{"id":49,"date":"2023-11-28T18:15:25","date_gmt":"2023-11-28T18:15:25","guid":{"rendered":"https:\/\/www.tomascohen.info\/poetry-copy-copy\/"},"modified":"2024-02-27T17:40:10","modified_gmt":"2024-02-27T17:40:10","slug":"translation","status":"publish","type":"page","link":"https:\/\/www.tomascohen.info\/en\/translation\/","title":{"rendered":"Translation"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":7,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"class_list":["post-49","page","type-page","status-publish","hentry"],"aioseo_notices":[],"grid":"{\r\n \"colCount\": 12,\r\n \"colGutter\": 1,\r\n \"rowGutters\": [\r\n 5,\r\n 5\r\n ],\r\n \"frameMargin\": 5,\r\n \"leftFrameMargin\": 5,\r\n \"rightFrameMargin\": 5,\r\n \"topFrameMargin\": 40,\r\n \"bottomFrameMargin\": 5,\r\n \"rowAttrs\": [\r\n {\r\n \"relid\": 2\r\n },\r\n {\r\n \"relid\": 4\r\n },\r\n {\r\n \"collapse\": false,\r\n \"relid\": 10\r\n }\r\n ],\r\n \"bgColor\": \"#f9f9f9\",\r\n \"bgImage\": null,\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Poetry<\/a>, artistic direction<\/a>, painting and drawing<\/a>, translation<\/a>,<\/span> publications<\/a>, press<\/a>, bio<\/a>.<\/span><\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 0,\r\n \"col\": 0,\r\n \"colspan\": 11,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 5,\r\n \"absolute_position\": false,\r\n \"stickytop\": \"111\"\r\n },\r\n {\r\n \"type\": \"stack\",\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

I believe that translation should be a parallel melody to the creation of every poet. For my part, I practice it avidly.<\/span><\/p>

\u00a0<\/p>

My first powerful experience of translation was through the poetry of John Ashbery. At the age of 20, together with Leonardo Videla (a fellow Pablo Neruda Foundation fellow in Chile) I began translating poems by Ashbery that enchanted me with their strangeness, such as the sestina Farm Implements and Rutabagas in a Landscape. Young and unabashed, I wrote to the Nobel nominee poet telling him of my translations and my thoughts on his poetry. To my astonishment, Ashbery wrote back and we began to correspond. He told me that he was particularly interested in my comments about the influence of classical music that I perceived in his poetry. The exchange blossomed into an interview with Ashbery, who graciously hosted me at his apartment in Hudson, NYC. The interview was published along with a selection of my translations of poems from his book The Double Dream of Spring in Grifo, a literary journal of the Universidad Diego Portales (Chile, 2007). <\/span>
<\/span>
<\/span>After finishing my bachelor's degree in Fine Arts, I worked as a performer for the conductor of the Chilean Symphony Orchestra, Michal Nesterowicz. Translating live his commentaries for the orchestra members during rehearsals was an inspiring experience. I also began attending Buddhist study and practice retreats in Brazil and the United States. At that time, reading works of Buddhist literature in English translation, I was possessed by the desire to learn the original languages of the Indo-Tibetan Buddhist tradition, to nourish my own writing with that tradition of spiritual poetry and hopefully collaborate as a translator into Spanish. I studied Tibetan translation for two years in Kathmandu and then Tibetan philology and Sanskrit in Hamburg. There I co-founded (in 2015) the international author collective \\\"Found in Translation\\\". As a member of that collective, I co-organized <\/span>WESTOPIA, Festival for a multilingual literature of the future<\/span><\/a> (2001) at the Center for Literature, Burg H\u00fclshoff, in which Chilean philosopher and translation theorist Andr\u00e9s Claro participated.<\/span><\/p>

\u00a0<\/p>

I have resided as a fellow in institutions that support translation, such as the Baltic Center for Writers and Translators (Sweden) and the Looren Translators' House (Switzerland). I have been fortunate to receive work-study grants from the German Translation Funds and the Translation Support Funds of the Chilean Ministry of Culture. I have also worked for the London Symphony Orchestra as a translator of musicological essays, librettos, programs and pedagogical texts.\u00a0<\/span><\/p>

