{"id":9414,"date":"2019-01-06T13:25:03","date_gmt":"2019-01-06T13:25:03","guid":{"rendered":"http:\/\/sfmagazines.com\/?p=9414"},"modified":"2019-01-06T13:25:03","modified_gmt":"2019-01-06T13:25:03","slug":"new-writings-in-sf-4-1965","status":"publish","type":"post","link":"https:\/\/sfmagazines.com\/?p=9414","title":{"rendered":"New Writings in SF #4, 1965"},"content":{"rendered":"

\"\"<\/a><\/p>\n

ISFDB link<\/a><\/p>\n

Other reviews:1<\/sup>
\nJoachim Boaz, Science Fiction Ruminations<\/a>
\nAndrew Darlington, Eight Miles Higher<\/a>
\nP. Schuyler Miller, Analog Science Fiction<\/em>, December 1968
\nMichael Moorcock, New Worlds<\/em> #153, August 1965
\nCharles Winstone, Vector<\/em> #33
\nVarious, Goodreads<\/a><\/p>\n

_____________________<\/p>\n

Editor, John Carnell<\/p>\n

Fiction:
\nHigh Eight<\/em><\/strong> \u2022 novelette by Keith Roberts [as by David Stringer] \u2217\u2217\u2217<\/strong>
\nStar Light<\/em><\/strong> \u2022 reprint short story by Isaac Asimov \u2217<\/strong>
\nHunger Over Sweet Waters<\/em><\/strong> \u2022 novelette by Colin Kapp \u2217<\/strong>\u2217<\/strong>\u2217<\/strong>
\nThe Country of the Strong<\/em><\/strong> \u2022 reprint short story by Dennis Etchison \u2217<\/strong>\u2217<\/strong>
\nParking Problem<\/em><\/strong> \u2022 short story by Dan Morgan \u2217<\/strong>
\nSub-Lim<\/em><\/strong> \u2022 novelette by Keith Roberts \u2217<\/strong>\u2217<\/strong>\u2217<\/strong>
\nBernie the Faust<\/em><\/strong> \u2022 reprint novelette by William Tenn \u2217<\/strong>\u2217<\/strong>\u2217<\/strong><\/p>\n

Non-fiction:
\nCover<\/strong><\/em> \u2022 by\u00a0 Sir George F. Pollock
\nForeword<\/em><\/strong> \u2022 introduction by John Carnell<\/p>\n

_____________________<\/p>\n

Keith Roberts follows up his pair of stories in the last volume with another brace in this one. High Eight<\/em><\/strong>\u00a0is an atypical story for Roberts in that it is set in North America and written in that mid-Atlantic or imitation Yank voice that British writers sometimes use for stories presumably intended for the US market:<\/p>\n

Stan was Outside Works Controller to Saskeega Power, Rick was line maintenance boss for the company. They were great buddies; they\u2019d been through school together, clocked nearly fifteen years together at Saskeega. Rick was sitting on his boss\u2019s desk skinning through a copy of the company magazine when the phone blew.\u00a0 p. 13<\/p><\/blockquote>\n

The phone call tells them of a suicide at one of the remote hill stations, High Eight, and they both go off to supervise the operation to recover the body and complete the repairs:<\/p>\n

They passed number seven; a few miles on and they could see High Eight perched over a cliff, its white walls shining in the sun. When they reached it Stan swung off the road and stopped. They got out. There were a couple of cars parked, one of the station service trucks and the Sheriff\u2019s estate wagon. They walked towards the building and Sheriff Stanton came out the door. One of his deputies backed out after him, taking a bulb out of a flash camera. Stanton nodded to the Saskeega men, wagged his thumb at High Eight. He said, \u201cBetter take a look, fellers, your steak-frier\u2019s sure done him proud.\u201d
\nThey went in.
\nIt could have been worse. The body was lying curled up just inside the door, a little old man, grey-haired, clothes ragged. Just an old hobo. The flash had blown him clear instead of taking him in and cooking him, his hands were charred but that was all. He\u2019d smashed the back of his skull on the guard-rail. Not that that mattered, he\u2019d been dead when he hit it. A yard or so away was a tin box. The lid had come off, there were old papers scattered, a couple of photographs. And there were the bus bars shining in the half dark, the transformers singing all round.\u00a0 p. 15<\/p><\/blockquote>\n

