{"id":4681,"date":"2018-07-17T16:43:55","date_gmt":"2018-07-17T20:43:55","guid":{"rendered":"http:\/\/lizzieandrewborden.com\/HatchetOnline\/?p=4681"},"modified":"2024-08-15T18:23:55","modified_gmt":"2024-08-15T22:23:55","slug":"victorian-america-and-the-borden-case-in-joyce-carol-oatess-mysteries-of-winterthurn","status":"publish","type":"post","link":"https:\/\/lizzieandrewborden.com\/hatchetonline\/victorian-america-and-the-borden-case-in-joyce-carol-oatess-mysteries-of-winterthurn\/","title":{"rendered":"Victorian America and the Borden Case in Joyce Carol Oates\u2019s Mysteries of Winterthurn"},"content":{"rendered":"

First published in Spring, 2012, Volume 7, Issue 2, The Hatchet: Journal of Lizzie Borden Studies<\/em>.<\/p>\n

<\/span><\/p>\n

\"MysteriesThrough her extraordinary detective novel, Mysteries of Winterthurn<\/i>, the prolific and renowned author Joyce Carol Oates has written a fascinating fictional examination of Victorian America \u2013 its hopes and fears, charms and concerns, ideologies and prejudices.\u00a0<\/span><\/span><\/p>\n

She also explores and transforms some of the most famous American classic crime cases, including the murders of Abby and Andrew Borden, into her very own unique set of \u201cWinterthurn\u201d horrors.<\/span><\/p>\n

The \u201cWinterthurn\u201d of the title is a tempest-tossed fictional town in New York State. Like most small towns, at least as portrayed in literature, Winterthurn cherishes a fa\u00e7ade of wholesomeness and propriety while concealing a variety of unsavory secrets below the surface. The time period in which the bulk of the novel is set is the late nineteenth and early twentieth centuries, an era particularly obsessed with keeping up appearances so that the seamy activities of Winterthurn inhabitants inevitably cause special shock.<\/span><\/p>\n

The novel is divided into three major sections with each section boasting several individually titled chapters. The first section is entitled \u201cThe Virgin in the Rose-Bower; or, the Tragedy of Glen Mawr Manor.\u201d The second is called, \u201cDevil\u2019s Half-Acre; or, the Mystery of the \u2018Cruel Suitor.\u2019\u201d The final major part of the novel is \u201cThe Bloodstained Bridal Gown; or, Xavier Kilgarvan\u2019s Last Case.\u201d\u00a0<\/span><\/span><\/p>\n

Mysteries of Winterthurn<\/i> starts with an \u201cEditor\u2019s Note\u201d that introduces us to the narrator. Writing in the first person, he (later in the book we learn that the narrator is a man) strikes a defensive note as he begins,\u00a0<\/span><\/span><\/p>\n

It is frequently observed by our self-righteous critics that we amateur \u2018collectors\u2019 of Murder are antiquarians at heart: unapologetically to the right in matters political, moral, and religious: possessed of a near-insatiable passion for authenticity, down to the most minute, revealing, and lurid detail: impatient with the new<\/i> (whether it be new and untried modes of murder, or new and untried modes of mystery), and enamored of the old<\/i> (3).\u00a0<\/span><\/span><\/p>\n

He continues to a peculiar defense of his trade as a murder case collector by asserting that murder is an art form and art requires no justification.<\/span><\/p>\n

Next, he tells us that the first of the mysteries about which we will be reading occurred more than a century ago. This is a point to give one pause as it means that the narrator is writing well after the Victorian era has ended, but the style in which he scribes is meant to be heavily suggestive of that era\u2019s writing style. We also learn that \u201cThe Virgin in the Rose-Bower; or, the Tragedy of Glen Mawr Manor\u201d is a crime \u201cclassic\u201d that has never been solved and continues to attract attention from true crime aficionados.\u00a0<\/span><\/span><\/p>\n

A victim turned victimizer and brutality toward babies<\/b><\/span><\/p>\n

While the narrator of Mysteries of Winterthurn<\/i> is never named, the protagonist is detective Xavier Kilgarvan. The novel follows his life, through his cases, from his youth to middle age.<\/span><\/p>\n

