{"id":33970,"date":"2022-07-20T09:47:24","date_gmt":"2022-07-20T09:47:24","guid":{"rendered":"https:\/\/cjstudents.com\/?p=33970"},"modified":"2022-07-20T09:47:24","modified_gmt":"2022-07-20T09:47:24","slug":"the-editor-who-moves-theory-into-the-mainstream","status":"publish","type":"post","link":"https:\/\/cjstudents.com\/index.php\/2022\/07\/20\/the-editor-who-moves-theory-into-the-mainstream\/","title":{"rendered":"The Editor Who Moves Theory Into the Mainstream"},"content":{"rendered":"<p> [ad_1]<\/p>\n<div>\n<div class=\"GenericCalloutWrapper-bDIbv hXUVPA callout--has-top-border inset-embedded-lede\" data-testid=\"GenericCallout\">\n<figure class=\"AssetEmbedWrapper-iKAnWF bhyIoG asset-embed\">\n<div class=\"AssetEmbedAssetContainer-foMCXx bomDaa asset-embed__asset-container\"><span class=\"SpanWrapper-kHmjLe dukugq responsive-asset AssetEmbedResponsiveAsset-eWcsO lgxMZN asset-embed__responsive-asset\"><picture class=\"ResponsiveImagePicture-jJpQhK beZiNg AssetEmbedResponsiveAsset-eWcsO lgxMZN asset-embed__responsive-asset responsive-image responsive-image--expandable\"><noscript><img decoding=\"async\" alt=\"A photograph of Ken Wissoker looking out into the distance.\" class=\"ResponsiveImageContainer-dmuwLx fydubv responsive-image__image\" src=\"https:\/\/media.newyorker.com\/photos\/62422e56eca4e929cc3cf414\/master\/w_2560%2Cc_limit\/Wilson-Ken-Wissoker.jpg\" srcset=\"https:\/\/media.newyorker.com\/photos\/62422e56eca4e929cc3cf414\/master\/w_120,c_limit\/Wilson-Ken-Wissoker.jpg 120w, https:\/\/media.newyorker.com\/photos\/62422e56eca4e929cc3cf414\/master\/w_240,c_limit\/Wilson-Ken-Wissoker.jpg 240w, https:\/\/media.newyorker.com\/photos\/62422e56eca4e929cc3cf414\/master\/w_320,c_limit\/Wilson-Ken-Wissoker.jpg 320w, https:\/\/media.newyorker.com\/photos\/62422e56eca4e929cc3cf414\/master\/w_640,c_limit\/Wilson-Ken-Wissoker.jpg 640w, https:\/\/media.newyorker.com\/photos\/62422e56eca4e929cc3cf414\/master\/w_960,c_limit\/Wilson-Ken-Wissoker.jpg 960w, https:\/\/media.newyorker.com\/photos\/62422e56eca4e929cc3cf414\/master\/w_1280,c_limit\/Wilson-Ken-Wissoker.jpg 1280w, https:\/\/media.newyorker.com\/photos\/62422e56eca4e929cc3cf414\/master\/w_1600,c_limit\/Wilson-Ken-Wissoker.jpg 1600w, https:\/\/media.newyorker.com\/photos\/62422e56eca4e929cc3cf414\/master\/w_1920,c_limit\/Wilson-Ken-Wissoker.jpg 1920w, https:\/\/media.newyorker.com\/photos\/62422e56eca4e929cc3cf414\/master\/w_2240,c_limit\/Wilson-Ken-Wissoker.jpg 2240w\" sizes=\"100vw\"\/><\/noscript><\/picture><\/span><\/div>\n<p><span class=\"BaseWrap-sc-UABmB BaseText-fETRLB CaptionText-cNZZli hkSZSE cPYsoi faGSa-d caption__text\">Ken Wissoker has helped to enshrine cultural studies in the American academy.<\/span><span class=\"BaseWrap-sc-UABmB BaseText-fETRLB CaptionCredit-cSxGsC hkSZSE gymDyQ nycwb caption__credit\">Photograph by Cathy N. Davidson\u00a0<\/span><\/p>\n<\/figure>\n<\/div>\n<p class=\"has-dropcap has-dropcap__lead-standard-heading\">In her 2018 book \u201c<a target=\"_blank\" data-offer-url=\"https:\/\/www.amazon.com\/Double-Negative-Black-Popular-Culture\/dp\/1478000546\" class=\"external-link\" data-event-click=\"{&quot;element&quot;:&quot;ExternalLink&quot;,&quot;outgoingURL&quot;:&quot;https:\/\/www.amazon.com\/Double-Negative-Black-Popular-Culture\/dp\/1478000546&quot;}\" href=\"https:\/\/www.amazon.com\/Double-Negative-Black-Popular-Culture\/dp\/1478000546\" rel=\"nofollow noopener\">Double Negative: The Black Image and Popular Culture<\/a>,\u201d Racquel Gates explores the disruptive potential of stereotypical or so-called negative images of Black people onscreen: Flavor Flav on VH1\u2019s \u201cFlavor of Love,\u201d for example, and the stars of \u201cratchet\u201d reality shows such as \u201cBasketball Wives.