{"id":672,"date":"2020-03-01T14:26:09","date_gmt":"2020-03-01T22:26:09","guid":{"rendered":"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/?p=672"},"modified":"2020-03-01T14:26:11","modified_gmt":"2020-03-01T22:26:11","slug":"a-curation-of-childrens-literature","status":"publish","type":"post","link":"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/2020\/03\/01\/a-curation-of-childrens-literature\/","title":{"rendered":"A Curation of Children\u2019s Literature"},"content":{"rendered":"\n<p>I would describe my reading selection scheme as \u201ceclectic\u201d at best, so the idea of putting together a \u201cstrategic collection of 15 works\u201d fills me with a degree of anxiousness. I found approaching this task daunting and troubling. I am far more used to being approached by colleagues or students and have them inquire about books and resources that will help for \u201cblank.\u201d From that, I have no trouble pulling together a plethora of titles that would help them accomplish their task.<\/p>\n\n\n\n<p>The other selection criteria that I have typically used, as a teacher-librarian, has been to select books that have recently come into our library. While the vast majority are selected by the library team, we take requests too. Being informed and up to date on the books on our shelves is very important to me as a literacy advocate, as forming that trusting relationship with readers, wanna-be readers and \u201cmandatory, this is for silent reading in class\u201d readers is essential to have patrons come back to the library and utilize our space, for book selection and other activities.<\/p>\n\n\n\n<!--more-->\n\n\n\n<p>Staying on some sort\nof track over 15 works without having it become artificial or thematic, as\nwould usually occur during the selection of classroom materials or literature\nkits was an additional difficulty. The strategy that I eventually adopted to\nmove forward with the assignment was in accordance to a stream of consciousness\napproach, simply listing the works that I have consumed recently and connecting\nthe big idea that lead me to pick up these books. <\/p>\n\n\n\n<p>The big idea that\nI have seen trending in my overall selection and recommendations in literature has\none that I recognized has been following me around for a while and for reasons\nthat come from a very introspective place. I will come back to that after I introduce\na few works in my collection.<\/p>\n\n\n\n<ol class=\"wp-block-list\"><li> <em><a href=\"https:\/\/www.ted.com\/talks\/chimamanda_ngozi_adichie_the_danger_of_a_single_story\/transcript\">The danger of a single story<\/a><\/em> by Chimamanda Ngozi Adichie<\/li><li><em><a href=\"https:\/\/www.cbc.ca\/radio\/ideas\/a-continent-of-stories-slaying-the-dragons-of-hate-with-words-1.5452560\">A continent of stories: Slaying the dragons of hate with words<\/a><\/em> interview with Deborah Ahenkorah  <\/li><\/ol>\n\n\n\n<p>It was the TED Talk by author <a rel=\"noreferrer noopener\" href=\"https:\/\/www.ted.com\/talks\/chimamanda_ngozi_adichie_the_danger_of_a_single_story\/transcript\" target=\"_blank\">Chimamanda Ngozi Adichie<\/a> began me down this vein of thinking. She spoke of being from Nigeria and the influence of Western literature on her identity and the perceptions that others had from her. Though she had no experience of snow or ginger beer growing up in Nigeria, that is what the characters in her stories played in and drank as that was what the characters in the stories that she read did. Just the same, if the stories about Africa, or anywhere, maintain a single narrative, then this shapes the perception of who is reading and listening to these stories. \u201cPower is the ability not just to tell the story of another person,\u00a0but to make it the definitive story of that person\u201d (Adichie, 2009), and if we are only consuming one story or type of story from a singular, homogeneous source, then our conceptions about differences in others will also remain homogeneous. <\/p>\n\n\n\n<figure class=\"wp-block-embed-ted wp-block-embed is-type-video is-provider-ted wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Chimamanda Ngozi Adichie: The danger of a single story\" src=\"https:\/\/embed.ted.com\/talks\/chimamanda_ngozi_adichie_the_danger_of_a_single_story\" width=\"584\" height=\"329\" frameborder=\"0\" scrolling=\"no\" webkitAllowFullScreen mozallowfullscreen allowFullScreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Through the creation of the <a href=\"http:\/\/www.goldenbaobab.org\/\">Golden Baobab Award<\/a>, publisher <a href=\"https:\/\/www.cbc.ca\/radio\/ideas\/a-continent-of-stories-slaying-the-dragons-of-hate-with-words-1.5452560\">Deborah Ahenkora<\/a> also explores how offering different representations through literature can help broaden representation and, by extension, understanding and empathy about different places, people and lifestyles (CBC Radio, 2020). The idea of diverse representation in books and stories leaves the debates about developing empathy through children\u2019s\u2019 literature as proposed by academics such as Kerry Mallan (2013) behind and concentrates on voices other than straight, white and Western. As children see themselves and the world around them represented more fairly and accurately, I hope, we can focus