Later that night, when Rick goes home to his wife Judy, she tells him she can understand why the man did it, having herself experienced Bad Feelings at the site:<\/p>\n

He\u2019d taken her up to High Eight one day, and it had scared the Hell out of her. The big housings singing like cats, the static over their tops making blue crackles in the dark. She\u2019d lived with the fear for years, but she\u2019d got no better.
\nHe could see the thing was on her back again. She said, \u201cWhy\u2019d he do it, Rick, you find out why he did it? Maybe, you know, did he leave a note or something, say why . . . ?\u201d
\nHe said, \u201cNo note, honey, nothing. Just wasn\u2019t a reason, I guess. Poor old guy was crazy, is all.\u201d He stood squarely, facing her and frowning, worrying about something outside his experience and wondering how to quieten her.
\nShe shook her head violently. She said, \u201cI know why he did it, Rick, I can see why, can\u2019t you?\u201d She gulped. Then, \u201cWas he . . . much burned?\u201d
\n\u201cLook, Judy . . .
\nShe said. \u201cIt was the lines. It\u2019s always the lines. Like the rails in a . . . station, in a subway, they pull, Rick, you never felt them pull? You stood there with the train coming and the noise and felt the rails pull harder and harder . . .\u201d
\n\u201cHoney, please . . .\u201d
\nShe ignored him. \u201cIt\u2019s that way with the lines, Rick. They drew him. Can\u2019t you see him up there, that poor old man, lonely, nobody to go to, nobody around? That\u2019s when they pull most, when there\u2019s nobody around. He was hungry and cold and the night was coming and there were the lights on the wall inside High Eight, like sort of red and amber eyes watching and saying come on, it\u2019s O.K., come on . . . and the singing all round, and the shining things behind the rail pulling and pulling\u2014\u201d
\nHe grabbed her shoulders and shook her. \u201cJudy, for God\u2019s sake.\u201d \u00a0p. 15-16<\/p><\/blockquote>\n

This passage telegraphs the arc of the story, which is (spoiler) an ever-increasing number of suicides and unexplained deaths in that part of the grid. Later, High Eight starts attracting large groups of people, and eventually Rick and his supervisor realise that a malevolent entity which lives in that part of the grid is responsible.
\nI\u2019ve already noted the unusual\u00a0American voice (although there is more use of \u201cbloody\u201d as an epithet than I suspect an American would ever use) but what is<\/em> characteristic is the story\u2019s \u2018technology out of control\u2019 doom-mongering:<\/p>\n

Cameron shook his head. It was like he couldn\u2019t think straight any more. \u201cYou can\u2019t just let it build, Stan. It\u2019s too bloody awful to think about. If this thing gets started\u2014\u201d
\nMainwaring shook his head. \u201cRick, I\u2019m in a vice. I\u2019m caught in the same trap as everybody else. It\u2019s the sort of trap only the human race could have invented for itself. It could have sprung any time. It\u2019s chosen now. We\u2019re hooked on our own technology.
\n\u201cThose lines have got to stay in. We need \u2019em. We\u2019re dead without them. Could be we\u2019re dead with them as well, that\u2019s just too bad. But we can\u2019t turn the clock back. We can\u2019t scrap electricity just because it\u2019s turned mean.\u201d\u00a0 p. 41<\/p><\/blockquote>\n