\u00a0<\/p>

The writing process of each of my poetry books has included the elaboration of anthologies of poems related to my research, which consist of my own translations. Translation has thus been, in my work as a poet, a way of composing my voice from other voices. By translating, the poet can cultivate the wonder of poetry beyond possession. By translating, the poet complexifies the meaning of expression and authorship. Together with the German poet Monika Rinck we translated my first poems published in German. Since then the correspondence with the translators of my poetry into various languages has illuminated new paths for my own writing. The portal TOLEDO published <\/span>\\\"Cluster, leaps, agenda\\\", an essay I wrote in English about translation<\/span><\/a>. I am currently preparing an anthology of translations of contemporary German poetry. <\/span>
<\/span>
<\/span>Below you can read some samples of my translations (content available only in Spanish).<\/span><\/p>\",\r\n \"align\": \"onethird\",\r\n \"row\": -1,\r\n \"col\": 0,\r\n \"colspan\": 10,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 7,\r\n \"absolute_position\": false\r\n }\r\n ],\r\n \"relid\": 1,\r\n \"colspan\": 12,\r\n \"col\": 0,\r\n \"push\": 0,\r\n \"row\": 1,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"align\": \"bottom\",\r\n \"yvel\": 1,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Traducciones de poes\u00eda contempor\u00e1nea alemana (2022)
<\/span>
<\/span>Como adelanto de mi trabajo en una antolog\u00eda de poes\u00eda contempor\u00e1nea alemana, comparto una peque\u00f1a muestra de traducciones de poemas de <\/span>Durs Gr\u00fcnbein<\/span><\/a>, <\/span>Monika Rinck<\/span><\/a>, <\/span>Uljana Wolf<\/span><\/a>, <\/span>Steffen Popp<\/span><\/a> y <\/span>Sabine Scho<\/span><\/a>.\u00a0<\/span><\/p>

\u00a0<\/p>

Lea y descargue aqu\u00ed una muestra de mis traducciones poes\u00eda contempor\u00e1nea alemana.<\/span><\/a><\/p>


<\/span>*<\/span><\/p>

\u00a0<\/p>

Traducci\u00f3n de 4 Ruinas de la Nostalgia, de Donna Stonecipher (Noviembre de 2018)
<\/span>
<\/span>Es un gran gusto compartir a los lectores de habla hispana mis traducciones de algunas Ruinas de la Nostalgia de <\/span>Donna Stonecipher<\/span><\/a>, escritora y traductora norteamericana radicada en Berl\u00edn. El poeta y editor de Hyperallergic John Yau, que seleccion\u00f3 a \\\"The Cosmopolitan\\\" (el primer libro de la autora, traducido por Cristi\u00e1n G\u00f3mez Olivares y publicado por Liliputienses en Espa\u00f1a) como ganador de la National Poetry Series el 2008, la describe como una \\\"flaneur global\\\".<\/span><\/p>

\u00a0<\/p>

Estas traducciones fueron publicadas en la revista de literatura Buenos Aires Poetry, Argentina: <\/span>https:\/\/buenosairespoetry.com\/2018\/11\/18\/4-ruinas-de-la-nostalgia-donna-stonecipher\/<\/span>
<\/span>
<\/span><\/a>Lea y descargue aqu\u00ed mis traducciones de los poemas de Donna Stonecipher.<\/span><\/a><\/p>

\u00a0<\/p>

*<\/span>
<\/span>
<\/span>Traducciones del ingl\u00e9s y el tibetano en \u00dcbersetzerhaus Looren (Febrero de 2018)
<\/span>
<\/span>En <\/span>este enlace<\/span><\/a> pueden leer una nota titulada \u201cInstant\u00e1nea de budismo y traducci\u00f3n\u201d sobre mi estad\u00eda como becario de la prestigiosa Casa de Traductores Looren (Suiza) durante el invierno pasado. Hablo de mi trabajo por all\u00e1 y se incluyen unas traducciones m\u00edas del ingl\u00e9s y del tibetano.<\/span><\/p>

\u00a0<\/p>

Agradezco sin fin la amabilidad de Monica Mutti, Gabriela St\u00f6ckly, Florence Widmer y todo el equipo de La Casa de Traductores. Agradezco tambi\u00e9n a la fot\u00f3grafa <\/span>Vera Ley<\/span><\/a> por haberme retratado durante mi estad\u00eda en Suiza. Qued\u00e9 muy feliz de haber conocido a colegas como Viacheslav Kuprianov, Tanja Handels, Sabine Erbrich y Douglas Pompeu. Si no lo han hecho ya, le recomiendo a todos mis colegas latinoamericanos postular a residir en Looren, que ofrece circunstancias id\u00edlicas para el trabajo literario en retiro.<\/span>
<\/span>
<\/span>Para leer las traducciones publicadas por \u00dcbersetzerhaus Looren: <\/span>https:\/\/bit.ly\/2GR7uTd<\/span><\/a><\/p>