The first chapter after that brief but heavily foreshadowing \u201cNote\u201d is entitled \u201cQuicklime.\u201d It introduces readers to Georgina Kilgarvan, a reclusive \u201cspinster\u201d approaching middle age who is in mourning for her father, the late Erasmus Kilgarvan, a renowned and well-known jurist. We learn that the pathologically shy but eminently respectable Georgina often appears in public heavily veiled and has been nicknamed \u201cThe Blue Nun\u201d for her tendency to dress in dark blue and the frequency with which she wears shapeless garments.<\/span><\/p>\n

Georgina has published a few highly experimental poems under the pseudonym \u201cIphigenia.\u201d An example: \u201cIf I \u2013 am You –\/Shall You \u2013 be me?\/If You \u2013 scorn I –\/Where then \u2013 We –\/Be–?\u201d (1). The poetry by Georgina\/Iphigenia is clearly modeled after that of Emily Dickinson.<\/span><\/p>\n

Since the death of Erasmus, the household of the Glen Mawr manor in which Georgina resides has included her, her two sisters, 14-year-old Th\u00e9r\u00e8se and 12-year-old Perdita, and their Uncle Simon Esdras who has published several books on complicated philosophical matters. They also have a few servants and a dog.<\/span><\/p>\n

A married female cousin, Abigail Whimbrel, is visiting the grieving family. Abigail\u2019s husband is not with her but her baby Charleton is. Mother and child stay in what has been designated the \u201cHoneymoon Room.\u201d The walls are decorated with a trompe l\u2019oeil copied from an actual painting entitled The Virgin in the Rose-Bower<\/i>.\u00a0<\/span><\/span><\/p>\n

We soon learn that our protagonist, Xavier Kilgarvan, is the son of Lucas Kilgarvan, a brother of the late Erasmus, and thus the cousin of Georgina, Th\u00e9r\u00e8se, and Perdita. The branch of the family from which Xavier comes are called \u201cthe poor Kilgarvans\u201d and are somewhat estranged from \u201cthe rich Kilgarvans\u201d of Glen Mawr. We also learn from Georgina that Xavier paid much attention to young Perdita at the funeral of Erasmus.<\/span><\/p>\n

The narrator informs readers that Erasmus Kilgarvan was known as a stern jurist who frequently handed down long prison sentences and even death sentences. One of the most famous cases to come before him early in his service was that of Hester Vaugh. The name is obviously intended to recall that of Hester Prynne of Nathaniel Hawthorne\u2019s classic The Scarlet Letter<\/i>.\u00a0<\/span><\/span><\/p>\n

Hester Vaugh was a 17-year-old housemaid impregnated by her employer. When found to be pregnant, she was forced out of the home by the employer\u2019s wife. Penniless and desperate, she took refuge in an abandoned tenement. There she gave birth to a baby that died shortly after birth.\u00a0<\/span><\/span><\/p>\n

Although the infant apparently died because of exposure to the cold and\/or lack of medical attention, a jury convicted Vaugh of first-degree murder \u201cby failing to prevent\u201d the death. Judge Kilgarvan sentenced her to die. The case caught the attention of a \u201crabble-rousing Suffragette group\u201d and other people who believed Hester Vaugh was more sinned against than sinning and sought a second chance for her. Despite the flurry of support she received, the young woman was executed.\u00a0<\/span><\/span><\/p>\n

Erasmus Kilgarvan was married twice. Georgina was born during the first marriage to Vivian Battenberg. Th\u00e9r\u00e8se and Perdita were born during the second marriage to Hortense Spies. Hortense also gave birth to a boy who died shortly after he was born.<\/span><\/p>\n

The narrator informs us that both wives suffered a variety of inexplicable maladies and were oddly accident-prone. We read that they were \u201cforever bruising and banging their heads, torsos, pelvic regions, and thighs\u201d as well as \u201ccracking their ribs and blacking their eyes\u201d (43). These descriptions lead critic Cara Chell to observe accurately that the narrator is unreliable since we are obviously meant to conclude that the late and respected Erasmus was a brutal wife-beater. However, the narrator has Victorian sensibilities, even if he writes a while after that period has closed, and so cannot realize this truth.<\/span><\/p>\n

The mystery of \u201cThe Virgin in the Rose-Bower; or, the Tragedy of Glen Mawr Manor\u201d starts after Abigail\u2019s night in the residence. In the morning, she is found clutching her dead baby to her breast in a room smeared with blood. Abigail has gone mad, humming a nursery song, while little Charleton has \u201csuffered a savage assault, — part of the throat and torso, and much of the back of the tender head, having been, it seemed, eaten away<\/i>\u201d (55).<\/span><\/p>\n

