{"id":3068,"date":"2026-06-12T17:21:25","date_gmt":"2026-06-12T15:21:25","guid":{"rendered":"https:\/\/practicalsense.net\/?page_id=3068"},"modified":"2026-06-18T13:07:53","modified_gmt":"2026-06-18T11:07:53","slug":"its-always-the-same-it-comes-to-us-later-no-4","status":"publish","type":"page","link":"https:\/\/practicalsense.net\/index.php\/its-always-the-same-it-comes-to-us-later-no-4\/","title":{"rendered":"\u201cIt\u2019s always the same, it comes to us later\u201d"},"content":{"rendered":"\t\t
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Publishing Literary Self-Socioanalyses in Brazil<\/span><\/em><\/span><\/p>

Carolina Pulici & J\u00e9ssica Ronconi<\/strong><\/span><\/p>

Given the determinants of publishing strategies, investigating the diffusion of self-socioanalyses reveals at the outset an unequal capacity of different publishing houses, as well as different countries, to import and export. The international circulation of Annie Ernaux\u2019s work was \u201cdoubtless facilitated by the prestige of being published by Gallimard\u201d (Hugeny-L\u00e9ger, 2025, p. 3), which published 18 of her books in France and counts among the publishers with the greatest power of consecration demonstrated by their ability to export their authors (Sapiro, 2024, p. 40). It was, however, on the recommendation of the British publisher Fitzcarraldo, during the Frankfurt and London book fairs, that the Brazilian publishing house F\u00f3sforo decided to translate her work at the turn of the 2020s (Interview [1]).<\/span><\/p>

Similarly, \u00c9douard Louis, another French author associated with this literary genre, only became a publishing phenomenon in Brazil after being published by Todavia in 2023, following the direct intervention of his anglo-american literary agency, Wylie:<\/span><\/p>

\u201cWhen it reaches us, it\u2019s already, in a certain way, filtered through a certain echo in Europe. It\u2019s always the same, it comes to us later. [\u2026] Our daily work is always in contact with literary agents based in England, in the United States – less in France [\u2026] The case of \u00c9douard Louis, in particular [\u2026], his agent is among the most powerful in the world [\u2026] And Annie Ernaux arrived by the same route [\u2026] through a kind of British filter, in reality, via Fitzcarraldo, a small English publishing house that has in these last few years published some very high level literary authors; it is through the English language that it began to resonate internationally ; it is rare that something comes directly from France.\u201d <\/em>(Interview II [2]).<\/span><\/p>

Given that this literary form is predominant in rich, industrialized countries (Lammers and Twellmann, 2021), this text presents the preliminary findings of recently initiated research on the publication of literary self-socioanalyses in the context of a country like Brazil: a former Portuguese colony and the last western nation to abolish slavery (1888). This research is based on interviews with publishers responsible for the import, and, since 2023, for the domestic production of this literature, as well as on documentary analysis (promotional materials and press clippings).<\/a><\/span><\/p>

A gamble on newcomers already rich in assets<\/strong><\/span><\/p>

In discussing new trends in literary production, Pierre Bourdieu (1999) observes that newcomers, by their very existence and the competition they introduce, threaten the established literary order. If this is the case, what has been described in France as a significant media and publishing interest in narratives of\u00a0transfuges de classe<\/em> (V\u00e9ron and Abiven, 2024) has now arrived in Brazil, with critical and public acclaim, through three new publishing houses established over the past decade: Todavia (2016), \u00c2yin\u00e9 (2017), and F\u00f3sforo (2021).<\/span><\/p>