<\/span>*<\/span>
<\/span>
<\/span>Presentaci\u00f3n y traducci\u00f3n de la poes\u00eda de Adam Fitzgerald (Buenos Aires Poetry, Argentina; Transtierros, Per\u00fa, 2015)<\/p>

\u00a0<\/p>

Dado que esta es la primera vez que la obra de Fitzgerald era traducida al castellano, escrib\u00ed la breve presentaci\u00f3n que sigue.<\/span><\/p>

\u00a0<\/p>

Adam Fitzgerald es un poeta de Nueva York. Es tambi\u00e9n profesor en Rutgers University, la New School y NYU, y organizador de la Ashbery Home School, un ciclo de conferencias y talleres en torno a la figura y poes\u00eda de John Ashbery. La publicaci\u00f3n de \u201cThe Late Parade\u201d, su primera colecci\u00f3n de poemas, dio reinicio a la legendaria impronta Liveright de W.W. Norton. Como fundador de la revista de poes\u00eda Maggy y editor colaborador del Literary Hub, Fitzgerald ha demostrado tambi\u00e9n tener un dedo \u00edndice en el pulso de la poes\u00eda estadounidense contempor\u00e1nea. Su poes\u00eda es l\u00edrica, juguetona y rica en formas tanto restringidas como libres; su voz es a menudo ventrilocua y alucinadora, e implica al lector en confusiones que recompensan. Su primer libro ha sido celebrado por John Ashbery, Harold Bloom y Dorothea Lasky, entre muchos otros. Estas son las primeras traducciones de poemas suyos al Castellano, y es para mi un honor presentarlo por primera vez en nuestro idioma.<\/span>
<\/span>
<\/span>Estas traducciones fueron publicadas en la revista de literatura Buenos Aires Poetry, Argentina: <\/span>buenosairespoetry.com\/2013\/03\/06\/poemas-de-the-late-parade-de-adam-fitzgerald-2\/<\/span>
<\/span><\/i>
<\/span><\/i><\/a>Lea y descargue aqu\u00ed mis traducciones de los poemas de Adam Fitzgerald.<\/span><\/a><\/p>



<\/p>

*<\/span>
<\/span>
<\/span>Lea y descargue aqu\u00ed mis traducciones de dos poemas del libro The Cloud Corporation<\/i> de Timothy Donnelly (2015).<\/a><\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 2,\r\n \"col\": 0,\r\n \"colspan\": 10,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 13,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n }\r\n ]\r\n}","phonegrid":"{\r\n \"colCount\": 12,\r\n \"colGutter\": 1,\r\n \"rowGutters\": [\r\n \"18\",\r\n \"12\"\r\n ],\r\n \"frameMargin\": 5,\r\n \"leftFrameMargin\": 5,\r\n \"rightFrameMargin\": 5,\r\n \"topFrameMargin\": \"6\",\r\n \"bottomFrameMargin\": \"12\",\r\n \"rowAttrs\": [\r\n {\r\n \"relid\": 2\r\n },\r\n {\r\n \"relid\": 4\r\n },\r\n {\r\n \"collapse\": false,\r\n \"relid\": 10\r\n }\r\n ],\r\n \"bgColor\": \"#f9f9f9\",\r\n \"bgImage\": null,\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Poetry<\/a>, artistic direction<\/a>, painting and drawing<\/a>, translation<\/a>,<\/span> publications<\/a>, press<\/a>, bio<\/a>.<\/span><\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 0,\r\n \"col\": 0,\r\n \"colspan\": 12,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 5,\r\n \"absolute_position\": false,\r\n \"stickytop\": \"111\",\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"stack\",\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

I believe that translation should be a parallel melody to the creation of every poet. For my part, I practice it avidly.<\/span><\/p>

