{"id":3744,"date":"2020-07-23T12:56:34","date_gmt":"2020-07-23T19:56:34","guid":{"rendered":"https:\/\/underthetablebooks.com\/blog\/?p=3744"},"modified":"2020-07-23T14:28:45","modified_gmt":"2020-07-23T21:28:45","slug":"the-same-woman-sakura","status":"publish","type":"post","link":"https:\/\/underthetablebooks.com\/blog\/archives\/3744","title":{"rendered":"The Same Woman (Sakura)"},"content":{"rendered":"\n
\"\"<\/figure>\n\n\n\n

2018. Andrew and his wife Luisa are both seventy, their birthdays a few weeks apart. They are in good health, Andrew descended from Ashkenazi Jews, Luisa from Chippewa Quebecois Afro-Cubans. Their many friends want to throw them a big birthday party, but they decline, having suffered through a big party last year to celebrate their thirtieth wedding anniversary and now feeling done with big parties forever.<\/p>\n\n\n\n

Andrew and Luisa are writers and musicians and live ten miles north of Vancouver, British Columbia with their three children\u2014twins Teo and Rosa, eleven, Jalecia, eight\u2014in a large house Andrew built forty-two years ago. Also part of the family is Diana, a poet in her late forties who resides in the other house on the property and is essentially the children\u2019s third parent.<\/p>\n\n\n\n

Luisa\u2019s daughter Lily, mother of Jalecia, is\nthirty-six, a movie actress living in Los Angeles. Her torrid romance with pop\nstar Kingdom Jungle Boy and their tumultuous seven-month marriage and messy\ndivorce were exhaustively covered in the tabloids and mainstream media a year\nago and shortly thereafter Lily landed a leading role in the huge-budget remake\nof The King and I<\/em> set in a distant\nsolar system, Lily the earthling who comes to the tropical planet Thailorg to\ntutor the emperor\u2019s many translucent four-armed children, the iconic songs\nupdated with hip hop arrangements.  <\/p>\n\n\n\n

Andrew\u2019s son Owen is also thirty-six and lives in\nVancouver with his wife Miyoshi, who is thirty-nine, and their three-year-old\ndaughter Mimi. Owen and Miyoshi recently left the employ of the movie producer\nand director Nicolas Thorsen and moved from Ireland to Vancouver to launch\ntheir own film company Character Driven Cinema, Owen a producer\/director, Miyoshi\na cinematographer. <\/p>\n\n\n\n

\u2206<\/p>\n\n\n\n

Andrew and Luisa are delighted to have Owen and\nMiyoshi and the darling Mimi in their midst, and they are excited that Character\nDriven Cinema\u2019s first film is the metaphysical comedy Moon In Leo<\/em> from an original screenplay by Andrew and Luisa to be\nfilmed in and around the nearby town of Squamish.<\/p>\n\n\n\n

Some years ago Luisa stopped writing stories and until\nrecently was content to work with Andrew on his plays while managing the\nbusiness end of things and raising the children. However, for the last several\nmonths, she has been overwhelmed by the kids and frequently depressed by the daunting\nprospect of parenting teenagers until she is eighty.<\/p>\n\n\n\n

Andrew continues writing short stories and plays,\nbut often goes weeks now without writing. The children and music, specifically\ncomposing for the piano, are his main everyday endeavors now.<\/p>\n\n\n\n

And Diana, who has lived with Andrew and Luisa and\nthe kids for six years, is currently the three-days-a-week drawing and painting\nteacher at the Vancouver Waldorf high school and is in the second year of a\nrelationship with Simon, a singer songwriter who makes his living building\nstone walls.<\/p>\n\n\n\n

\u2206<\/p>\n\n\n\n

One of the main characters in Moon In Leo<\/em> is Old Martha, an ancient wizard who uses her talent for\nshape shifting to influence the flow of events in the movie. Miyoshi\u2019s mother,\nSakura Enamoto, a well-known actress in Japanese cinema, will play the part of\nOld Martha, and in mid-march, a few weeks before filming begins, Sakura arrives\nin Vancouver to spend time with her granddaughter Mimi and to rehearse her\nscenes with an acting coach fluent in Japanese and English. <\/p>\n\n\n\n