Sixteen-year-old Xavier begins enthusiastically investigating the case. A wide variety of villains are suggested for the brutal and fatal assault on baby Carleton. Did the old and arthritic dog do it? Did a pack of rats? Simon Esdras run amok? The cherubs on the wall come supernaturally to demonic life?<\/span><\/p>\n

As he investigates the puzzling crime, Xavier\u2019s attraction to young Perdita begins to deepen.<\/span><\/p>\n

Xavier is in the Glen Mawr manor attic when he encounters a secret as horrifying as that of Charleton\u2019s murder. In dresser drawers, he discovers baby corpses, semi-mummified with time, and wires wrapped around their tiny throats. Then he sees Georgina gather these long-dead babies into her hands with an expression of \u201cweeping despair.\u201d<\/span><\/p>\n

Thus, the reader learns of a secret so terrible that young Xavier himself dare not reveal it. These are the babies with whom Georgina had been pregnant during the times we had earlier been told the so-called Blue Nun \u201cseemed to affect a deliberate carelessness\u201d in her \u201capparel, wearing dresses that hung on her like sacks.\u201d The narrator interprets this as an attempt \u201cto disguise her inordinate thinness\u201d as he cannot realize that the eminently respectable and affluent spinster was repeatedly pregnant (81).<\/span><\/p>\n

Not only are these \u201cillegitimate\u201d babies, but they are, in all likelihood, the children of incest \u2013 of Georgina\u2019s sexual relationship with her own father. Whether killed by their mother or their father-grandfather, they were killed because society had no place for them and their lives would have proclaimed a disgraceful secret to the world.<\/span><\/p>\n

The realization of the incest between Erasmus and Georgina puts the judge\u2019s career as a stern jurist in a particularly sinister light. He sentenced Hester Vaugh to die for a crime similar to one he or his own daughter committed repeatedly. Moreover, he suffered a stroke in the courtroom at the trial of a lower-class man whose crimes against his children mirrored Erasmus\u2019s own.<\/span><\/p>\n

Echoes of Lizzie in Georgina<\/b><\/span><\/p>\n

It is easy to see the spirit of the Borden case hovering over \u201cThe Virgin in the Rose-Bower; or, the Tragedy of Glen Mawr Manor.\u201d A respected and affluent home in Victorian America is the setting for crimes of a most brutal and bloody nature.<\/span><\/p>\n

Lizzie can also be easily seen in the character of Georgina Kilgarvan. Critics Patricia Craig and Cara Chell have observed that Georgina is modeled after Emily Dickinson, not only in Georgina\u2019s style of poetry writing but in her reclusive life and eccentric personality. It is certainly true that Emily Dickinson is a model for Georgina.<\/span><\/p>\n

However, it can be speculated that Lizzie Borden also influenced the creation of the character of Georgina. The eldest Kilgarvan daughter\u2019s need for privacy and obsessive fear of exposure parallels the life of \u201cLizbeth\u201d after the trial. The veil Georgina adopts resembles the bars of the basement windows of Maplecroft \u2013 the public must be kept away.<\/span><\/p>\n

Moreover, the tragedies in Georgina\u2019s life do not resemble those in Dickinson\u2019s, but strongly resemble those in Lizzie\u2019s. Like Lizzie, Georgina is an eminently respectable upper-class woman who might \u2013 only might<\/i> \u2013 be capable of the most grotesque violence.\u00a0<\/span><\/span><\/p>\n

There is also the probability that Georgina was the victim of incestuous abuse. Although this has never been proven about Lizzie, many people have suggested that either her Uncle John Vinnicum Morse or her father Andrew Borden sexually abused her. It is possible that all of these aspects of Lizzie\u2019s life, both those that were indisputably real and those that were only rumored, went into Oates\u2019s crafting of the tragic story of Georgina.<\/span><\/p>\n

Finally, the \u201cThe Virgin in the Rose-Bower; or, the Tragedy of Glen Mawr Manor\u201d echoes the Borden case in that it is never solved. Neither the reader nor the fictional public of the novel ever learn how, or by whom, baby Charleton was so brutally butchered.\u00a0<\/span><\/span><\/p>\n

One of the most striking aspects of Mysteries of Winterthurn<\/i> in the novel\u2019s entirety is how it deliberately frustrates its readers\u2019 expectations. When we read mysteries, we expect to learn of baffling events, but then to have the mystery solved. Oates tantalizes her readers and leaves us dangling.<\/span><\/p>\n