\u201d These images, Gates argues, intervene against narratives of racial uplift that are overly tethered to white and middle-class definitions of respectability. In her acknowledgments section, Gates, a professor of film and media studies at Columbia, invokes a scene from \u201cLove &amp; Hip Hop,\u201d in which an aspiring singer tells an entertainment manager, \u201cI want to be on your roster.\u201d Gates writes, \u201cWhile I was tempted to quote this bit of dialogue to my editor, Ken Wissoker, during our first meeting, I erred on the side of caution.\u201d<\/p>\n<p class=\"paywall\">Wissoker, who has been an editor at Duke University Press since 1991, has a formidable roster, and one could easily imagine a reality show about junior scholars fighting for a chance to work with him. Under his mantle, Duke has become known as a press that blends scholarly rigor with conceptual risk-taking, where high and low art boldly intermingle on principle. (In \u201c<a target=\"_blank\" data-offer-url=\"https:\/\/www.amazon.com\/Queer-Failure-John-Franklin-Center\/dp\/0822350459\" class=\"external-link\" data-event-click=\"{&quot;element&quot;:&quot;ExternalLink&quot;,&quot;outgoingURL&quot;:&quot;https:\/\/www.amazon.com\/Queer-Failure-John-Franklin-Center\/dp\/0822350459&quot;}\" href=\"https:\/\/www.amazon.com\/Queer-Failure-John-Franklin-Center\/dp\/0822350459\" rel=\"nofollow noopener\">The Queer Art of Failure<\/a>,\u201d a Duke title from 2011, the queer theorist Jack Halberstam posited that the film \u201cDude, Where\u2019s My Car?\u201d \u201cthematizes the limits to masculinist forms of knowing.\u201d) As an editor, Wissoker veers away from books built around \u201csubjects\u201d\u2014his voice disapprovingly goes down an octave when he says the word. Instead, he told me, he looks for theory: new systems of understanding that help us rethink everything from identity to the ocean floor.<\/p>\n<p class=\"paywall\">Wissoker heads one of the few academic presses with crossover appeal: if you notice that a concept from the ivory tower is creeping onto your timeline, there is a decent chance that the idea first appeared in a Duke book under his guidance. (For example, a <a target=\"_blank\" href=\"https:\/\/www.teenvogue.com\/story\/what-is-necropolitics\" rel=\"noopener\"><em>Teen Vogue<\/em> piece<\/a> from last year contended that racial disparities in <em class=\"small\">COVID<\/em>-19 outcomes were a consequence of \u201cnecropolitics\u201d; the concept was coined by the philosopher Achille Mbembe, who, in <a target=\"_blank\" data-offer-url=\"https:\/\/www.amazon.com\/Necropolitics-Theory-Forms-Achille-Mbembe\/dp\/147800651X\" class=\"external-link\" data-event-click=\"{&quot;element&quot;:&quot;ExternalLink&quot;,&quot;outgoingURL&quot;:&quot;https:\/\/www.amazon.com\/Necropolitics-Theory-Forms-Achille-Mbembe\/dp\/147800651X&quot;}\" href=\"https:\/\/www.amazon.com\/Necropolitics-Theory-Forms-Achille-Mbembe\/dp\/147800651X\" rel=\"nofollow noopener\">his 2019 Duke book<\/a> of the same title,writes about \u201cthe necropolitical principle insofar as it stands for organized destruction, for a sacrificial economy, the functioning of which requires, on the one hand, a generalized cheapening of the price of life and, on the other, a habituation to loss.\u201d) The world of arts and letters often relies on Wissoker\u2019s authors for creative stimuli. The art historian Homay King\u2019s \u201c<a target=\"_blank\" data-offer-url=\"https:\/\/www.amazon.com\/Lost-Translation-Orientalism-Enigmatic-Signifier\/dp\/0822347598\" class=\"external-link\" data-event-click=\"{&quot;element&quot;:&quot;ExternalLink&quot;,&quot;outgoingURL&quot;:&quot;https:\/\/www.amazon.com\/Lost-Translation-Orientalism-Enigmatic-Signifier\/dp\/0822347598&quot;}\" href=\"https:\/\/www.amazon.com\/Lost-Translation-Orientalism-Enigmatic-Signifier\/dp\/0822347598\" rel=\"nofollow noopener\">Lost in Translation: Orientalism, Cinema, and the Enigmatic Signifier<\/a>\u201d (2010) inspired the 2015 Met exhibition \u201cChina: Through the Looking Glass.