived notions of what a new novel from her might look like. \u201cSomebody spoke about writing as a spiritual autobiography. [They said] a whole career is like a spiritual biography, and it\u2019s true,\u201d she reflects. The term was used to describe a genre popular in 17th-century memoirs, which followed the author\u2019s spiritual journey and how they came to espouse new ideas over time. Heti\u2019s journey now comprises several works. <em>Pure Colour<\/em> is her fourth novel and 10th book (her second children\u2019s book,<em> A Garden of Creatures<\/em>, is coming in May).<\/p>\n<p>I ask if there\u2019s a sense of freedom that comes with a sustained amount of success. \u201cI can\u2019t go back into the world and be like, \u2018You should buy this book,\u2019 \u201d she says. \u201cThis is just where I was.\u201d Heti describes having been in the mindset that led to <em>Pure Colour<\/em> for the last three years. She takes a moment before saying, \u201cWith every book, I\u2019m like, \u2018I believe in it.\u2019 I think it\u2019s the best thing I could do, and I think it has artistic merit, but I don\u2019t know how the world is going to receive it. I care, unfortunately. But I care less with this book, because it was something from deep within.\u201d<\/p>\n<div class=\"longform-fwimg-container\"><img decoding=\"async\" data-sizes=\"auto\" src=\"https:\/\/www.macleans.ca\/wp-content\/uploads\/2021\/12\/SHEILA-HETI-GRANADOS-DEC17-02.jpg\" alt=\"Sheila Heti (Photograph by Carmen Cheung)\"\/><\/p>\n<p class=\"wp-caption-text\">(Photograph by Carmen Cheung)<\/p>\n<\/div>\n<p>We are now settled into the back patio of Bernhardt\u2019s. Away from the street, the only noise is the pleasant chatter of people dining. There is a quiet atmosphere that feels provincial, like we are in a small town. We continue with another round of the same drinks we had earlier in the evening\u2014Heti decided before meeting me that she would only have gin and tonics tonight. We order half a roast chicken, burrata and some greens to share. Heti goes back and forth about ordering the carrots, to which I say, \u201cWhy not?\u201d There\u2019s a sense of occasion to being able to freely discuss the intricacies of our craft.<\/p>\n<p>Writing novels is an artistic practice, but in this particular moment, there is a tendency to mistake the novelist for the <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/social-mediaa\/\" data-internallinksmanager029f6b8e52c=\"1\" title=\"Social Media\" target=\"_blank\" rel=\"noopener\">media<\/a>. \u201cWe\u2019re thought of as journalists,\u201d says Heti. \u201cWriters are not given the same freedom as visual artists, and I don\u2019t know why. Maybe it\u2019s because people want language to tell them something concrete; they want writers to have a moral or political clarity.\u201d The public becomes fixated on what is true to the writer\u2019s beliefs and whether they can judge them for it.<\/p>\n<blockquote><p><strong>RELATED:\u00a0I embrace the term \u2018Black writer\u2019 but racism is rarely at the heart of my work<\/strong><\/p>\n<\/blockquote>\n<p>Most good writing survives in murkier waters that require a keen eye for subtlety; the reader feels drawn to the work enough to come back to it and find something they previously overlooked, and it isn\u2019t necessarily something concrete. To understand truth in storytelling is to take the art as a question, rather than as an answer. Sharpe tells me that the through line in Heti\u2019s novels is her curiosity. She later adds, via text, \u201cSheila\u2019s an insatiable questioner.\u201d<\/p>\n<p>Experiencing the loss of a parent is something Heti and I share, and we have both tried to grapple with grief in our fiction. \u201cYou just feel like the world is suddenly a different place,\u201d says Heti. \u201cIf you love your parents, you dread them dying, and I\u2019d anticipated it so much.\u201d In the middle of the novel, protagonist Mira loses her father. She poses the question, \u201cWho would save the dead from oblivion, if not we, the living?\u201d His spirit attaches to her and together they enter a leaf, where he rests. Mira stays suspended in the leaf in order to postpone the realities of life without him. Heti describes this experience of grief as the only thing that made sense. \u201cI just couldn\u2019t write in the same way,\u201d she says. \u201cBut I feel like what I wrote is realism because that\u2019s really what it felt like, and what it was like. It <em>is<\/em> another dimension, and you <em>do<\/em> go into a leaf with a person who died, and you <em>are<\/em> somewhere else.