{"id":1230,"date":"2005-08-28T10:06:22","date_gmt":"2005-08-28T17:06:22","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2005\/08\/mcinerney_keeps_in_touch_with\/"},"modified":"2005-08-28T10:06:22","modified_gmt":"2005-08-28T17:06:22","slug":"mcinerney_keeps_in_touch_with","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2005\/08\/mcinerney_keeps_in_touch_with.html","title":{"rendered":"MCINERNEY KEEPS IN TOUCH WITH YOUTH, MUFFS IT"},"content":{"rendered":"<p><A HREF=\"http:\/\/www.nytimes.com\/pages\/books\/review\/index.html?adxnnl=1&#038;adxnnlx=1125241234-xdRsfukWZf0bZ\/X\/UAmYQg\" class=inline target=new\"><img decoding=\"async\" alt=\"Illustration by JOSH CHOCHRAN.jpg\" src=\"http:\/\/www.artsjournal.com\/herman\/archives\/Illustration%20by%20JOSH%20CHOCHRAN.jpg\" width=100 align=right border=0 \/><\/a>Uh, Jay, what got into you? Some kind of turgid word virus? Is there any other explanation for this sentence?<\/p>\n<blockquote><p>Wilmerding is aimless and passive in a Oblomovian way that is, we sense, meant to be representative in terms of his chrysalis stage in life and the dictates of the genre.<\/p><\/blockquote>\n<p>The <a href=\"http:\/\/www.nytimes.com\/2005\/08\/28\/books\/review\/28MCINER.html\" class=inline target=new\"><strong><font color=#003399>whole damned review<\/strong><\/font><\/a> sounds like that. And on the front page, no less. How could you let it out of the house, and how could they have let it in?<br \/>\n<i>&#8212; Tireless Staff of Thousands<\/i><\/p>\n","protected":false},"excerpt":{"rendered":"<p>whole damned review sounds like that. And on the front page, no less. How could you let it out of the house, and how could they have let it in? &#8212; Tireless Staff of Thousands<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-1230","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-jQ","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1230","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=1230"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1230\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=1230"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=1230"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=1230"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}