The murdered factory girls and the victimized accused<\/b><\/span><\/p>\n

The second section of this novel, \u201cDevil\u2019s Half-Acre; or, The Mystery of the \u2018Cruel Suitor\u2019\u201d advances a goal that Oates related in the \u201cAfterword\u201d to the 1985 edition of Mysteries of Winterthurn<\/i>: \u201cto explore historically authentic crimes against women, children, and the poor.\u201d<\/span><\/p>\n

Our narrator points out that the cases he deals with here disputes what he says is often \u201ccharged against connoisseurs of Murder and Mystery that we remain a snobbish species, with a marked predilection for crimes of high life\u201d (155), and therefore are only interested in cases involving affluent victims. The murdered in this mystery are anything but privileged. However, the narrator also frets that some mystery lovers will feel that \u201cthe victims, being mere factory-girls of the lowest social caste, fail to excite interest in themselves\u201d (156).<\/span><\/p>\n

Five teenaged females have been found murdered in an uninhabited area that, long before the slayings, was ominously named the \u201cDevil\u2019s Half-Acre.\u201d The narrator informs us that settlers gave it this name because they were \u201cstruck by the sinister appearance of the rocks and boulders in the area\u201d and \u201cfancied that they had been \u2018strewn about, as if by a giant\u2019s or a demon\u2019s hand\u2019\u201d (158).<\/span><\/p>\n

One of the impoverished victims had been employed as a milliner\u2019s assistant, another as a scullery maid, one had been \u201cemployed in some uncertain capacity in the notorious Hotel Paradise\u201d (which we are later specifically informed was known as a brothel), and two worked in factories. The narrator states that each \u201chad endured unspeakable torments before her death\u201d (164).<\/span><\/p>\n

Authorities examine several suspects and focus on two in particular: Valentine Westergaard, scion of one of Winterthurn\u2019s most prominent families, and middle-aged factory supervisor Isaac Rosenwald. Westergaard comes under suspicion because witnesses recall seeing him, or a man who resembled him, with a couple of the victimized women shortly before their deaths. Rosenwald is suspected because he was the office manager for the Shaw Brothers Textile, the factory at which one of the murdered, Eva Teal, had worked.<\/span><\/p>\n

A Roman Catholic, Teal had worn a necklace with a gold cross on it around her neck. The murderer had torn the cross off and placed it in her mouth. Several observers thought this suggested a \u201critual murder\u201d of the sort that anti-Semitic legend claimed Jews performed upon Gentiles.<\/span><\/p>\n

The \u201cDevil\u2019s Half-Acre; or, The Mystery of the \u2018Cruel Suitor\u2019\u201d is in part inspired by \u2013 not based on \u2013 the infamous case of Leo Frank, a Jewish factory supervisor who was convicted of murdering 13-year-old factory employee Mary Phagan. When Frank\u2019s death sentence was commuted to life imprisonment, a group that was a pre-cursor of a revitalized Ku Klux Klan stormed the prison and lynched him. Most students of the case believe that Frank was innocent and that anti-Semitism played a major part in his wrongful conviction.<\/span><\/p>\n

Police soon become convinced of Rosenwald\u2019s guilt. However, Xavier Kilgarvan becomes convinced that Westergaard is the true culprit. Oates leads the reader down a decidedly bizarre trail as Xavier proves Westergaard\u2019s guilt, but a court comes back with a shocking verdict that Oates leaves frustratingly \u201cmysterious.\u201d<\/span><\/p>\n

Even as Xavier suffers the trauma of seeing the evil Westergaard escape justice, Xavier receives a \u201cDear John\u201d letter from Perdita who plans to marry Rev. Harmon Atticus Bunting III. Her marriage to this man of the cloth forms the basis for the next and final section of the novel.\u00a0<\/span><\/span><\/p>\n

Blood and yet more blood<\/b><\/span><\/p>\n

The book\u2019s last section is entitled \u201cThe Bloodstained Bridal Gown; or, Xavier Kilgarvan\u2019s Last Case.\u201d It begins with an \u201cEditor\u2019s Note\u201d that laments one of the \u201cchurlish criticisms\u201d (353) made against mystery writings, namely that they end in unrealistically tidy conclusions. In this chapter, a footnote dismissively mentions the case of \u201cMiss Lizzie Borden\u201d and the \u201ceccentric personalities who argue\u201d that she was \u201cblameless of the charges laid against her\u201d (355).\u00a0<\/span><\/span><\/p>\n