Two days after Sakura arrives in Canada, Owen and\nMiyoshi and Mimi and Sakura come to Andrew and Luisa\u2019s for lunch. This being a\nTuesday, Rosa and Teo and Jalecia are in school, which is a huge relief to Owen\nand Miyoshi and Luisa, and a big disappointment to Mimi who is madly in love\nwith the big kids she knows as her cousins, though biologically Rosa is her half-aunt,\nTeo her half-uncle, and Jalecia no relation.  <\/p>\n\n\n\n

Sakura is strikingly beautiful with enormous brown\neyes, long black hair, a girlish figure, and a regal bearing. Though seventy,\nmost people assume she is much younger. She speaks somewhat broken English,\nunderstands English quite well, and has little trouble communicating with\nAndrew and Luisa and Owen. <\/p>\n\n\n\n

Miyoshi, whose father is French, is fluent in\nJapanese, English, German, and French. She spent her first twenty years in\nJapan with her mother and then moved to Switzerland where she attended film\nschool before becoming Thorsen\u2019s cameraperson and eventually his\ncinematographer.<\/p>\n\n\n\n

Sakura was unable to attend Owen and Miyoshi\u2019s\nwedding in Ireland seven years ago, nor did her subsequent trips to Ireland coincide\nwith Andrew and Luisa\u2019s trips to Ireland, so this luncheon is the first time the\nthree of them meet.<\/p>\n\n\n\n

When everyone is seated around the dining table\nenjoying Luisa\u2019s fish tacos con guacamole, Mimi sitting on Luisa\u2019s lap, Sakura\nsays in her deep resonant voice, \u201cNow we can have Owen and Miyoshi wedding for\nparents.\u201d<\/p>\n\n\n\n

\u201cLet this<\/em>\nbe the wedding,\u201d says Miyoshi, laughing wearily. \u201cThis could be our only chance\nin the next six months.\u201d<\/p>\n\n\n\n

\u201cOkay,\u201d says Sakura, smiling and nodding to Luisa\nand Andrew. \u201cI so honor your son marry my daughter. She so lucky to marry such\ngood man.\u201d<\/p>\n\n\n\n

\u201cAnd we are honored your daughter married our\nson,\u201d says Andrew, nodding graciously. \u201cHe is very lucky to be married to such\na wonderful woman.\u201d<\/p>\n\n\n\n

\u201cI now pronounce you wife and husband,\u201d says\nLuisa, raising her glass of bubbly water to Owen and Miyoshi.<\/p>\n\n\n\n

Sakura raises her glass and says something in\nJapanese.<\/p>\n\n\n\n

Everyone drinks and Luisa asks Miyoshi, \u201cWhat did\nyour mother say?\u201d <\/p>\n\n\n\n

\u201cShe said \u2018May our families be joined forever.\u2019\u201d<\/p>\n\n\n\n

\u2206<\/p>\n\n\n\n

The sun breaks through the clouds after lunch and\nthe three grandparents and grandchild have coffee and cookies on the deck while\nOwen and Miyoshi stay inside making phone calls as the thousand and one\nresponsibilities of producing a major motion picture weigh heavily upon them.<\/p>\n\n\n\n

Mimi chooses Sakura\u2019s lap for cookie time, reasoning\nthat Luisa will only allow her one cookie whereas Sakura might be good for two\nor three.<\/p>\n\n\n\n

\u201cSo beautiful place,\u201d says Sakura, gazing out over\nthe large vegetable and flower garden, the wild forest beyond. \u201cI read your\nplay in Japanese before English. Very great play. I honor to be Old Martha. She\nstrong witch but funny. I want you show me how you want me say your words.\u201d<\/p>\n\n\n\n

\u201cI\u2019m at your service,\u201d says Andrew, enchanted by\nher. \u201cI\u2019ll be attending your first few sessions with your acting coach and be\non the set for all your scenes.\u201d<\/p>\n\n\n\n

\u201cYou tell me how you want,\u201d she says, nodding\nconfidently. \u201cI can learn.\u201d<\/p>\n\n\n\n