\u201d Halberstam\u2019s scholarship on gender, public space, and \u201cthe bathroom problem\u201d\u2014first articulated in \u201c<a target=\"_blank\" data-offer-url=\"https:\/\/www.amazon.com\/Female-Masculinity-Jack-Halberstam\/dp\/1478001623\" class=\"external-link\" data-event-click=\"{&quot;element&quot;:&quot;ExternalLink&quot;,&quot;outgoingURL&quot;:&quot;https:\/\/www.amazon.com\/Female-Masculinity-Jack-Halberstam\/dp\/1478001623&quot;}\" href=\"https:\/\/www.amazon.com\/Female-Masculinity-Jack-Halberstam\/dp\/1478001623\" rel=\"nofollow noopener\">Female Masculinity<\/a>\u201d (1998)\u2014became the subject of a film exhibit at the Museum of Modern Art. In <a target=\"_blank\" href=\"https:\/\/www.newyorker.com\/books\/under-review\/the-depressive-realism-of-the-life-of-the-mind\" rel=\"noopener\">Christine Smallwood\u2019s<\/a> novel \u201c<a target=\"_blank\" data-offer-url=\"https:\/\/www.amazon.com\/Life-Mind-Novel-Christine-Smallwood\/dp\/0593229916\" class=\"external-link\" data-event-click=\"{&quot;element&quot;:&quot;ExternalLink&quot;,&quot;outgoingURL&quot;:&quot;https:\/\/www.amazon.com\/Life-Mind-Novel-Christine-Smallwood\/dp\/0593229916&quot;}\" href=\"https:\/\/www.amazon.com\/Life-Mind-Novel-Christine-Smallwood\/dp\/0593229916\" rel=\"nofollow noopener\">The Life of the Mind<\/a>\u201d (2021), the main character, an adjunct named Dorothy with thwarted tenure-track dreams, finds <a target=\"_blank\" href=\"https:\/\/www.newyorker.com\/magazine\/2019\/03\/25\/affect-theory-and-the-new-age-of-anxiety\" rel=\"noopener\">Lauren Berlant<\/a>\u2019s \u201c<a target=\"_blank\" data-offer-url=\"https:\/\/www.amazon.com\/Cruel-Optimism-Lauren-Berlant\/dp\/0822351110\" class=\"external-link\" data-event-click=\"{&quot;element&quot;:&quot;ExternalLink&quot;,&quot;outgoingURL&quot;:&quot;https:\/\/www.amazon.com\/Cruel-Optimism-Lauren-Berlant\/dp\/0822351110&quot;}\" href=\"https:\/\/www.amazon.com\/Cruel-Optimism-Lauren-Berlant\/dp\/0822351110\" rel=\"nofollow noopener\">Cruel Optimism<\/a>\u201d (2011) to be depressingly relatable: \u201c\u00a0\u2018Cruel optimism\u2019 was Berlant\u2019s way of theorizing why and how people remained attached to fantasies and aspirations of \u2018the good life\u2019\u00a0.\u00a0.\u00a0. \u2018Cruel optimism\u2019 was Dorothy\u2019s entire life.\u201d<\/p>\n<p class=\"paywall\">The breadth of Duke\u2019s footprint in popular culture is a startling feat of influence for a small university press that is boutique even by its own industry\u2019s standards. Duke publishes just a hundred and fifty books a year (by comparison, Oxford University Press publishes more than six thousand), and Wissoker considers anything that sells two thousand or more copies annually a best-seller. (A <em>Times<\/em> best-seller typically has to clock thousands more in a single week.) The niche press has inspired similarly niche tweets. David Hollingshead, an assistant professor at MacEwan University, in Canada, likes to tweet out fake Duke titles as a hobby: \u201clook, I\u2019ve been to the Duke UP offices and it\u2019s just one guy writing all those books, he\u2019s hooked up to a giant machine and he screams in anguish but they force him to keep popping out manuscripts called like Biointensities of the New Imperium,\u201d one reads.<\/p>\n<p class=\"paywall\">By e-mail, Hollingshead told me that his tweets are meant to be playful and that, among his academic followers, they tend to elicit \u201ca genuine (if somewhat abashed) insider fondness for these tics.