Despite the lack of seniority, this central component of a publishing house\u2019s symbolic capital is offset by other crucial assets, such as the influence of the catalog, which can be measured by the number of established writers and Nobel Prize winners it represents (Bourdieu, 1999, p. 4). Indeed, F\u00f3sforo published, in the very year of its founding in 2021,\u00a0La Place<\/em> [A Man\u2019s Place] by Annie Ernaux, which was awarded by the Swedish Academy the following year. And the position of these 22 employees publishing house is defined by its possession of other significant resources, such as the presence, among its co-founders, of the widow of the editor-in-chief of Folha de S. Paulo<\/em>, Brazil\u2019s largest newspaper. In 2017, she launched, in partnership with a former journalist from Folha de S. Paulo<\/em>, the magazine Quatro cinco um<\/em>, dedicated to book reviews. Both have organized several editions of the Paraty International Literary Festival (FLIP), one of the leading instances of literary consecration in contemporary Brazil, which welcomed Annie Ernaux as its guest of honor in 2022. Finally, in 2020, this same co-founder established the Megafauna bookstore, located within the Copan Building (1966), one of S\u00e3o Paulo\u2019s architectural landmarks designed by Oscar Niemeyer, Brazil\u2019s most internationally renowned architect. In 2025, a new branch of the bookstore opened in another iconic building of Brazilian modernism: the Teatro Cultura Art\u00edstica (1942), designed by the Italian-Brazilian architect Rino Levi, featuring an artistic fresco by Di Cavalcanti [Figure 1]. Thus, the history of F\u00f3sforo merges with that of other instances dedicated to promoting authors and books.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Figure 1: Megafauna Bookstore at Teatro Cultura Art\u00edstica (S\u00e3o Paulo) <\/em><\/span><\/p>

(source: https:\/\/www.livrariamegafauna.com.br\/sobre-a-livraria\/)<\/em><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Like Annie Ernaux\u2019s Brazilian publisher, Todavia, a mid-sized publishing house (34 employees) that has been publishing \u00c9douard Louis\u2019s books since 2023, has also predicted Nobel Prize winners in its catalog, specifically two: Polish author Olga Tokarczuk (2018) and South Korean author Han Kang (2024). In 2020, after only four years in business, it already ranked second among publishing houses in terms of the number of its authors nominated for the Jabuti Prize (Amado, 2020), one of the country\u2019s most prestigious literary awards, trailing only Companhia das Letras, one of Brazil\u2019s largest publishing groups, which combines symbolic capital with commercial power, and from which all of Todavia<\/em>\u2019s founders hail, with the exception of the son of the chairman of one of Latin America\u2019s largest financial institutions, Ita\u00fasa<\/em>, the publishing house\u2019s main investor at its founding (Maia, 2017).<\/span><\/p>

In this context, Didier Eribon\u2019s publisher, \u00c2yin\u00e9, most closely resembles the ideal-typical condition of recent, small-scale publishing houses (8 employees), with limited economic capital and almost no institutionally recognized symbolic capital (Bourdieu, 1999, p. 11). Reluctant to attend the London and Frankfurt book fairs, the editor, who came across Eribon\u2019s book by his own means rather than through recommendations from literary agents, foreign publishers, or scouts, observes: \u201cSometimes, to sell a book, they tell you, \u2018Oh, this book was published by this or that publishing house. Us, we\u2019ve never paid attention to that. It\u2019s an advantage for us that\u2026 we speak many languages. We read many languages<\/em>\u201d (Interview III[1]<\/sup><\/a>). Founded thanks to the personal inheritance of a young Brazilian \u2013 the only editor who comes neither from the publishing world nor from S\u00e3o Paulo, who has been living in Venice for over twenty years \u2013 and to the investment in euros from an Italian co-founder (and his former professor), this publishing house derives one of its key strengths from its special relationship with Italy: \u201cIn our case, since we\u2019re in Venice, there\u2019s this positive side, perhaps, that there are many bookstores [\u2026] The two best ones sell almost exclusively books from independent publishers<\/em>.\u201d<\/span><\/p>