\u2206<\/p>\n\n\n\n

When Andrew wrote the first draft of Moon In Leo<\/em>, he envisioned Old Martha\nplayed by some great British actress, but when Owen and Miyoshi read the script\nthey immediately saw Sakura in the role, and only now, as they are about to\nstart filming, do they think they may have made a terrible mistake in casting\nSakura as Old Martha.<\/p>\n\n\n\n

Indeed, so distraught are Owen and Miyoshi, that\nafter they take Sakura and Mimi back to Vancouver following the luncheon, Owen returns\nto Andrew and Luisa\u2019s to tell them he and Miyoshi are seriously considering bringing\nin another actress to play the part of Old Martha.<\/p>\n\n\n\n

\u201cThis has ballooned into a thirty-million-dollar\nmovie,\u201d says Owen, sequestered in Andrew\u2019s office with Andrew and Luisa, the\nkids home from school and piqued they can\u2019t hang out with Uncle Owen. \u201cIf Old\nMartha isn\u2019t funny, the movie flops.\u201d<\/p>\n\n\n\n

\u201cWhat makes you think Sakura won\u2019t be funny?\u201d asks\nLuisa, who secretly shares Owen\u2019s doubts.<\/p>\n\n\n\n

\u201cJapanese humor and American humor are worlds\napart,\u201d says Owen, sounding utterly miserable. \u201cDifferent timing, different phrasing,\ndifferent emphasis on syllables, different facial expressions, different body\nlanguage. Why we thought Sakura could deliver these lines as you intended, I\ndon\u2019t know. We just saw<\/em> her in the\npart, and of course she\u2019ll look fabulous, but\u2026\u201d<\/p>\n\n\n\n

\u201cCould you dub someone else saying her lines?\u201d asks Luisa, making a sour face at her idea. <\/p>\n\n\n\n

\u201cNo,\u201d says Owen, anguished. \u201cShe\u2019s a great artist.\nIt would be like dubbing Meryl Streep. And we can\u2019t afford to shoot the scenes\nwith Sakura and then reshoot them with someone else if they don\u2019t work. She\u2019s\nin a quarter of the scenes.\u201d He bows his head. \u201cWhat were we thinking?\u201d<\/p>\n\n\n\n

\u201cYou weren\u2019t thinking,\u201d says Andrew, placing his hand on Owen\u2019s shoulder. \u201cAnd I mean that in a good way. You were feeling<\/em>, and I think you felt correctly. You just have to trust in your deeper wisdom and prepare her for those scenes as well as you can.\u201d<\/p>\n\n\n\n

\u201cAs well as you<\/em> can, Papa,\u201d says Owen, looking up at his father. \u201cOnly you can teach her the timing. The Jewish timing. And we know that\u2019s what you want. Groucho Marx in the body of a shape-shifting wizardess from Japan.\u201d<\/p>\n\n\n\n

\u201cI\u2019m game,\u201d says Andrew, feeling as he always does\nwhen a creative challenge takes him over\u2014exhilarated and full of curiosity to\nsee what will happen next.<\/p>\n\n\n\n

\u2206<\/p>\n\n\n\n

For the first coaching session, Andrew meets with\nSakura and her bi-lingual coach, a young Japanese Canadian woman named Joan, in\na large warehouse Owen and Miyoshi leased for filming sequences involving\nspecial effects, though they hope to capture most of the action on location in the\nforest and coastal settings that figure so prominently in the story. <\/p>\n\n\n\n

Sakura has loosed her long black hair from her\nponytail and is wearing a dress made of rags, a prototype of what Old Martha\nwears when wandering in the forest and lounging in her lair in the hollow trunk\nof a giant Sitka spruce. Andrew is dressed in black T-shirt and baggy brown pants,\nJoan in black slacks and a white dress shirt with a red bow tie.<\/p>\n\n\n\n

They begin with Old Martha\u2019s first scene, wherein\nshe walks through the forest finding various plants and mushrooms and speaking\nto them as she eats them, the scene ending with her sensing a crystal buried under\na large fern and cajoling the crystal to emerge from the ground so she can steal\nits power.<\/p>\n\n\n\n