\u201d He added, \u201cIt\u2019s hard to overstate the press\u2019s salutary effects on academic scholarship today.\u201d Duke has been a leader in taking once marginalized disciplines built around the experiences of marginalization (queer studies, ethnic studies, disability studies, trans studies) and institutionalizing them. Wissoker\u2019s authors now chair departments and sit on tenure committees. Some of them started out not knowing whether the academy would open its doors for them, and today they hold the keys. When I asked Wissoker, \u201cDo you prefer \u2018pope\u2019 or \u2018kingmaker?,\u2019\u00a0\u201d he threatened to run out of the room.<\/p>\n<p class=\"paywall\">[<em>Support The New Yorker\u2019s award-winning journalism. <a target=\"_blank\" href=\"https:\/\/subscribe.newyorker.com\/subscribe\/splits\/newyorker\/NYR_Generic?source=HCL_NYR_IN_CONTENT_SUBSCRIBE_0_ZZ\" rel=\"noopener\">Subscribe today \u00bb<\/a><\/em>]<\/p>\n<p class=\"has-dropcap has-dropcap__lead-standard-heading paywall\">I first met Wissoker on a chilly day last November at his East Village apartment. I wore a red sweater from the Gap that was too big for me, but in a way that I believed looked intentional and vaguely expensive. I had read that Wissoker was a bit of a clotheshorse\u2014an aesthete who noticed whether writers were dressed as stylishly as they thought. \u201cI think style among academics is field-specific and can be misleading,\u201d he later told me. When he first went to the College Art Association annual conference to meet with art historians, he thought that it looked promising: \u201cI saw people dressed in a really cool way, and I remember thinking, Oooh, this is going to be really interesting.\u201d Looks were deceiving, he found. \u201cIt was just, like, no\u2014they do their work in Florence and go shopping when they\u2019re in Italy.\u201d He has never been to the big conferences for sociology or political science, he said, \u201cbut what I\u2019ve heard of the dressing there would match my sense of people in those departments.\u201d He chuckled disapprovingly.<\/p>\n<p class=\"paywall\">He himself was wearing what I would learn was his uniform: slim-fitted black pants and a colorful, collared shirt. With his black-rimmed glasses, he reminded me of the Weezer front man Rivers Cuomo. His record collection and sound system had a considerable footprint in his small apartment. Wissoker\u2019s hyper-attunement to style extends to his environs: his apartment evokes an interior-design store curated by a comp-lit major who harbors nostalgia for their semester abroad in Tokyo. \u201cI don\u2019t know if you have been in Japan at all,\u201d he said, as he pointed out prints by Osamu Kanemura and Daid\u014d Moriyama. A slanted, three-tiered lampshade reminded me of Tatlin\u2019s Tower. I managed not to bump into a piece of spiky driftwood, the size of a small child, that Wissoker\u2019s wife, Cathy Davidson, a <em class=\"small\">CUNY<\/em> professor of English and author of \u201c36 Views of Mount Fuji: On Finding Myself in Japan,\u201d had \u201cmade sculptural.\u201d As he and I sat down at his kitchen table to talk, I could see a <a target=\"_blank\" href=\"https:\/\/www.newyorker.com\/magazine\/2000\/05\/15\/her-secret-identities\" rel=\"noopener\">Cindy Sherman<\/a> print on the wall behind him.<\/p>\n<p class=\"paywall\">Wissoker told me that he and Davidson had curated the apartment in the same way that he curates his relatively compressed slate of authors. \u201cYou wait until something is really good,\u201d he explained, \u201crather than just go out and get a bunch of stuff.