The strengths of the story are its pacing and intensity, which will sweep readers away to a greater or lesser extent, and the horror elements (there is some gory description of the electrocuted people, and a last scene involving Cameron\u2019s wife where matters spiral out of control).
\nI thought this was very good when I read it years ago\u2014I didn\u2019t think it was as good this time around, but it is still one of Roberts\u2019 better early stories.
\nThe first of three reprints (which few NWISF<\/em> readers would have seen before)\u00a0is Star Light<\/em><\/strong> by Isaac Asimov (Scientific American<\/em>, Oct 1962). This is a short squib (four pages) about a spaceship pilot getting away with a theft by jumping to a far distant part of the universe where the police can\u2019t follow. Once there he intends to use a newly invented computer (stolen from a murdered partner) to do a spectral analysis of the stars to determine his location. Of course when he arrives at his destination (spoiler) a star has gone nova, which ruins the plan. There is no explanation why the computer can\u2019t be reprogrammed to ignore this one variable or why he can\u2019t jump back to where he started from. A weak gimmick story.
\nHunger Over Sweet Waters<\/em><\/strong> by Colin Kapp is set on Hebron 5, an alien planet that is mostly ocean, and which hosts a number of mineral extraction factories and research bases which\u00a0are built on widely spaced artificial islands connected by a long railway that also floats. The latter connects the stations to one of the few land masses on the planet.
\nThe protagonist of the story is a chemist called Blick, whose station is two hundred miles from base, and his problem is that the supply train is sixteen hours overdue and the communication lines are down. He contacts a colleague called Martha at one of the other stations using an alternative circuit, and they discuss their perilous situation. If the problem is what Blick thinks it is\u2014a huge break in the line\u2014the machinery to repair it will have to come from off-planet, which will take weeks. The pair have limited food and this will not last until help arrives. Further, Blick, who is married, and Martha, who is single, have history (although they have not been lovers) as indicated in one of the conversations they have about their predicament:<\/p>\n

\u201cFirst,\u201d said Blick, \u201c[. . .] we move you down here and pool such foodstuffs as we have available. We\u2019ll work out some sort of rationing system which will give us a chance of surviving for a maximum period.\u201d
\n\u201cWhoa!\u201d said Martha, laughing. \u201cWhose welfare are we interested in? I don\u2019t really see how mine is going to be improved by moving into your cabin, and I can diet here as well as anywhere. Apart from the social prospects, give me one good reason why I should be any better off at your station than at mine?\u201d
\n\u201cIn a word,\u201d said Blick, \u201cwater. Your supply is limited to your tank, and that was due to be refilled by the train that didn\u2019t arrive. I\u2019d guess that only gives you a maximum of two day\u2019s supply in hand unless you give up such luxuries as washing, in which case you can last out for about a week. Here I can use my resin columns to produce as much pure water from the sea as we\u2019re ever likely to require. Stay there if you like, but remember where to come if you get thirsty.\u201d
\n\u201cI might even do that if you can twist your crazy columns into producing gin, but if you think I\u2019m going to walk five kilometres just for a drink of water, you don\u2019t know Martha Sorenson.\u201d
\n\u201cHow much water have you got, Martha?\u201d
\nShe was silent for a moment. \u201cNone, and you damn well know it, Blick.\u201d
\n\u201cUh! I\u2019ll come and give you a hand with your supplies. Shall I come tonight or in the morning?\u201d
\n\u201cBest make it the morning, Blick. I\u2019ve something I must sort out before I leave.\u201d
\n\u201cSuch as?\u201d
\n\u201cMe,\u201d said Martha, putting down the phone.\u00a0 p. 69-70<\/p><\/blockquote>\n