\u201d For the artist, the only way to save the dead from oblivion is to bring them back into your work.<\/p>\n<p>\u201cWhen I was writing <em>How Should a Person Be?<\/em> I had this sentence in my head\u2014\u2018God is three art critics in the sky\u2019\u2014and I wrote it down,\u201d Heti says. This idea evolves in <em>Pure Colour<\/em>, where there are three types of people: the birds, who are the artists; the bears, who lovingly nurture a select few; and the fish, who are concerned for the well-being of many. To describe it outside the context of the novel is to ask someone to take a leap of imagination, but the structure of this world is not so different from that of star signs or even professions. Mira is a bird, her father is a bear and Mira\u2019s love interest, Annie, is a fish. The world they are living in is God\u2019s \u201cfirst draft,\u201d an impermanent stage set up to make room for a second draft that God will revise, using the mistakes from the first. It is the combined realities of a mythical structure and Mira\u2019s more recognizable life (school, jobs) that reminds me of another work that defies description, Anne Carson\u2019s <em>Autobiography of Red<\/em>. It is difficult to describe <em>Pure Colour<\/em> without feeling like you do a disservice to the text. If <em>Autobiography of Red<\/em>\u2019s subtitle is \u201cA Novel in Verse,\u201d perhaps a subtitle of some kind would similarly help orient readers\u2019 approaches to <em>Pure Colour<\/em>.<\/p>\n<p>As the main course arrives, our conversation moves to Impressionism. Heti admits to being fond of \u00c9douard Manet\u2019s work since studying art history in university, and <em>Pure Colour<\/em> pays close attention to his painting <em>A Sprig of Asparagus<\/em>. In the novel, the painting is described as \u201cthe perfect balance between carefulness and carelessness, and the delicate and unassuming heart he put into every line.\u201d By chance, I have been writing an essay on 17th-century Spanish painter Diego Vel\u00e1zquez, whom many Impressionists considered their forebear, with Manet calling him \u201ca painter of painters.\u201d What Impressionists took from Vel\u00e1zquez was the idea of the work disappearing the closer you get to the brushstrokes. To take in an Impressionist painting at its most impactful, you must step back and view the work as a whole. The paintings create a feeling much like the hazy edges of memory. It\u2019s not exact, but it is evocative.<\/p>\n<hr\/>\n<div style=\"background-color: #bccbe6; padding: 20px;\">\n<h3><span class=\"ez-toc-section\" id=\"Heti_on_three_paintings\"><\/span>Heti on three paintings:<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p>(Click through this gallery. Story continues below.)<\/p>\n<div id=\"longform-carousel-container\" class=\"carousel slide\" data-interval=\"false\" data-ride=\"carousel\">\n<div class=\"carousel-inner\">\n<div class=\"carousel-item active\"><img decoding=\"async\" data-sizes=\"auto\" src=\"https:\/\/www.macleans.ca\/wp-content\/uploads\/2021\/12\/SHEILA-HETI-GRANADOS-DEC17-05-766x341.jpg\" alt=\"\" class=\"d-block w-100\"\/><\/p>\n<p class=\"wp-caption-text\"><b>Portrait of Dr. Heinrich Stadelmann,<\/b> by Otto Dix (Courtesy of AGO).&#13;<br \/>\n&#13;<\/p>\n<p>\u201cEven when I was a child, this was my favourite painting at the AGO. I still always look for it when I go. The eyes are painted over and over so that they bulge out from the canvas. It\u2019s terrifying, and funny, and sad.\u201d<\/p>\n<\/div>\n<div class=\"carousel-item\"><img decoding=\"async\" data-sizes=\"auto\" src=\"https:\/\/www.macleans.ca\/wp-content\/uploads\/2021\/12\/SHEILA-HETI-GRANADOS-DEC17-04-766x341.jpg\" alt=\"\u201cI was lucky enough to see this painting in person at the Rijksmuseum in Amsterdam. It\u2019s so small and subtle and quiet, and it has this perplexing power. I think I looked at it for an hour, and not till I discussed it with someone later did they point out that the woman is pregnant.