The narrator\u2019s confidence in the solution reached by Xavier in his final case may well be a warning to the reader to not place such faith in it.<\/span><\/p>\n

Early in the section we meet 72-year-old Letitia Bunting, the mother of Perdita\u2019s husband. Known as a devout Christian with a pleasant demeanor and optimistic spirit, she has lately been concerned because her son has informed her that certain ladies of his church, including her daughter-in-law Perdita, have received anonymous letters of an \u201cobscene\u201d nature. Letitia has also been concerned that her daughter-in-law has sometimes of late appeared distracted or sad.<\/span><\/p>\n

Letitia Bunting goes to visit her son and is confronted by a scene of horror: Rev. Harmon Bunting sitting beside a married woman named Amanda Poindexter, both of them brutally axed to death. The posture of the corpses suggests an adulterous relationship as the narrator informs us that Letitia discovered them with \u201cthe frowsy-haired lady resting her blond head cozily against Harmon\u2019s shoulder, and Harmon with his arm slipped about her waist, his outspread fingers lightly resting on her ample thigh!\u201d (369-370).<\/span><\/p>\n

The scene betrays a macabre sense of humor perhaps meant to underline the supposed romantic relationship of the murdered couple as \u201cpaper cut-out hearts, crimson velvet hearts, cinnamon hearts, chocolate hearts\u201d are \u201cliberally scattered about the bodies\u201d (371). Just as she takes in this scene, Letitia turns around to find an ax upraised and she is herself viciously murdered.<\/span><\/p>\n

When authorities were eventually alerted, they found not only these dead bodies but also a terrified Perdita, attired in her wedding dress and tied up. She claimed that an attacker, whose face she never saw and whose voice she could not identify, forced her to don her wedding dress, and then \u201chad his way\u201d with her.<\/span><\/p>\n

It is obvious that Oates was influenced in writing about this crime by America\u2019s best-known axe murder, namely the Borden case.<\/span><\/p>\n

A now middle-aged detective, Xavier Kilgarvan leaves his New York City residence to return to his native Winterthurn. He hopes to find the culprit. Ironically, in that search he also seeks justice for Perdita who left him years before to marry Rev. Harmon Bunting.\u00a0<\/span><\/span><\/p>\n

That search leads him to many walks along the seamy side of Winterthurn and neighboring Rivi\u00e8re-du-Loup. He even hears rumors of a place where \u201cluckless females were set upon, and torn to pieces by maddened pit bulls\u201d (456).\u00a0 <\/span>That last rumor is a point to give one pause. It may indicate that Oates\u2019s research into the nineteenth century in which this novel is set was not completely thorough. In contemporary America, attacks by pit bulls are frequently reported. These dogs are notoriously used as fighting dogs and often valued by street toughs for their ability to intimidate if they have been bred and\/or trained for aggressiveness.\u00a0<\/span><\/span><\/p>\n

However, there are authorities that state that in the nineteenth century, pit bulls were known as \u201cnanny dogs\u201d because they were so gentle and friendly that people trusted the breed around children. There are also commentators who say that the \u201cnanny dog\u201d pit bull is a myth and that the breed has always been dangerous. Perhaps Oates did not know of those who believe pit bulls once enjoyed a good reputation. Perhaps she studied the question and sides with those who think they have always had a bad reputation.<\/span><\/p>\n

As Xavier searches for the murder of the Buntings and Amanda Poindexter, he also rekindles his love for Perdita \u2013 and finds that love returned. Indeed, this blood-soaked novel, so full of wounded and hateful characters, boasts a happy ending and one that appears to reaffirm both romance and family.<\/span><\/p>\n

Clotted with commas<\/b><\/span><\/p>\n

The chief flaw of Mysteries of Winterthurn<\/i> is the way it is clotted with commas. This is a strongly negative feature characteristic of Oates\u2019s fiction set in the Victorian age. In an article dealing with her previous such novel, A Bloodsmoor Romance<\/i>, James Wolcott pointed out the effects of Oates\u2019s comma-mania on the reader. He quotes the following passage from A Bloodsmoor Romance<\/i>: \u201cI am heartsick, at the distinct possibility, that, amidst my readership, there may well be, here and there, those persons of the masculine gender, who, lacking an intrinsic purity of character, may, by laborious effort, and much unseemly exercise of the lower ranges of the imagination, summon forth a prurient gratification<\/i>, from these hapless pages!\u201d (582). Wolcott advises the readers of his essay to \u201cnote how the commas in the above sentence slow down the action like speed bumps, forcing the reader to brake, press down on the gas pedal, then break again.\u201d Wolcott believes that the writing style of A Bloodsmoor Romance<\/i> ensures against it working in the way its narrator fears: \u201cSentences that fitful won\u2019t inflame anyone\u2019s libido, as Oates surely knows. She\u2019s simply giving herself a tickle.\u201d<\/span><\/p>\n