By way of comparison, while the author of Retour \u00e0 Reims <\/em>[Returning to Reims] has reportedly sold around 8,000 copies since 2020, placing him third in \u00c2yin\u00e9\u2019s catalog in terms of sales (\u201cEribon is bigger than the publishing house<\/em>,\u201d Interview III), \u00c9douard Louis, published by Todavia three years later, already counts 155,000 copies, making him the publisher\u2019s second most selling author and Brazil the second-largest market, after France, for his bestsellers. Despite this, the Venice based publisher, which stands out for publishing comparatively few translations from English (even though it publishes more translations than any other), enjoys a certain prestige among critics and booksellers, notably thanks to its \u201coff the beaten path catalog\u201d (Meirelles, 2018), focused on Italian and Eastern European authors, such as Joseph Brodsky and Wis\u0142awa Szymborska, winners of the Nobel Prize in Literature in 1987 and 1996.<\/span><\/p>

This emblematic prize of the unification of the international literary scene (Casanova, 2008) demonstrates its quasi-universal recognition when, by awarding it to Annie Ernaux in 2022, it considerably reduces the time lag previously observed in the publication of her work in Brazil, which extends to the works of the entire line valued by the prize (Table I).<\/span><\/p>

The characterization of the publishing houses of Annie Ernaux, \u00c9douard Louis, and Didier Eribon suggests that the financial resources at their disposal, particularly in the case of the first two, do not necessarily place them in the most heteronomous segment of the Brazilian publishing landscape. This is evidenced by the absence of their titles from the list of the top twenty bestsellers of 2025 (Sobota, 2026), as well as the presence of Nobel Prize winners and Jabuti Prize finalists in their catalogs. As demonstrated by their visibility in the mainstream print media, \u201ca form of recognition that is both symbolic and commercial\u201d (No\u00ebl, 2012, p. 142), F\u00f3sforo, Todavia, and, to a lesser extent, \u00c2yin\u00e9 seem to occupy intermediate positions between the poles of financial power and symbolic power, as if they were following in the footsteps of Companhia das Letras, where one of F\u00f3sforo\u2019s co-founders also began her career.<\/span><\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Source: Information taken from publishers’ websites and press releases<\/em><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Strategies for the creation of a lineage<\/b><\/p>

The dissemination of the prize awarded to Annie Ernaux with all of her \u201coffspring\u201d is reflected in the exchanges of recommendations and favors that take place within the interpersonal networks of editors from different countries (Bourdieu, 1999). Thus, during the Nobel Prize ceremony in Stockholm, while the laureate\u2019s editors were gathered, the British publishing house Fitzcarraldo, which had already offered to acquire the first book by Jos\u00e9 Henrique Bortoluci, a Ph.D. in sociology from the University of Michigan and a lecturer in Brazil, encouraged other publishers to do the same, thus helping ensure that O que \u00e9 meu <\/em>[What is Mine] was sold to ten foreign publishers even before its publication in Brazil, including the Dutch Arbeiderspers, the Swedish Norstedts, and the Spanish Random House (Gabriel, 2023), which, like Fitzcarraldo, was already publishing Annie Ernaux: \u201cThey are interested in this type of narrative [of a transfuge de classe] [\u2026], but I have no doubt that the entry of the English editor made other editors take notice and become interested in the book<\/em>\u201d (Interview I).<\/span><\/p>

The attempt to attach the three French and two Brazilian authors recently published by F\u00f3sforo to a lineage that can be traced back to Bourdieu, as argued by a literary critic (Angiolillo, 2023), is also evident in the editorial work shaping their reception in the public space through book covers, back covers, and even the physical space of bookstores [Figure 2]. Thus, in the promotional material for\u00a0La Place <\/em>[A Man\u2019s Place], we read: \u201cone of France\u2019s most important living writers [\u2026] who, decades later, would serve as a declared inspiration to major figures in global autofiction and to leading names in French literature such as \u00c9douard Louis and Didier Eribon.<\/em>\u201d Similarly, Todavia places Combats et m\u00e9tamorphoses d’une femme <\/em>[A Woman\u2019s Battles and Transformations] \u201cin a tradition which leads back to Annie Ernaux and Didier Eribon<\/em>.\u201d While this is not the case with \u00c2yin\u00e9 (\u201cI don\u2019t like to use one author to sell another<\/em>\u201d) (Interview III), Eribon nevertheless writes blurbs for foreign editions of Bortoluci\u2019s book, such as the German edition published by Aufbau, just as Annie Ernaux does for Fitzcarraldo and Random House.<\/span><\/p>