less on developing empathy in groups and fairly represent diverse groups so that they can bring their own voices to the narrative. This is necessary as \u201c[t]he continued lack of diversity in children\u2019s literature is devastating for children as readers, many of whom rarely see their lives and cultural identities within a book\u201d and \u201c[c]hildren who are missing and underrepresented may either take on deficit societal notions of their culture or reject literacy as relevant for their lives\u201d (Short, 2018, p. 293). Empathy toward a particular portion of the world, be it culture, colour, or identity still does not acknowledge that there is a power structure as it is usually the from the dominant group, we seek to develop the empathy in. Giving a voice to the minority may help promote the understanding that, in the words of Deborah Ahenkorah, \u201c[w]e don&#8217;t live in silos. We live in parallel realities\u201d (CBC Radio, 2020).<\/p>\n\n\n\n<figure class=\"wp-block-image is-style-default\"><img loading=\"lazy\" decoding=\"async\" width=\"826\" height=\"313\" src=\"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/Covers-1.png\" alt=\"\" class=\"wp-image-712\" srcset=\"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/Covers-1.png 826w, http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/Covers-1-300x114.png 300w, http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/Covers-1-768x291.png 768w, http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/Covers-1-500x189.png 500w\" sizes=\"auto, (max-width: 826px) 100vw, 826px\" \/><\/figure>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:34%\">\n<ol class=\"wp-block-list\" start=\"3\"><li><em>Sorcery of Thorns<\/em> by Margaret Rogerson<\/li><li><em>The Lost Coast<\/em> by Amy Rose Capetta<\/li><li><em>Gideon the Ninth<\/em> by Tamsyn Muir<\/li><li><em>The Bone Houses<\/em> by Emily Lloyd-Jones<\/li><li><em>19 Love Songs<\/em> by David Levithan<\/li><li><em>Little and Lion<\/em> by Brandy Colbert<\/li><li><em>Picture Us in the Light<\/em> by Kelly Loy Gilbert<\/li><\/ol>\n\n\n\n<p><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66%\">\n<p>With the words of an author and a publisher, both of whom I would play  for a class of secondary level students to illustrate ideas around  authorial voice, my curation journey began. Allow me to continue based  on the category closest to my heart at the moment. Young adult fiction has undergone a radical transformation in recent years, with topics and  writing exploring things that have typically been left for \u201cadult\u201d  narratives. What has struck me about the following list in particular is how far they are from the diversity explicitly being the central notion to the plot or conflict. If LGBTQ+ teens pick up the following, they will find  characters who are not simply struggling to exist, but who do and are  themselves in all sorts of situations, including worlds with daemons,  witches and even set in space. It is not their role to have to explain  their feelings and thoughts about being LGBTQ+, so they get on with  their lives and participate in the world at large, engaging in  friendships, solving problems and battling skeletons.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/Covers-2.png\" alt=\"\" class=\"wp-image-714\" width=\"440\" height=\"223\" srcset=\"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/Covers-2.png 619w, http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/Covers-2-300x152.png 300w, http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/Covers-2-500x254.png 500w\" sizes=\"auto, (max-width: 440px) 100vw, 440px\" \/><\/figure><\/div>\n\n\n\n<p>What is magical to me was the subtlety that some of the novels had with their characters\u2019 diversity and identities. <em>The Bone Houses<\/em> and <em>Sorcery of Thorns<\/em> provided only hints that a potential romantic relationship may be affected by the sexual orientation of another character. In <em>Gideon the Ninth<\/em>, Gideon\u2019s closest relationships are with other female characters and it is even implied that she has romantic feelings for a secondary character, but in no way does she have to explain or answer to why she may blush in the presence of another female. There is no explanation needed in <em>The Lost Coast<\/em> either, particularly as all of the characters central to the plot identify themselves as queer. <em>19 Love Songs<\/em>, <em>Picture us in the Light <\/em>and <em>Little &amp; Lion<\/em> may be more identifiable as the realistic, YA fiction, and have characters who are LGBTQ+, but the plot lines do not revolve around how they manage the justifications for their existence or fighting for their place in the story.