\u201d\" class=\"d-block w-100\"\/><\/p>\n<p class=\"wp-caption-text\"><b>Woman in Blue Reading a Letter<\/b> by Johannes Vermeer. &#13;<\/p>\n<p>\u201cI was lucky enough to see this painting in person at the Rijksmuseum in Amsterdam. It\u2019s so small and subtle and quiet, and it has this perplexing power. I think I looked at it for an hour, and not till I discussed it with someone later did they point out that the woman is pregnant.\u201d<\/p>\n<\/div>\n<div class=\"carousel-item\"><img decoding=\"async\" data-sizes=\"auto\" src=\"https:\/\/www.macleans.ca\/wp-content\/uploads\/2021\/12\/SHEILA-HETI-GRANADOS-DEC17-03-766x341.jpg\" alt=\"Fire by Margaux Williamson (Courtesy of Margaux Williamson\/White Cube) \u201cMy closest friend and long-time collaborator is having her first museum show at the McMichael gallery (it\u2019s on until May 9). It\u2019s an incredible show. This is a painting of the fire we sat around, in her front yard, all winter long, during the pandemic.\u201d\" class=\"d-block w-100\"\/><\/p>\n<p class=\"wp-caption-text\"><b>Fire<\/b> by Margaux Williamson (Courtesy of Margaux Williamson\/White Cube). &#13;<br \/>\n&#13;<\/p>\n<p>\u201cMy closest friend and long-time collaborator is having her first museum show at the McMichael gallery (it\u2019s on until May 9). It\u2019s an incredible show. This is a painting of the fire we sat around, in her front yard, all winter long, during the pandemic.\u201d<\/p>\n<\/div>\n<\/div>\n<p><a rel=\"nofollow noopener\" target=\"_blank\" class=\"carousel-control-prev\" role=\"button\" data-target=\"#longform-carousel-container\" data-slide=\"prev\"><span class=\"carousel-control-prev-icon\" aria-hidden=\"true\"\/><span class=\"sr-only\">Previous<\/span><\/a><a rel=\"nofollow noopener\" target=\"_blank\" class=\"carousel-control-next\" role=\"button\" data-target=\"#longform-carousel-container\" data-slide=\"next\"><span class=\"carousel-control-next-icon\" aria-hidden=\"true\"\/><span class=\"sr-only\">Next<\/span><\/a><\/div>\n<\/div>\n<hr\/>\n<p>One of Heti\u2019s favourite books is <em>Manet and His Critics<\/em>. She describes it as a book about all the critics who wrote negatively about the artist in his lifetime. \u201cPeople don\u2019t find anything beautiful unless it\u2019s familiar, for the most part. Beauty is what we\u2019ve learned is beautiful, so his stuff was so strange to them, and it couldn\u2019t be beautiful because it was just too new,\u201d Heti says. \u201cI liked that he was hurt by it. He wasn\u2019t so immune to being human.\u201d Her interest in criticism was piqued when she knew she understood the significance of art, but was curious about the value of criticism. \u201cWas it as important as the art itself, or not?\u201d she says. Heti describes trying to answer this question in <em>Pure Colour<\/em>. \u201cThe best explanation I could think of is we\u2019re living in the first draft of the world and we have to be critics,\u201d she says.<\/p>\n<blockquote>\n<p class=\"single-article-title entry-title\"><strong>READ: The search for Anne Frank\u2019s betrayer<\/strong>\n<\/p><\/blockquote>\n<p>She tells me that unlike other writers, she reads all her reviews (I tend to skim those that are filtered to me). In a 2018 episode of the <em>Longform<\/em> podcast, Heti says, \u201cThere\u2019s something about being reviewed where you feel really . . . you just feel really alone in it. You feel like they\u2019re talking about my book, and I\u2019m the only one who\u2019s having an emotional reaction to the review. Everyone else just reads it and it\u2019s a review, but for the writer it can hurt.\u201d Like Manet, she is not immune, but this does not dissuade Heti from trying to grapple with criticism\u2019s significance on a larger scale. \u201cCriticism is necessary for progress, and criticism is necessary for a better future,\u201d she says.<\/p>\n<p>In the same <em>Longform<\/em> episode, Heti explains her process of writing a book. \u201cI have to see the beginning, the middle, the end and all the scenes, [like] looking at a painting. You sort of want to glance at it and see everything . . . and that\u2019s really hard to do with a novel.\u201d Only after hearing Heti\u2019s words from four years ago do I understand that <em>Pure Colour<\/em> is a \u201cNovel as Painting.