\u201d He sees a connection between his editor\u2019s intuition and his days as a hip-hop d.j. for his college station in Chicago in the nineteen-eighties. \u201cIt\u2019s all about finding out where the sound is, where is it coming from,\u201d he told me. \u201cI like to say, \u2018You go where the thinking is <em>livest<\/em>.\u2019\u00a0\u201d Right now, that\u2019s in Black thought and Asian American studies. He loves Twitter, which helps him identify the buzziest scholars and ideas.<\/p>\n<p class=\"paywall\">He spoke in a relaxed, surferesque drawl\u2014lots of <em>so, like<\/em>s\u2014but appeared to become nervous when I asked where he\u2019s from. \u201cThat has actually always been a really hard question for me,\u201d he said, as if resigned to disappointing me. \u201cI come from a very conventional background.\u201d He shyly recounted a typical Jewish middle-class upbringing: New Rochelle, public schools, Book-of-the-Month Club, etc. He prefers to tell his origin story by way of books, specifically the ones he came across in the seventies and eighties at the University of Chicago, a school he chose to attend after reading in a brochure, \u201cIf you\u2019re a misunderstood intellectual in your high school, you\u2019ll be in your element here.\u201d He narrated discovering the field of cultural studies\u2014in the classes of the anthropologists John and Jean Comaroff\u2014with the same longing and affection with which others might describe their first college keg party. Talking about Dick Hebdige\u2019s book \u201c<a target=\"_blank\" data-offer-url=\"https:\/\/www.amazon.com\/Subculture-Meaning-Style-New-Accents\/dp\/0415039495\" class=\"external-link\" data-event-click=\"{&quot;element&quot;:&quot;ExternalLink&quot;,&quot;outgoingURL&quot;:&quot;https:\/\/www.amazon.com\/Subculture-Meaning-Style-New-Accents\/dp\/0415039495&quot;}\" href=\"https:\/\/www.amazon.com\/Subculture-Meaning-Style-New-Accents\/dp\/0415039495\" rel=\"nofollow noopener\">Subculture<\/a>\u201d (1979), a classic cultural-studies text, he got so excited that I worried he was going to choke on air. Hebdige argues in \u201cSubculture\u201d that the mods and skinheads of nineteen-sixties Britain fashioned themselves after Black culture\u2014or, more precisely, their fantasy of it. \u201cIt\u2019s this double projection,\u201d Wissoker explained, his face awash in ecstasy, \u201cwhere you project these other people in the first place, and you forget that it\u2019s your projection and arrange yourself in relation to it.\u201d He could not stop smiling.<\/p>\n<p class=\"paywall\">Cultural studies was a loosely defined school of thought developed by working-class British academics such as Raymond Williams and Richard Hoggart, who believed that the culture of the people they grew up with was as legitimate an object of study as Shakespeare or classical music. After arriving in England on a Rhodes Scholarship, the Jamaican-born thinker Stuart Hall expanded on their work, analyzing the cultures of ethnic minorities and migrants in the United Kingdom to build his theories of multiculturalism and the political significance of the popular arts. \u201cPopular culture is one of the sites where this struggle for and against a culture of the powerful is engaged,\u201d Hall wrote.<\/p>\n<p class=\"paywall\">Wissoker would eventually spend his days at Duke working to enshrine cultural studies in the American academy, especially as the field grew to encompass queer theory and ethnic studies. David L. Eng, a professor of English and Asian American studies at the University of Pennsylvania, has published all his monographs with Duke, and said that the press has been \u201cindispensable\u201d to making Asian American studies central to American studies. \u201cThe academy today is quote-unquote more diverse, but it\u2019s not any less segregated,\u201d Eng said. \u201cIn order to desegregate the university, you have to start with desegregating knowledge. That is something that Ken has been really adept at doing.