\u00a0<\/p>

My first powerful experience of translation was through the poetry of John Ashbery. At the age of 20, together with Leonardo Videla (a fellow Pablo Neruda Foundation fellow in Chile) I began translating poems by Ashbery that enchanted me with their strangeness, such as the sestina Farm Implements and Rutabagas in a Landscape. Young and unabashed, I wrote to the Nobel nominee poet telling him of my translations and my thoughts on his poetry. To my astonishment, Ashbery wrote back and we began to correspond. He told me that he was particularly interested in my comments about the influence of classical music that I perceived in his poetry. The exchange blossomed into an interview with Ashbery, who graciously hosted me at his apartment in Hudson, NYC. The interview was published along with a selection of my translations of poems from his book The Double Dream of Spring in Grifo, a literary journal of the Universidad Diego Portales (Chile, 2007). <\/span>
<\/span>
<\/span>After finishing my bachelor's degree in Fine Arts, I worked as a performer for the conductor of the Chilean Symphony Orchestra, Michal Nesterowicz. Translating live his commentaries for the orchestra members during rehearsals was an inspiring experience. I also began attending Buddhist study and practice retreats in Brazil and the United States. At that time, reading works of Buddhist literature in English translation, I was possessed by the desire to learn the original languages of the Indo-Tibetan Buddhist tradition, to nourish my own writing with that tradition of spiritual poetry and hopefully collaborate as a translator into Spanish. I studied Tibetan translation for two years in Kathmandu and then Tibetan philology and Sanskrit in Hamburg. There I co-founded (in 2015) the international author collective \\\"Found in Translation\\\". As a member of that collective, I co-organized <\/span>WESTOPIA, Festival for a multilingual literature of the future<\/span><\/a> (2001) at the Center for Literature, Burg H\u00fclshoff, in which Chilean philosopher and translation theorist Andr\u00e9s Claro participated.<\/span><\/p>

\u00a0<\/p>

I have resided as a fellow in institutions that support translation, such as the Baltic Center for Writers and Translators (Sweden) and the Looren Translators' House (Switzerland). I have been fortunate to receive work-study grants from the German Translation Funds and the Translation Support Funds of the Chilean Ministry of Culture. I have also worked for the London Symphony Orchestra as a translator of musicological essays, librettos, programs and pedagogical texts.\u00a0<\/span><\/p>

\u00a0<\/p>

The writing process of each of my poetry books has included the elaboration of anthologies of poems related to my research, which consist of my own translations. Translation has thus been, in my work as a poet, a way of composing my voice from other voices. By translating, the poet can cultivate the wonder of poetry beyond possession. By translating, the poet complexifies the meaning of expression and authorship. Together with the German poet Monika Rinck we translated my first poems published in German. Since then the correspondence with the translators of my poetry into various languages has illuminated new paths for my own writing. The portal TOLEDO published <\/span>\\\"Cluster, leaps, agenda\\\", an essay I wrote in English about translation<\/span><\/a>. I am currently preparing an anthology of translations of contemporary German poetry. <\/span>
<\/span>
<\/span>Below you can read some samples of my translations (content available only in Spanish).<\/span><\/p>\",\r\n \"align\": \"onethird\",\r\n \"row\": -1,\r\n \"col\": 0,\r\n \"colspan\": 12,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 7,\r\n \"absolute_position\": false\r\n }\r\n ],\r\n \"relid\": 1,\r\n \"colspan\": 12,\r\n \"col\": 0,\r\n \"push\": 0,\r\n \"row\": 1,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"align\": \"bottom\",\r\n \"yvel\": 1,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Traducciones de poes\u00eda contempor\u00e1nea alemana (2022)
<\/span>
<\/span>Como adelanto de mi trabajo en una antolog\u00eda de poes\u00eda contempor\u00e1nea alemana, comparto una peque\u00f1a muestra de traducciones de poemas de <\/span>Durs Gr\u00fcnbein<\/span><\/a>, <\/span>Monika Rinck<\/span><\/a>, <\/span>Uljana Wolf<\/span><\/a>, <\/span>Steffen Popp<\/span><\/a> y <\/span>Sabine Scho<\/span><\/a>.\u00a0<\/span><\/p>

\u00a0<\/p>

Lea y descargue aqu\u00ed una muestra de mis traducciones poes\u00eda contempor\u00e1nea alemana.<\/span><\/a><\/p>


<\/span>*<\/span><\/p>

\u00a0<\/p>

Traducci\u00f3n de 4 Ruinas de la Nostalgia, de Donna Stonecipher (Noviembre de 2018)
<\/span>
<\/span>Es un gran gusto compartir a los lectores de habla hispana mis traducciones de algunas Ruinas de la Nostalgia de <\/span>Donna Stonecipher<\/span><\/a>, escritora y traductora norteamericana radicada en Berl\u00edn. El poeta y editor de Hyperallergic John Yau, que seleccion\u00f3 a \\\"The Cosmopolitan\\\" (el primer libro de la autora, traducido por Cristi\u00e1n G\u00f3mez Olivares y publicado por Liliputienses en Espa\u00f1a) como ganador de la National Poetry Series el 2008, la describe como una \\\"flaneur global\\\".<\/span><\/p>

\u00a0<\/p>

Estas traducciones fueron publicadas en la revista de literatura Buenos Aires Poetry, Argentina: <\/span>https:\/\/buenosairespoetry.com\/2018\/11\/18\/4-ruinas-de-la-nostalgia-donna-stonecipher\/<\/span>
<\/span>
<\/span><\/a>Lea y descargue aqu\u00ed mis traducciones de los poemas de Donna Stonecipher.<\/span><\/a><\/p>