Mysteries of Winterthurn<\/i> is glutted with similar sentences. An average example: \u201cThough possessed of an enviably placid, and even quiescent, nature, and very rarely, for her sex, prone to outbursts of emotion or hysteria, — save at those inevitable times when female vicissitudes make war, as it were, upon mental equilibrium \u2013 Mrs. Whimbrel bethought herself that she must rise from her bed to examine the room and check once more the slumber of her infant son, who, having been fretful earlier, had been placed by his nurse, at Mrs. Whimbrel\u2019s adamant request, in a wicker crib close by her bed\u201d (9).\u00a0<\/span><\/span><\/p>\n

This style will be off-putting to the many people who prefer a cleaner writing style. However, for those who do not mind reading a story written in this baroque manner, Mysteries of Winterthurn<\/i> can provide some diverting entertainment that is also thought provoking. Aficionados of classic crimes such as the Borden case may find a special reward in seeing how one of America\u2019s most talented authors explores and transforms them.<\/span><\/p>\n

Works cited<\/b><\/span><\/p>\n

Chell, Cara. \u201cUn-Tricking the Eye: Joyce Carol Oates and the Feminist Ghost Story.\u201d The Arizona Quarterly<\/i> (1985). Print.<\/span><\/p>\n

Craig, Patricia. \u201cPhilosophical Tale of Gore.\u201d The New York Times<\/i> 12 February 1984. Print.<\/span><\/p>\n

Huston, Lorie. \u201cHistory of Pit Bulls: From Nanny Dogs to Breed Specific Legislation.\u201d The Pet Health Care Gazette<\/i>. 12 October 2010. Web. 30 April 2012.<\/span><\/p>\n

\u201cThe Nanny Dog Myth Revealed.\u201d The Truth About Pit Bulls<\/i>. 4 August 2010. Web. 30 April 2012.\u00a0<\/span><\/span><\/p>\n

Noe, Denise. \u201cThe Lynching of Leo Frank.\u201d Crime Magazine: An Encyclopedia of Crime<\/i>. 14 March 2005. Web. 30 April 2012.<\/span><\/p>\n

Oates, Joyce Carol. Mysteries of Winterthurn<\/i>. New York: E. P. Dutton, Inc., 1984. Print.<\/span><\/p>\n

Wolcott, James. \u201cStop Me Before I Write Again: Six Hundred More Pages by Joyce Carol Oates.\u201d Harper\u2019s<\/i> September 1982: 67-69. Print.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Lizzie can also be easily seen in the character of Georgina Kilgarvan.<\/span><\/p>\n","protected":false},"author":13,"featured_media":5077,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[35],"tags":[],"class_list":["post-4681","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-denise-noes-lizzie-whittlings"],"_links":{"self":[{"href":"https:\/\/lizzieandrewborden.com\/hatchetonline\/wp-json\/wp\/v2\/posts\/4681","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lizzieandrewborden.com\/hatchetonline\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lizzieandrewborden.com\/hatchetonline\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lizzieandrewborden.com\/hatchetonline\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/lizzieandrewborden.com\/hatchetonline\/wp-json\/wp\/v2\/comments?post=4681"}],"version-history":[{"count":1,"href":"https:\/\/lizzieandrewborden.com\/hatchetonline\/wp-json\/wp\/v2\/posts\/4681\/revisions"}],"predecessor-version":[{"id":5081,"href":"https:\/\/lizzieandrewborden.com\/hatchetonline\/wp-json\/wp\/v2\/posts\/4681\/revisions\/5081"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lizzieandrewborden.com\/hatchetonline\/wp-json\/wp\/v2\/media\/5077"}],"wp:attachment":[{"href":"https:\/\/lizzieandrewborden.com\/hatchetonline\/wp-json\/wp\/v2\/media?parent=4681"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lizzieandrewborden.com\/hatchetonline\/wp-json\/wp\/v2\/categories?post=4681"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lizzieandrewborden.com\/hatchetonline\/wp-json\/wp\/v2\/tags?post=4681"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}