Sakura has thoroughly memorized her lines and\nrecites them as a mother might speak to her small children as she walks along\nand mimes plucking and eating the occasional mushroom and fern fiddlehead, with\nJoan correcting her few mispronunciations. <\/p>\n\n\n\n

When Sakura finishes the scene, she stands\nsilently awaiting Andrew\u2019s critique.<\/p>\n\n\n\n

\u201cYou walk with such grace,\u201d says Andrew, smiling\nat her. \u201cBut we want Old Martha to have a bit of a hitch in her git-a-long.\u201d<\/p>\n\n\n\n

Sakura stares blankly at him, the phrase\nmeaningless to her.<\/p>\n\n\n\n

\u201cA subtle limp. She is not so graceful.\u201d<\/p>\n\n\n\n

Sakura nods solemnly. \u201cYou show me.\u201d<\/p>\n\n\n\n

So Andrew demonstrates a less graceful walk with a\nslightly stooped posture, and speaks to the imagined mushrooms in the manner of\nan ironical Jewish comedian.<\/p>\n\n\n\n

Joan and Sakura laugh several times during his\nrendition, after which Sakura says, \u201cYou do again. I shadow.\u201d<\/p>\n\n\n\n

\u201cShadow? You mean imitate me?\u201d<\/p>\n\n\n\n

Sakura says something to Joan in Japanese. <\/p>\n\n\n\n

Joan translates, \u201cShe will be your shadow and your\necho.\u201d<\/p>\n\n\n\n

\u201cFine,\u201d says Andrew, wondering how she intends to\ndo that. <\/p>\n\n\n\n

Sakura comes and stands directly behind Andrew,\nher body no more than two feet from his, and as he enacts the scene, she\nfollows him so closely and mimics his posture and movements so precisely she is,\nliterally, his three-dimensional shadow. And when he speaks his lines, she quietly\nechoes his every word.<\/p>\n\n\n\n

At scene\u2019s end Sakura says, \u201cYou easy for me to\nfollow. Now I do scene for you.\u201d<\/p>\n\n\n\n

\u201cOkay,\u201d says Andrew, breathless from their\nintimate enactment.<\/p>\n\n\n\n

Sakura does the scene again, not so much in\nimitation of Andrew, but with the cadence of his speech and the gist of his\nmannerisms, and both Andrew and Joan are in awe of Sakura\u2019s transformation.<\/p>\n\n\n\n

\u2206<\/p>\n\n\n\n

The next day, following their second coaching session, Sakura and Andrew go to lunch at a nearby caf\u00e9 and share brief autobiographies.<\/p>\n\n\n\n

Sakura tells of when she was thirty-two and became pregnant with Miyoshi, and the father, a French journalist, wanted her to give up her acting career and move to France with him. <\/p>\n\n\n\n

\u201cHe no\nunderstand I devote to acting. I say to him, \u2018I no love you. I love be actor.\u2019 He\nsay, \u2018Then you must abortion,\u2019 but I want Miyoshi. I pick her father because he\nbeautiful man.\u201d She looks into Andrew\u2019s eyes. \u201cI know if I meet you when I am\nyoung, I want you to be father. And husband.\u201d<\/p>\n\n\n\n

\u201cI\u2019m flattered,\u201d says Andrew, imagining her at thirty-two and him at thirty-two and how well they might have fit together. <\/p>\n\n\n\n

\u201cYou know me,\u201d she says, holding out her hand to him. \u201cI know you. In Japan we say sorumeito<\/em>. Our soul know each other.\u201d<\/p>\n\n\n\n

\u201cI think so, yes,\u201d says Andrew, taking her hand. \u201cSoul mates.\u201d<\/p>\n\n\n\n

\u2206<\/p>\n\n\n\n

Andrew coaches Sakura for two hours a day for the\nnext two weeks, and with every session she becomes more and more the master of\nher scenes. <\/p>\n\n\n\n

But when she rehearses with the other movie actors\nfor the first time, and Andrew is not in attendance, she is at a loss how to\nproceed.<\/p>\n\n\n\n