<\/p>\n\n\n\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>The idea of subtle inclusion of diversity certainly carries over to graphic novels and in other visual forms. The Eisner Award winning series Lumberjanes has managed to flip the comic world around and introduce a new audience to graphic novels. Five girls at camp continually overcome supernatural challenges of brains and brawn by working as a team and supporting each other through friendship. In the background, burgeoning feelings between two friends that could be inferred as romantic are shown visually, through proximity, colour and expression. Intended for a younger audience, this interaction between these two characters could be easily overlooked, unless a reader was aware and attuned to it. <\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<ol class=\"wp-block-list\" start=\"10\"><li><em>Lumberjanes. Vol. 1, Beware the Kitten Holy<\/em> by Noelle Stevenson and Grace Ellis<img loading=\"lazy\" decoding=\"async\" width=\"180\" height=\"277\" class=\"wp-image-720\" style=\"width: 180px;\" src=\"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/covers-5.jpg\" alt=\"\" srcset=\"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/covers-5.jpg 309w, http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/covers-5-195x300.jpg 195w\" sizes=\"auto, (max-width: 180px) 100vw, 180px\" \/><\/li><li><em>Star vs. the Forces of Evil, \u201cRansomgram\u201d<\/em> on Disney Channel<\/li><\/ol>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<p><em>Star vs. the\nForces of Evil<\/em> is an American stylized anime series where navigating teenage\nfriendships and feelings happen in the backdrop of saving multiple dimensions. The\nseason four episode \u201cRansomgram\u201d introduced Brunzetta, who the titular\ncharacter alternated lovingly starring at with and alternate universe version\nof her friend Marco through the bisexual flag\u2019s colours of pink, purple and\nblue. Subtle and not nearly the focus of the show, but picked up on enough to\nbe celebrated by a community that is underrepresented (Jackman, 2019).<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Abs Dimension \ud83d\udcaa | Star vs. the Forces of Evil | Disney Channel\" width=\"584\" height=\"329\" src=\"https:\/\/www.youtube.com\/embed\/yyRA8fgmVlc?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>\n<\/div><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p><em>The Wicked and Divine<\/em> and <em>Harley Quinn<\/em>  series is intended for more mature audiences. The characters are more  open and about their sexuality and these series have been celebrated by  the LGBTQ community for challenging mainstream comic tropes, as opposed  to be an independent or alternate genre. Anecdotally, the majority of my  school library\u2019s circulation of the above titles are to girls,  suggesting support for Kathy Short\u2019s premise that readers are desirous  of seeing themselves represented. In this case, women being represented  with what has been a male dominated genre and format. <\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<ol class=\"wp-block-list\" start=\"12\"><li> <em>The Wicked and Divine. Vol.1, The Faust Act<\/em> by Kieron Gillen<img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"231\" class=\"wp-image-724\" style=\"width: 150px;\" src=\"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/covers-7.jpg\" alt=\"\" srcset=\"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/covers-7.jpg 309w, http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/covers-7-195x300.jpg 195w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/li><li><em>Harley Quinn. Vol. 1, Hot in the City<\/em> by Amanda Conner and Jimmy Palmiotti<img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"227\" class=\"wp-image-723\" style=\"width: 150px;\" src=\"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/covers-6.jpg\" alt=\"\" srcset=\"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/covers-6.jpg 264w, http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/covers-6-198x300.jpg 198w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/> <\/li><\/ol>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33%\">\n<ol class=\"wp-block-list\" start=\"14\"><li> <em>Don\u2019t Call Me Bear!<\/em> by Aaron Blabey <img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"225\" class=\"wp-image-719\" style=\"width: 150px;\" src=\"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/cover-4.png\" alt=\"\" srcset=\"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/cover-4.png 325w, http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/cover-4-200x300.png 200w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/li><li><em>Not a Box<\/em> by Antionette Portis<img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"151\" class=\"wp-image-718\" style=\"width: 150px;\" src=\"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/cover-3.png\" alt=\"\" srcset=\"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/cover-3.png 325w, http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/cover-3-298x300.png 298w, http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/files\/2020\/03\/cover-3-150x150.png 150w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/li><\/ol>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:67%\">\n<p> In the final category, I would like to include a format that I am least  familiar with. I don\u2019t know if I could have included these titles  without understanding what attracted me to including the above. <em>Don\u2019t Call Me Bear!<\/em> and <em>Not a Box<\/em>  are picture books that introduce the idea that names do not equal  definitions or descriptions of identity. Antionette Portis illustrates that a box can function as anything  that isn\u2019t a box, therefore defying the singular identifier that is  placed upon it. <em>Don\u2019t Call Me Bear!