Finally, the same logic of elevating the debut author to the level of their prestigious predecessors (Sapiro, 2024, p. 67) appears in the synopsis of A boba da corte <\/em>[The Court Jester], by Tati Bernardi, a screenwriter, podcaster, and highly publicized columnist for Folha de S. Paulo<\/em>, published by F\u00f3sforo: \u201cIf the theme has already been extensively explored by Annie Ernaux, Didier Eribon, \u00c9douard Louis, and, in Brazil, by Jos\u00e9 Bortoluci, among others, in A boba da corte Bernardi takes the tradition of autosociobiography even further, adding layers of irony and humor to narratives of class transition.<\/em>\u201d Her inscription in this lineage predates the book\u2019s publication, as Bernardi had led reading groups for Ernaux\u2019s novels under the auspices of F\u00f3sforo itself. She had also participated, in the 2024 edition of FLIP, in a roundtable discussion alongside \u00c9douard Louis, whose coverage in the major national press helped turn the French writer\u2019s work into a market phenomenon in Brazil rather than merely a niche one (Interview II).<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Figure 2: Livraria da Tarde, in S\u00e3o Paulo, 10.10,2025.<\/em><\/span>
(Credit: Carolina Pulici)<\/em><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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If the importation of an author also depends on book clubs and other alternative channels for promoting books and connecting with readers, in Louis\u2019s case, these interactions are amplified by his personal involvement in promoting his work on social media, on Brazilian television shows, and, in March 2026, through his participation in the<\/span>\u00a0<\/span>Mostra Internacional de Teatro de S\u00e3o Paulo<\/i>\u00a0<\/span>(MITsp). Confirming the importance, for an author\u2019s commercial success, of their dissemination through other cultural products beyond the book (Florimond-Clerc and Gabrysiak, 2025), the adaptation of Qui a tu\u00e9 mon p\u00e8re<\/em><\/span> [<\/span>Who Killed My Father],<\/i>\u00a0<\/span>produced by the Schaub\u00fchne Berlin and the Th\u00e9\u00e2tre de la Ville de Paris, was directed by Thomas Ostermeier himself, who, in 2019, had adapted <\/span>Retour \u00e0 Reims <\/span><\/em>[<\/span>Returning to Reims]\u00a0<\/span>within a French context, thereby contributing once again to the consolidation of a lineage.<\/span><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Figure 3: \u00c9douard Louis onstage in a (new) adaptation by Thomas Ostermeier in S\u00e3o Paulo.<\/em><\/span><\/p>

(Credits: MITsp and Jean-Louis Fernandez. <\/em>Source: https:\/\/www.instagram.com\/p\/DVbul8aDZ2_\/?img_index=2.)<\/em><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Homogenization of catalogues and the preservation of traditional cultural import-export<\/b><\/p>

Our initial results lead us to believe that the importation of literary self-socioanalyses into the Brazilian context of the 2020s primarily reveals the unifying and homogenizing dynamics of the publishing market and, consequently, the \u201cgrowing isomorphism\u201d of catalogs (Sapiro, 2024). Thus, in explaining why it entered the race for the distribution rights to \u00c9douard Louis\u2019s work in Brazil, Todavia acknowledges that the affinity between this literature and its developing catalog \u201cobviously has to do with this circuit, which is a well-defined circuit of literary agents and countries where these authors find success. […] a Romanian author who hasn\u2019t gone through this circuit of literary agents isn\u2019t just going to arrive out of nowhere and come here. No matter how good the book is<\/em>.\u201d (Interview II)<\/span><\/p>