Owen and Miyoshi are again convinced they made a terrible\nmistake casting Sakura in the role of Old Martha, and when Andrew arrives at\nthe next rehearsal, he finds the movie\u2019s star, a rakishly handsome Australian,\nberating Owen for wasting his time with \u201csome washed up Kabuki bimbo.\u201d<\/p>\n\n\n\n

Despite the star\u2019s kvetching, the rehearsal begins\nand Andrew knows immediately that the problem is not Sakura, but the other\nactors, their timing dreadful and their understanding of their characters\ncompletely off the mark.<\/p>\n\n\n\n

\u201cIf I may show you the way Sakura learned this\nscene,\u201d says Andrew, speaking up when the action grinds to a halt a few terrible\nminutes into the rehearsal, \u201cI think you\u2019ll see why we\u2019re having trouble with\nthe flow.\u201d<\/p>\n\n\n\n

\u201cWho are you?\u201d snarls the rakishly handsome\nAustralian.<\/p>\n\n\n\n

\u201cI am the writer of this comedy,\u201d says Andrew,\nbowing to the irate actor. \u201cAnd I have been coaching Sakura for the last two\nweeks.\u201d<\/p>\n\n\n\n

Before the star can protest, Andrew strides toward\nSakura and delivers the star\u2019s opening line, I thought I\u2019d find you here. <\/em>Sakura waits for Andrew to be nearly\nupon her before she fires off a stinging rejoinder and deftly dances away\u2014she\nand Andrew playing out an elaborate pas\ndes deux<\/em> during which they exchange rapid-fire insults and Andrew can never\nquite overtake her as she deftly foils his every move\u2014the assembled cast and\ncrew roaring with laughter as the scene reaches its denouement and Sakura shape\nshifts into a gorgeous young temptress (to be achieved more fully with special\neffects) and steps into Andrew\u2019s arms and kisses him.<\/p>\n\n\n\n

\u2206<\/p>\n\n\n\n

With Owen and Miyoshi\u2019s insistence, Andrew takes\nover the direction of all Sakura\u2019s scenes and painstakingly trains the other\nactors until their timing and intentions synch perfectly with Sakura\u2019s.<\/p>\n\n\n\n

And though rehearsing and shooting these scenes\u2014many\nof them extremely complicated\u2014takes much more time than Owen and Miyoshi\nbudgeted for, the results are spectacular. \n <\/p>\n\n\n\n

\u2206<\/p>\n\n\n\n

When filming wraps in June, Sakura stays on in\nVancouver to take care of Mimi for a couple of months while Owen and Miyoshi\nwork day and night to fashion a viable cut of the movie to show to distributors.<\/p>\n\n\n\n

Sakura frequently brings Mimi to Andrew and\nLuisa\u2019s, Mimi loving being with her cousins, and on several occasions Sakura\nand Mimi spend the night at Andrew and Luisa\u2019s rather than having Andrew ferry\nthem back to Vancouver or asking Owen to come fetch them.<\/p>\n\n\n\n

\u2206<\/p>\n\n\n\n

One such evening, the kids gone to bed, Andrew and\nLuisa and Sakura have tea in the living room and Sakura says to Andrew, \u201cWhy\nyou never direct movie? You so good director.\u201d<\/p>\n\n\n\n

\u201cI never wanted to,\u201d says Andrew, who feels profoundly\nchanged and inspired by the experience of directing Sakura\u2019s scenes. \u201cOr I\ndidn\u2019t think I wanted to.\u201d<\/p>\n\n\n\n

\u201cMaybe now you do,\u201d she says, nodding hopefully.\n\u201cMaybe you write movie with part for me and be director.\u201d<\/p>\n\n\n\n

\u201cSeems so far beyond me now,\u201d he says, exhausted after\na long day at the beach with the children. \u201cThough I did love directing you.\u201d<\/p>\n\n\n\n

\u201cIf you weren\u2019t seventy and raising three children,\u201d\nsays Luisa, vastly relieved Moon In Leo<\/em>\nis no longer taking so much of Andrew\u2019s time, \u201cdirecting a movie might not seem\nso daunting.\u201d<\/p>\n\n\n\n

\u201cI think I\u2019ll leave the movie making to Miyoshi\nand Owen,\u201d says Andrew, yawning and closing his eyes. \u201cBarring the discovery of\nthe fountain of youth.\u201d<\/p>\n\n\n\n