<\/em> also contains a similar  message but extended it to a koala that is fighting back against the  improper application of the term \u201cbear\u201d to his species. Names and their  correct usage have a place and the teaching of either or both books  could be used to suggest the importance of such. <\/p>\n<\/div>\n<\/div>\n\n\n\n<p>As a middle-aged, white, cis-male, I have been aware that I reflect the dominant societal position for a while now. This awareness also brings the understanding that voices from my perspective have dominated the various narrative forms through presenting this perspective. In my role as an English teacher and now teacher-librarian, I have made efforts to include the voices of the underrepresented and missing to the materials that are in my classroom and now library. I will say that I have found the most success when materials represent diversity, not as the reason for conflict, but a genuine placeholder in the narrative. Perhaps with a multitude of diverse voices, the danger that comes from a single story will be drowned out.<\/p>\n\n\n<p><u>Works Cited: <\/u><\/p>\n<p>Adichie, C. N. (2009). <em>Transcript of \u201cThe danger of a single story.\u201d<\/em> TED: Ideas Worth Spreading. https:\/\/www.ted.com\/talks\/chimamanda_ngozi_adichie_the_danger_of_a_single_story\/transcript<\/p>\n<p>Blabey, A. (2019). <em>Don\u2019t call me bear!<\/em> Scholastic, Inc.<\/p>\n<p>CBC Radio. (2020, February 5). <em>A continent of stories: Slaying the dragons of hate with words | CBC Radio<\/em>. CBC. https:\/\/www.cbc.ca\/radio\/ideas\/a-continent-of-stories-slaying-the-dragons-of-hate-with-words-1.5452560<\/p>\n<p>Capetta, A. R. (2019). <em>The lost coast<\/em>. Candlewick Press.<\/p>\n<p>Colbert, B. (2017). <em>Little &amp; Lion<\/em>. Little, Brown and Company.<\/p>\n<p>Conner, A., &amp; Palmiotti, J. (2014). <em>Harley Quinn. Vol. 1, Hot in the city<\/em> (Vol. 1). DC Comics.<\/p>\n<p>Cotugno, S. (2019, March 17). Ransomgram (No. 60a). In <em>Star vs. The Forces of Evil<\/em>. Disney Channel.<\/p>\n<p>Gilbert, K. L. (2019). <em>Picture us in the light<\/em>. Hyperion.<\/p>\n<p>Gillen, K. (2014). <em>The wicked the divine. Vol. 1, The Faust act<\/em> (Vol. 1). Image Comics.<\/p>\n<p>Jackman, J. (2019, March 26). Did Star vs. The Forces of Evil\u2019s main character just come out as bi? <em>PinkNews &#8211; Gay News, Reviews and Comment from the World\u2019s Most Read Lesbian, Gay, Bisexual, and Trans News Service<\/em>. https:\/\/www.pinknews.co.uk\/2019\/03\/26\/star-vs-the-forces-of-evil-bisexual-disney-fans\/<\/p>\n<p>Levithan, D. (2020). <em>19 Love Songs<\/em>. Random House Children\u2019s Books.<\/p>\n<p>Lloyd-Jones, E. (2019). <em>The bone houses<\/em>. Little, Brown and Company.<\/p>\n<p>Mallan, K. (2013). Empathy: Narrative Empathy and Children\u2019s Literature. In Y. Wu, K. Mallan, &amp; R. McGillis (Eds.), <em>(Re)imagining the World: Children\u2019s literature\u2019s response to changing times<\/em> (pp. 105\u2013114). Springer Berlin Heidelberg. https:\/\/doi.org\/10.1007\/978-3-642-36760-1_9<\/p>\n<p>Muir, T. (2019). <em>Gideon the ninth<\/em>. Tor.<\/p>\n<p>Portis, A. (2006). <em>Not a box<\/em>. HarperCollins US.<\/p>\n<p>Rogerson, M. (2019). <em>Sorcery of thorns<\/em>. Margaret K. McElderry Books, an imprint of Simon &amp; Schuster Children\u2019s Publishing Division.<\/p>\n<p>Short, K. G. (2018). What\u2019s Trending in Children\u2019s Literature and Why It Matters. <em>Language Arts<\/em>, <em>95<\/em>(5), 287\u2013298.<\/p>\n<p>Stevenson, N., Ellis, G., Allen, B. A., &amp; Watters, S. (2015). <em>Beware the kitten holy<\/em>. BOOM! Box.<\/p>","protected":false},"excerpt":{"rendered":"<p>I would describe my reading selection scheme as \u201ceclectic\u201d at best, so the idea of putting together a \u201cstrategic collection of 15 works\u201d fills me with a degree of anxiousness. I found approaching this task daunting and troubling. I am &hellip; <a href=\"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/2020\/03\/01\/a-curation-of-childrens-literature\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":5,"featured_media":677,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[83,84],"tags":[107],"class_list":["post-672","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-learning","category-teacher-librarian","tag-lled441"],"_links":{"self":[{"href":"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/wp-json\/wp\/v2\/posts\/672","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/wp-json\/wp\/v2\/comments?post=672"}],"version-history":[{"count":28,"href":"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/wp-json\/wp\/v2\/posts\/672\/revisions"}],"predecessor-version":[{"id":734,"href":"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/wp-json\/wp\/v2\/posts\/672\/revisions\/734"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/wp-json\/wp\/v2\/media\/677"}],"wp:attachment":[{"href":"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/wp-json\/wp\/v2\/media?parent=672"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/wp-json\/wp\/v2\/categories?post=672"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.subproximus.ca\/blogs\/personalmythologies\/wp-json\/wp\/v2\/tags?post=672"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}