The assertion that the authors most likely to be translated in Brazil are those who fit into the circuit defined by major anglo-american literary agents, as well as those who have achieved success in certain countries, reflects the reproduction of the traditional cultural import-export dynamic between central and peripheral nations. Thus, F\u00f3sforo describes his trips to the countries \u201cwhere literature comes from<\/em>\u201d as a unidirectional exchange: \u201cWe go to London and Frankfurt every year; we go there to do business. They don\u2019t come […] with my close friends, I say: \u2018I\u2019m already in a bad mood, I\u2019ve already arrived having spent more than you, I don\u2019t even speak my own language anymore.<\/em>\u2019\u201d (Interview I) Likewise, the cultural and commercial recognition of \u00c9douard Louis in Brazil reiterates what Pascale Casanova has called the \u201csubjugation of the (necessary) inventions of the South to the preestablished norms of the North\u201d (1997, p. 88), insofar as \u201cmuch of the buzz he generates is linked to the echo he produces among Brazilian authors who seek to write both autofiction and fiction based on the experience of <\/em>transfuge de classe, as is the case with Tati Bernardi, as is the case with Bortoluci\u201d<\/em> (Interview II).<\/span><\/p>

The persistence of relations of domination between nations is ultimately expressed by the weight that approval from central nations carries in obtaining national prestige, as the editor of O que \u00e9 meu<\/em> [What is Mine] notes: \u201cThe fact that it has largely sold well abroad also means that the Brazilian market pays more attention to it<\/em>.\u201d And this is true even when reception in international spaces remains, it seems, and as is often the case for other Brazilian authors who break through the barrier of translation, limited: \u201cThe fact that it has been translated does not necessarily mean that it has been widely read […] there are two barriers; the first and most difficult one\u2014in reality, I don\u2019t even know which is harder, whether getting published or getting read.<\/em>\u201d (Interview I).<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Footnotes<\/strong><\/span><\/p>

[1] <\/span>Interview with one of the founders of F\u00f3sforo (11\/03\/2026).<\/span><\/span><\/p>

[2] Interview with one of the founders of Todavia <\/i>(19\/03\/2026). The Wylie Edition <\/i>took the French writer from the Spanish publishing house Tusquets, who had published him in Brazil since 2018, due to a poor critical reception and insufficient sales.<\/span><\/span><\/p>

[3] Interview with one of the founders of \u00c2yin\u00e9<\/em> (16\/03\/2026).<\/span><\/p>

References<\/strong><\/span><\/p>

  • Amado, M. C. (2017) \u201cEditora Todavia mira o p\u00fablico deixado pela Cosac Naify\u201d, Veja.<\/em><\/span><\/p><\/li>

  • Angiolillo, F. (2023) \u201cO que \u00e9 nosso\u201d, Quatro cinco um<\/em>.<\/span><\/p><\/li>

  • Bourdieu, P. (1999) \u201cUne r\u00e9volution conservatrice dans l\u2019\u00e9dition\u201d, Actes de la recherche en sciences sociales<\/em>, 126-127, pp. 3-28.<\/span><\/p><\/li>

  • Casanova, P. (2008) La r\u00e9publique mondiale des lettres<\/em>. Paris: Seuil.<\/span><\/p><\/li>

  • Casanova, P. (1997) \u201cA World Fiction<\/em>: uma fic\u00e7\u00e3o cr\u00edtica\u201d in Bourdieu and Miceli (eds.). Liber 1<\/em>. S\u00e3o Paulo: Edusp, pp. 255-272.<\/span><\/p><\/li>

  • Florimond-Clerc, A. and Gabrysiak, L. (2025) New Romance. Anatomie d\u2019un ph\u00e9nom\u00e8ne \u00e9ditorial<\/em>. Nancy: \u00c9ditions de l\u2019Universit\u00e9 de Lorraine.<\/span><\/p><\/li>

  • Gabriel, R. S. (2023) \u201cConhe\u00e7a o escritor brasileiro que em sua estreia j\u00e1 foi vendido para mais de 10 pa\u00edses e rende compara\u00e7\u00e3o com Annie Ernaux\u201d, O Globo<\/em>.<\/span><\/p><\/li>