The rest of the story mixes (a) their problematic relationship and (b) their efforts to build a boat which will take them to base using the limited materials they have to hand.
\nThe relationship material concerns Blick\u2019s love for Martha, even though he is married, and\u00a0Martha\u2019s resistance (her marriage was broken up because of a third-party and she\u00a0does not want to do the same to Blick\u2019s wife). This isn\u2019t as always handled as well as the passage above would suggest and is, in places, a bit cringe-worthy and\/or mawkish. It is interesting to see, however, a hard science fiction writer such as Kapp introducing material like this into his work. For the period the story was written he makes a better attempt than most at dealing with the complexities of interpersonal relationships (and apart from the Blick-Martha dynamic, there is an uncomfortable situation with his boss at the end of the story which is pragmatically resolved).
\nThe science material concerns the construction of their rescue boat using the ion-exchange columns to copper-plate a wax mould. This is moderately interesting, but I say that as someone whose degree was in physics and chemistry: non-scientists may find this harder going, but I didn\u2019t think there was an overabundance of detail.
\nThe final section details their voyage to base in the boat. This is slightly anti-climactic, probably as they do little more than drift with the current in the hope of hitting land. That said, Kapp manages to add a little twist at the end which injects some excitement.
\nOverall this is an uncomplicated piece but an enjoyable one. It will be of interest to those who like his \u2018Unorthodox Engineers\u2019 series.
\nThe Country of the Strong<\/em><\/strong> by Dennis Etchison (Seventeen<\/em>, 1962) is set in a vaguely post-holocaust landscape, and starts with a man taking another woman\u2019s daughter to the park. Before they go the woman shows the girl\u2019s club foot to him.
\nAt the park the man and the girl meet another couple and they all end up attending the \u201cDaily\u201d at the pool. This turns out to be (spoiler) an occasion where the SS (the Selective Survival teams mentioned earlier in the story) euthanize malformed children. They discover the girl\u2019s club foot.
\nThis is a chilling but rather plotless story about eugenics, and one that could have as easily been set in Nazi Germany: it would have probably been a better story, if not an SF one, if it had been.
\nParking Problem <\/em><\/strong>by Dan Morgan begins with a data dump prologue that introduces the story\u2019s gimmick, an extra dimensional chamber that is later put into use as parking lockers which can store three hundred and sixty vehicles in the space occupied by a normal garage.
\nThe story then starts with a local crime boss giving one of his flunkies a key that will open any locker and sending him off to steal a car. The garage the flunky robs yields a pink tricycle, obviously of alien design. Another tricycle appears after the flunky has left, driven by an alien set on recovering the first vehicle.
\nWhen the crime boss realises that the vehicles can pass through matter his thoughts turn to robbing banks. In due course, the police and military and the alien get involved.
\nThis is all done as \u201chumour\u201d, presumably to mask the gimmicky idea, the stereotypical characters, and the weak storyline. This is quite poor.
\nSub-Lim<\/em><\/strong> by Keith Roberts, like his story above, starts off in a style that you would be hard pushed to recognise as his:<\/p>\n

No don\u2019t get me wrong, Doc, not pictures, Images. That was how he explained it to me, he said a film director, say Hitchcock, anybody you want to name, is always worrying consciously or subconsciously about Images, trying to get some shape on the screen that\u2019ll help the actors along, make you feel what\u2019s going on. He said that was what a good film was, not a lot of shots of actors and such, but a set of Images that made you feel what you were supposed to. He said it was done with the picture composition and the lighting and everything. And he said, for instance, if you saw every thriller ever made and studied them all over and over you could work out a shape from all the Images all the directors had ever used, and the shape would sort of represent fear, all on its own. He said if you drew it and showed it to a guy he\u2019d get scared to death and he wouldn\u2019t know why. He said if the Image was right it would sort of lock onto his mind and make him feel whatever it meant. He said it was possible to make an Image for every emotion, every one in the book, once you\u2019d got the hang of drawing them.\u00a0 p. 136<\/p><\/blockquote>\n

This is another story which makes use\u00a0of Roberts\u2019 cinema background,2<\/sup> and concerns the invention of a subliminal film technique by a small company that is on the verge of going bankrupt\u2014that is until they discover they can manipulate the emotions of viewers using certain images projected in parallel with a normal film. The story features four main characters: the narrator; J. R., one of the company owners; Connie the receptionist; and Freddy, who draws the subliminal images.
\nThe first half, which covers the production of the films and their spectacular success, is a little unbelievable and a bit dull to be honest, but the story improves towards the end. In that latter part, as well as dumping most of the style above, the narrator (spoiler) becomes involved with Connie, who turns out to be\u00a0devious and manipulative (she later dumps him for J. R. and a promotion). The narrator then goes to see Freddy and forces him to draw a love image\u00a0to help him\u00a0win back Connie. This works, but she knows what he has done, and she goes to Freddy and gets a suicide image. . . .
\nThe last scene is an entertainingly unhinged Grand Guignol finale.
\nBernie the Faust<\/em><\/strong> by William Tenn (Playboy<\/em>, 1963) concerns the eponymous businessman, a pushy and distrustful individual, receiving a strange visitor in his office who proceeds to offer him a twenty-dollar note for a five-dollar one. Bernie is not impressed:<\/p>\n