Sakura yawns in sympathy with Andrew. \u201cTwo year\nago my agent say he find part for me. I say \u2018What is part?\u2019 Agent say \u2018Grandmother\nin TV show. Your daughter is divorce, have two children, try many men.\u2019 I say \u2018What\ngrandmother do?\u2019 Agent say \u2018Grandmother babysit children and complain daughter about\nbe old and everything so hard now.\u2019 I say \u2018I don\u2019t want grandmother part.\u2019 Agent\nsay, \u2018You old now, Sakura, not so many part for you. This good part. Everyone\nwatch. Pay high money.\u2019 But I say no and now only have one small part in movie next\nyear.\u201d<\/p>\n\n\n\n

Andrew opens his eyes. \u201cAfter Moon In Leo<\/em> comes out, you\u2019ll have lots of work.\u201d<\/p>\n\n\n\n

\u201cI hope so,\u201d she says, nodding seriously. \u201cI like\nwork if part good. Make me feel\u2026 purpose. Yes? Purpose?\u201d<\/p>\n\n\n\n

\u201cYes,\u201d says Luisa, who is struggling mightily with\nthe same issue in her life. \u201cPurpose.\u201d<\/p>\n\n\n\n

\u201cMiyoshi and Owen ask me move here,\u201d says Sakura,\nhalf-smiling and half-frowning. \u201cI think if no part come for me, maybe I am\nyour neighbor.\u201d<\/p>\n\n\n\n

\u201cWe would love that,\u201d says Andrew, who makes no\nsecret of his fondness for Sakura.<\/p>\n\n\n\n

\u2206<\/p>\n\n\n\n

Two nights before she is to fly back to Japan, Sakura\ninvites Andrew and Luisa and Owen and Miyoshi to join her for supper at a\nhigh-end Japanese restaurant, Sakura having arranged everything in advance with\nthe chef.<\/p>\n\n\n\n

Midway through the spectacular meal, sak\u00e9 warming their hearts and loosening their tongues, Owen announces they have signed an excellent distribution deal and Moon In Leo<\/em> will open wide in England, Canada, Australia, Europe, and Asia in September of 2019, with a limited opening in America in October of 2019, with wider distribution should the film catch on.<\/p>\n\n\n\n

\u201cAnd our next movie,\u201d says Owen, gazing fondly at\nMiyoshi, \u201cis going to be something much less grandiose.\u201d<\/p>\n\n\n\n

\u201cMuch,\u201d says Miyoshi, kissing him.<\/p>\n\n\n\n

Now Sakura raises her cup of sak\u00e9 to Andrew and\nLuisa and says, \u201cI hope we be friends for rest of life.\u201d<\/p>\n\n\n\n

\u201cI hope so, too,\u201d says Luisa, raising her cup to\nSakura. <\/p>\n\n\n\n

\u201cWe will be,\u201d says Andrew, raising his cup and\nsmiling at Sakura. \u201cWithout a doubt.\u201d<\/p>\n\n\n\n

\u201cWithout a doubt,\u201d says Sakura, echoing Andrew\nprecisely. <\/p>\n\n\n\n

fin<\/em><\/p>\n\n\n\n

Slender Sadness<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

2018. Andrew and his wife Luisa are both seventy, their birthdays a few weeks apart. They are in good health, Andrew descended from Ashkenazi Jews, Luisa from Chippewa Quebecois Afro-Cubans. Their many friends want to throw them a big birthday party, but they decline, having suffered through a big party last year to celebrate their […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[858,6004,2485,5989,5962,6011,6003,6006,6007,6002,6009,51,6008,6010,6001,5973,9,33,5939,6005],"_links":{"self":[{"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/posts\/3744"}],"collection":[{"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/comments?post=3744"}],"version-history":[{"count":3,"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/posts\/3744\/revisions"}],"predecessor-version":[{"id":3749,"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/posts\/3744\/revisions\/3749"}],"wp:attachment":[{"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/media?parent=3744"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/categories?post=3744"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/underthetablebooks.com\/blog\/wp-json\/wp\/v2\/tags?post=3744"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}