\u201d At dinner that night, as I explained Vel\u00e1zquez\u2019s spare use of pigment, I could see a correspondence forming between <em>Pure Colour<\/em> and the Impressionists. <em>Pure Colour<\/em> resists cerebral analysis because the basis of it is in the feelings it evokes. In its totality, grief is often indescribable and unique to the individual\u2019s experience; to create a novel of otherworldly scenes and images makes it feel closer to its emotional reality.<\/p>\n<p>Later, via text, Heti agrees with my assessment. \u201cI\u2019ve never had so many people reading a book of mine say that they want to reread it. I think it\u2019s because they want to hold the whole thing in their head, like a painting.\u201d You forget a work of art\u2019s magnitude; you need to be in its presence or else your memory doesn\u2019t give justice to its impact. As I revisit the novel over the course of writing this profile, my own grief surfaces each time I encounter the text. It compels me to be soft and open, after moving through the world with hardened skin. Toward the end of the novel, there\u2019s a tender missive: \u201cSometimes it is the orphans, the fish\u2014who were sent off to swim alone in the world\u2019s waters\u2014who see the whole picture most clearly. They have no parents blocking their sight, and swimming as they do, under the water, if they are not afraid to open their eyes, everything becomes incredibly clear.\u201d<\/p>\n<hr\/>\n<p><em>This article appears in print in the February 2022 issue of<\/em> Maclean\u2019s <em>magazine with the headline, \u201cHow should an Artist be?\u201d Subscribe to the monthly print magazine <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/secure.macleans.ca\/loc\/MME\/head_subscribe\">here<\/a>.<\/em><br \/>\n<span class=\"ctx-article-root\"><!-- --><\/span>\n                            <\/div>\n<p><script async defer crossorigin=\"anonymous\" src=\"https:\/\/connect.facebook.net\/en_US\/sdk.js\"><\/script><\/p>\n<blockquote><p><strong><span style=\"color: #ff6600;\">If you liked the article, do not forget to share it with your friends. Follow us on\u00a0<span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/news.google.com\/publications\/CAAqBwgKMLG0nwswvr63Aw\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Google News<\/a><\/span>\u00a0too, click on the star and choose us from your favorites.<\/span><\/strong><\/p><\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\">For forums sites go to <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/forum.buradabiliyorum.com\/\" target=\"_blank\" rel=\"noopener\">Forum.BuradaBiliyorum.Com<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\"><strong>If you want to read more <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/news\/\" data-internallinksmanager029f6b8e52c=\"2\" title=\"News\" target=\"_blank\" rel=\"noopener\">News<\/a> articles, you can visit our <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/en.buradabiliyorum.com\/general\/\" target=\"_blank\" rel=\"noopener\">General category.<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/www.macleans.ca\/longforms\/sheila-heti-pure-colour\/\" target=\"_blank\" rel=\"noopener\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;#Sheila Heti redefines what a novel can be&#8221; It\u2019s one of the last warm nights in October. I meet Sheila Heti at Bar Mordecai in Toronto for a drink before our recorded interview over dinner. She orders a gin and tonic and I have a dirty martini. It\u2019s early, and the bar is empty apart&#8230;<\/p>\n","protected":false},"author":1,"featured_media":407884,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/www.macleans.ca\/wp-content\/uploads\/2021\/12\/SHEILA-HETI-GRANADOS-DEC17-01-766x431.jpg","fifu_image_alt":"","footnotes":""},"categories":[1],"tags":[17209,122401,158,67806,83078,125939],"class_list":["post-407883","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-general","tag-books","tag-canlit","tag-culture","tag-editors-picks","tag-literature","tag-sheila-heti"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/407883","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=407883"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/407883\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/407884"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=407883"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=407883"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=407883"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}