I looked him over and I said, \u201cWha-at?\u201d
\nHe shuffled his feet and coughed some more. \u201cA twenty,\u201d he mumbled. \u201cA twenty for a five.\u201d
\nI made him drop his eyes and stare at his shoes. They were lousy, cracked shoes, lousy and dirty like the rest of him. Every once in a while, his left shoulder hitched up in a kind of tic. \u201cI give you twenty,\u201d he explained to his shoes, \u201cand I buy a five from you with it. I wind up with a five, you wind up with a twenty.\u201d
\n\u201cHow did you get into the building?\u201d
\n\u201cI just came in,\u201d he said, a little mixed up.
\n\u201cYou just came in.\u201d I put a nasty mimicking note in my voice. \u201cNow you just go right back downstairs and come the Hell out. There\u2019s a sign in the lobby\u2014NO<\/em> BEGGARS ALLOWED.\u201d
\n\u201cI\u2019m not begging.\u201d He tugged at the bottom of his jacket.
\nIt was like a guy trying to straighten out his slept-in pyjamas. \u201cI want to sell you something. A twenty for a five. I give you\u2014\u201d
\n\u201cYou want me to call a cop?\u201d
\nHe looked very scared. \u201cNo. Why should you call a cop? I haven\u2019t done anything to make you call a cop!\u201d
\n\u201cI\u2019ll call a cop in just a second. I\u2019m giving you fair warning. I just phone down to the lobby and they\u2019ll have a cop up here fast. They don\u2019t want beggars in this building. This is a building for business.\u201d
\nHe rubbed his hand against his face, taking a little dirt off, then he rubbed the hand against the lapel of his jacket and left the dirt there. \u201cNo deal?\u201d he asked. \u201cA twenty for a five? You buy and sell things. What\u2019s the matter with my deal?\u201d
\nI picked up the phone.
\n\u201cAll right,\u201d he said, holding up the streaky palm of his hand. \u201cI\u2019ll go.\u201d
\n\u201cYou better. And shut the door behind you.\u201d \u00a0p. 161-162<\/p><\/blockquote>\n

After getting rid of the man from his office Bernie reflects on the encounter, and realises that it may be part of a TV reality show with stupendous prizes, so he goes to the address on the card that the man gave him before leaving. Over the course of the day Bernie not only buys the twenty for five but makes more deals. These involve selling his share of various things (San Francisco Bridge, etc.), and culminate with the sale of his part of the planet.
\nAfterwards, Bernie contacts a TV agent friend to find out more about this reality show, only to be categorically told that no such production exists. After reflecting on the man\u2019s strange appearance and the weird TV set he had in his room, Bernie realises (spoiler) that he may actually have sold part of the Earth to an alien. When an academic friend subsequently points out he is an authorised reseller for the United Nations, Bernie realises he may have sold the whole\u00a0planet, and needs to undo the deal. . . .
\nThis is pleasant, humorous stuff, and (spoiler) ends up with the biter well and truly bit. That said, it is told in a very American (New York?) voice which makes it feel a little dated.<\/p>\n

I usually detest psychedelic artwork or photographs on SF magazine Cover<\/strong>s<\/strong><\/em> but I rather like this\u00a0one by\u00a0 Sir George F. Pollock. I doubt that this image was used for the usual cost saving reasons given that there is a \u201cSir\u201d involved.3<\/sup>
\nThe Foreword<\/em><\/strong> by John Carnell is one of his boilerplate introductions. He ends with this:<\/p>\n

All the stories, however, have been selected with a view to entertainment<\/em>; the fact that science fiction has a penchant for making people think<\/em> is an added bonus for which there is no extra charge.\u00a0 p. 10<\/p><\/blockquote>\n

I think he has said all this before, so it\u2019s d\u00e9j\u00e0 vu all over again.4<\/sup>
\nThis is one of the better volumes of the series with four fairly good stories (most only have one or two).\u00a0 \u25cf<\/p>\n