\u201d<\/p>\n<p class=\"paywall\">In the nineteen-eighties in Chicago, though, Wissoker\u2019s fiefdom was limited to the campus bookstore\u2014the storied Seminary Co-op\u2014in Hyde Park. Wissoker realized that he \u201ccould do a sort of intellectual leadership,\u201d curating table displays to spread the gospel of, say, British Marxism or the fifth issue of the journal <em>Conditions<\/em>, which was devoted to Black lesbian authors. His time as a bookseller also instilled in him the value of cover design. Duke covers skew cheeky\u2014they seem almost pleased with themselves for having solved the riddle of representing abstract academic concepts with a single image. (The cover of \u201c<a target=\"_blank\" data-offer-url=\"https:\/\/www.amazon.com\/Global-Icons-Apertures-Bishnupriya-Ghosh\/dp\/0822350165\" class=\"external-link\" data-event-click=\"{&quot;element&quot;:&quot;ExternalLink&quot;,&quot;outgoingURL&quot;:&quot;https:\/\/www.amazon.com\/Global-Icons-Apertures-Bishnupriya-Ghosh\/dp\/0822350165&quot;}\" href=\"https:\/\/www.amazon.com\/Global-Icons-Apertures-Bishnupriya-Ghosh\/dp\/0822350165\" rel=\"nofollow noopener\">Global Icons: Apertures to the Popular<\/a>,\u201d Bishnupriya Ghosh\u2019s \u201cmaterialist theory of global iconicity\u201d from 2011, shows two painters in Calcutta, working on a mural of Mother Teresa.) The queer theorist Elizabeth Freeman attributed part of Duke\u2019s rise to the appeal of the covers: \u201cThey were glamorous\u2014it was something you would want to be a part of.\u201d Last year, an old black-and-white image of mannequins melting in a heat wave circulated online; Lake Micah, the associate editor of <em>The Drift<\/em> magazine, tweeted in response, \u201cthis has the look of the sort of image you\u2019d find replicated and stretched across the book jacket of a university text, a volume entitled something like\u2014Deliquescent Ontologies: (En)Gendering Corporeal Peril in the Anthropocene (Duke UP, 2023).\u201d<\/p>\n<\/div>\n<p>[ad_2]<br \/>\n<br \/><a href=\"https:\/\/www.newyorker.com\/culture\/persons-of-interest\/the-editor-who-moves-theory-into-the-mainstream\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>[ad_1] Ken Wissoker has helped to enshrine cultural studies in the American academy.Photograph by Cathy&#8230;<\/p>\n","protected":false},"author":1,"featured_media":33971,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[24],"tags":[],"class_list":["post-33970","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-theory"],"_links":{"self":[{"href":"https:\/\/cjstudents.com\/index.php\/wp-json\/wp\/v2\/posts\/33970","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cjstudents.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cjstudents.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cjstudents.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/cjstudents.com\/index.php\/wp-json\/wp\/v2\/comments?post=33970"}],"version-history":[{"count":1,"href":"https:\/\/cjstudents.com\/index.php\/wp-json\/wp\/v2\/posts\/33970\/revisions"}],"predecessor-version":[{"id":33972,"href":"https:\/\/cjstudents.com\/index.php\/wp-json\/wp\/v2\/posts\/33970\/revisions\/33972"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/cjstudents.com\/index.php\/wp-json\/wp\/v2\/media\/33971"}],"wp:attachment":[{"href":"https:\/\/cjstudents.com\/index.php\/wp-json\/wp\/v2\/media?parent=33970"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cjstudents.com\/index.php\/wp-json\/wp\/v2\/categories?post=33970"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cjstudents.com\/index.php\/wp-json\/wp\/v2\/tags?post=33970"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}