  • Hugueny-L\u00e9ger, \u00c9. (2025) \u201cAnnie Ernaux \u00e0 l\u2019international. R\u00e9sonances et r\u00e9ceptions d\u2019une \u0153uvre \u2018universelle\u2019\u201d, COnTEXTES <\/em>[online], 36.<\/span><\/p><\/li>

  • Lammers, P. and Twellmann, M. (2021) \u201cL\u2019autosociobiographie, une forme itin\u00e9rante\u201d, COnTEXTES<\/em> [online], varia.<\/span><\/p><\/li>

  • Maia, M. C. (2020) \u201cA escalada da Todavia\u201d, O Globo<\/em>.<\/span><\/p><\/li>

  • Meirelles, M. (2018) \u201cNova no mercado, editora \u00c2yin\u00e9 firma bom cat\u00e1logo fora do radar\u201d, Folha de S\u00e3o Paulo<\/em>.<\/span><\/p><\/li>

  • No\u00ebl, S. (2012) L\u2019\u00e9dition ind\u00e9pendante critique. Engagements politiques et intellectuels<\/em>. Paris: Presses de l\u2019Enssib.<\/span><\/p><\/li>

  • Sapiro, G. (2024) Qu\u2019est-ce qu\u2019un auteur mondial\u00a0? Le champ litt\u00e9raire transnational. <\/em>Paris: Seuil\/Gallimard.<\/span><\/p><\/li>

  • Sobota, G. (2026) \u201cQuatro dos cinco mais vendidos em 2025 s\u00e3o livros de colorir, segundo a Lista Nielsen-PublishNews\u201d, PublishNews<\/em>.<\/span><\/p><\/li>

  • V\u00e9ron, L. and Abiven, K. (2024) Trahir et venger. Paradoxes des r\u00e9cits de transfuges de classe<\/em>. Paris: La D\u00e9couverte.<\/span><\/p><\/li><\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

    Publishing Literary Self-Socioanalyses in Brazil Carolina Pulici & J\u00e9ssica Ronconi Given the determinants of publishing strategies, investigating the diffusion of self-socioanalyses reveals at the outset an unequal capacity of different […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_EventAllDay":false,"_EventTimezone":"","_EventStartDate":"","_EventEndDate":"","_EventStartDateUTC":"","_EventEndDateUTC":"","_EventShowMap":false,"_EventShowMapLink":false,"_EventURL":"","_EventCost":"","_EventCostDescription":"","_EventCurrencySymbol":"","_EventCurrencyCode":"","_EventCurrencyPosition":"","_EventDateTimeSeparator":"","_EventTimeRangeSeparator":"","_EventOrganizerID":[],"_EventVenueID":[],"_OrganizerEmail":"","_OrganizerPhone":"","_OrganizerWebsite":"","_VenueAddress":"","_VenueCity":"","_VenueCountry":"","_VenueProvince":"","_VenueState":"","_VenueZip":"","_VenuePhone":"","_VenueURL":"","_VenueStateProvince":"","_VenueLat":"","_VenueLng":"","_VenueShowMap":false,"_VenueShowMapLink":false,"footnotes":""},"class_list":["post-3068","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/practicalsense.net\/index.php\/wp-json\/wp\/v2\/pages\/3068","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/practicalsense.net\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/practicalsense.net\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/practicalsense.net\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/practicalsense.net\/index.php\/wp-json\/wp\/v2\/comments?post=3068"}],"version-history":[{"count":37,"href":"https:\/\/practicalsense.net\/index.php\/wp-json\/wp\/v2\/pages\/3068\/revisions"}],"predecessor-version":[{"id":3368,"href":"https:\/\/practicalsense.net\/index.php\/wp-json\/wp\/v2\/pages\/3068\/revisions\/3368"}],"wp:attachment":[{"href":"https:\/\/practicalsense.net\/index.php\/wp-json\/wp\/v2\/media?parent=3068"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}