{"id":1810,"date":"2010-11-13T13:35:37","date_gmt":"2010-11-13T21:35:37","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2010\/11\/some_evidence_amongst_the_ruin\/"},"modified":"2010-11-13T13:35:37","modified_gmt":"2010-11-13T21:35:37","slug":"some_evidence_amongst_the_ruin","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2010\/11\/some_evidence_amongst_the_ruin.html","title":{"rendered":"Old Evidence Rediscovered"},"content":{"rendered":"

This report from Athens under the Greek military junta<\/a> 42 years ago turned up in a batch of old letters and postcards that a friend found the other day in a forgotten file. “How I come to have it,” he writes, “is a mystery.” Well, mystery solved: He<\/a> and I were doing VDRSVP<\/a> at the time, and we had published several other Sinclair Beiles<\/a> pieces in it. We must’ve put this one away for future use. So here ‘tiz, nearly half a century later. Sinclair is a cherished memory.<\/a><\/small>
\n<\/a><\/a>
\nPostscript:<\/strong> Nov. 20 — From the Will Wonders Never Cease Dept.:<\/em> Sinclair Beiles’ “grandfather was Mendel Beiles<\/a> (sometimes spelt Beilis) who was fictionalised as Jakob Bok in Bernard Malamud’s novel The Fixer<\/em><\/a>.” So says Brett Beiles, Sinclair’s cousin (and also a South African poet), who got wind of this item the other day.
\n(Crossposted at HuffPo)<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

This report from Athens under the Greek military junta 42 years ago turned up in a batch of old letters and postcards that a friend found the other day in a forgotten file. “How I come to have it,” he writes, “is a mystery.” Well, mystery solved: He and I were doing VDRSVP at the […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","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":[1],"tags":[],"class_list":{"0":"post-1810","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-tc","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1810","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=1810"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1810\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=1810"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=1810"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=1810"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}