\"\"<\/a><\/p>\n

_____________________<\/p>\n

1. P. Schuyler Miller notes that the Asimov (Star Light<\/em>) and Etchinson (The Country of the Strong<\/em>) \u201ccome from sources that most readers won\u2019t see\u201d but that the Tenn (Bernie the Faust<\/em>) \u201cshould be familiar to most American readers by this time\u201d.
\nThe Stringer (High Eight<\/em>) \u201ccombines what reads like practical knowledge of high-tension technology with a concept of life like something out of Hoyle\u2019s \u201cBlack Cloud\u201d or Stapledon\u2019s \u201cLast and First Men\u201d.\u201d He adds that the Kapp (Hunger Over Sweet Waters<\/em>) \u201cis another kind of technological story that would have fitted very well here in Analog<\/em>\u2014overcoming disaster on a world where there is little or no land. It\u2019s my favorite in the book, though the Etchison story is more grimly cruel and powerful\u2014a horrible vignette of life after mutations have become common.\u201d
\nHe finishes by noting that the Morgan (Parking Problem<\/em>) is a \u201ccomedy\u201d, and that Roberts (Sub-Lim<\/em>) \u201cquite outdoes Pohl and Kornbluth in his satire of advertising ethics.\u201d
\nHe concludes, \u201cYou should like \u2019em all.\u201d (p. 165-166, Analog<\/em>, December 1968)<\/p>\n

Michael Moorcock says of New Writings in SF 4<\/em> that \u201cthe undemanding reader who is happy with fresh twists on old themes will find plenty worth reading\u2014though the best of these are the reprints from Isaac Asimov, Dennis Etchison, and William Tenn. He adds that the other stories by Kapp, Morgan and Roberts \u201care up to the standard normally expected from these writers\u201d, and notes new writer Stringer\u2019s debut.
\nHe finishes with this: \u201cEditor Carnell says in his introduction that readers are demanding more accuracy and authenticity in their SF. True enough\u2014but this includes greater accuracy of character-observation, too, and this is in the main lacking in the stories so far published in this series. (p. 125-126, New Worlds<\/em> #153, August 1965)<\/p>\n

2. Mike Ashley states in his essay Keith Roberts: The Patient Craftsman<\/em> (p. 2, Science Fiction Monthly<\/em>, December 1975): \u201cRoberts\u2019 father had been a cinema projectionist at Kettering, and [Escapism<\/em>] reveals much of Roberts\u2019 obvious boyhood association with cinemas.\u201d<\/p>\n

3. There is a little more information about Sir George Pollock here<\/a>. The 1971 reissue had a new cover by \u201cSOLUTION\u201d, whoever they are:<\/p>\n

\"\"<\/a><\/p>\n

4.\u00a0One of Yogi Berra\u2019s \u201cYogi-isms\u201d. Given my grasp of the English language I\u2019m aware of the irony. (I only had to write the previous sentence three times to get something that sounds right.)\u00a0 \u25cf<\/p>\n\"rss\"<\/a>\"rss\"<\/a><\/span>","protected":false},"excerpt":{"rendered":"

ISFDB link Other reviews:1 Joachim Boaz, Science Fiction Ruminations Andrew Darlington, Eight Miles Higher P. Schuyler Miller, Analog Science Fiction, December 1968 Michael Moorcock, New Worlds #153, August 1965 Charles Winstone, Vector #33 Various, Goodreads _____________________ Editor, John Carnell Fiction: High Eight \u2022 novelette by Keith Roberts [as by David Stringer] \u2217\u2217\u2217 Star Light \u2022 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"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":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[14],"tags":[],"class_list":["post-9414","post","type-post","status-publish","format-standard","hentry","category-new-writings-in-sf"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6Pcj7-2rQ","jetpack-related-posts":[],"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/sfmagazines.com\/index.php?rest_route=\/wp\/v2\/posts\/9414","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sfmagazines.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sfmagazines.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sfmagazines.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/sfmagazines.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=9414"}],"version-history":[{"count":5,"href":"https:\/\/sfmagazines.com\/index.php?rest_route=\/wp\/v2\/posts\/9414\/revisions"}],"predecessor-version":[{"id":9435,"href":"https:\/\/sfmagazines.com\/index.php?rest_route=\/wp\/v2\/posts\/9414\/revisions\/9435"}],"wp:attachment":[{"href":"https:\/\/sfmagazines.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9414"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sfmagazines.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9414"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sfmagazines.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9414"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}