\u00a0<\/p>

*<\/span>
<\/span>
<\/span>Traducciones del ingl\u00e9s y el tibetano en \u00dcbersetzerhaus Looren (Febrero de 2018)
<\/span>
<\/span>En <\/span>este enlace<\/span><\/a> pueden leer una nota titulada \u201cInstant\u00e1nea de budismo y traducci\u00f3n\u201d sobre mi estad\u00eda como becario de la prestigiosa Casa de Traductores Looren (Suiza) durante el invierno pasado. Hablo de mi trabajo por all\u00e1 y se incluyen unas traducciones m\u00edas del ingl\u00e9s y del tibetano.<\/span><\/p>

\u00a0<\/p>

Agradezco sin fin la amabilidad de Monica Mutti, Gabriela St\u00f6ckly, Florence Widmer y todo el equipo de La Casa de Traductores. Agradezco tambi\u00e9n a la fot\u00f3grafa <\/span>Vera Ley<\/span><\/a> por haberme retratado durante mi estad\u00eda en Suiza. Qued\u00e9 muy feliz de haber conocido a colegas como Viacheslav Kuprianov, Tanja Handels, Sabine Erbrich y Douglas Pompeu. Si no lo han hecho ya, le recomiendo a todos mis colegas latinoamericanos postular a residir en Looren, que ofrece circunstancias id\u00edlicas para el trabajo literario en retiro.<\/span>
<\/span>
<\/span>Para leer las traducciones publicadas por \u00dcbersetzerhaus Looren: <\/span>https:\/\/bit.ly\/2GR7uTd<\/span><\/a><\/p>


<\/span>*<\/span>
<\/span>
<\/span>Presentaci\u00f3n y traducci\u00f3n de la poes\u00eda de Adam Fitzgerald (Buenos Aires Poetry, Argentina; Transtierros, Per\u00fa, 2015)<\/p>

\u00a0<\/p>

Dado que esta es la primera vez que la obra de Fitzgerald era traducida al castellano, escrib\u00ed la breve presentaci\u00f3n que sigue.<\/span><\/p>

\u00a0<\/p>

Adam Fitzgerald es un poeta de Nueva York. Es tambi\u00e9n profesor en Rutgers University, la New School y NYU, y organizador de la Ashbery Home School, un ciclo de conferencias y talleres en torno a la figura y poes\u00eda de John Ashbery. La publicaci\u00f3n de \u201cThe Late Parade\u201d, su primera colecci\u00f3n de poemas, dio reinicio a la legendaria impronta Liveright de W.W. Norton. Como fundador de la revista de poes\u00eda Maggy y editor colaborador del Literary Hub, Fitzgerald ha demostrado tambi\u00e9n tener un dedo \u00edndice en el pulso de la poes\u00eda estadounidense contempor\u00e1nea. Su poes\u00eda es l\u00edrica, juguetona y rica en formas tanto restringidas como libres; su voz es a menudo ventrilocua y alucinadora, e implica al lector en confusiones que recompensan. Su primer libro ha sido celebrado por John Ashbery, Harold Bloom y Dorothea Lasky, entre muchos otros. Estas son las primeras traducciones de poemas suyos al Castellano, y es para mi un honor presentarlo por primera vez en nuestro idioma.<\/span>
<\/span>
<\/span>Estas traducciones fueron publicadas en la revista de literatura Buenos Aires Poetry, Argentina: <\/span>buenosairespoetry.com\/2013\/03\/06\/poemas-de-the-late-parade-de-adam-fitzgerald-2\/<\/span>
<\/span><\/i>
<\/span><\/i><\/a>Lea y descargue aqu\u00ed mis traducciones de los poemas de Adam Fitzgerald.<\/span><\/a><\/p>



<\/p>

*<\/span>
<\/span>
<\/span>Lea y descargue aqu\u00ed mis traducciones de dos poemas del libro The Cloud Corporation<\/i> de Timothy Donnelly (2015).<\/a><\/p>\",\r\n \"align\": \"middle\",\r\n \"row\": 2,\r\n \"col\": 0,\r\n \"colspan\": 12,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 13,\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n }\r\n ]\r\n}","_links":{"self":[{"href":"https:\/\/www.tomascohen.info\/en\/wp-json\/wp\/v2\/pages\/49","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.tomascohen.info\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.tomascohen.info\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.tomascohen.info\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.tomascohen.info\/en\/wp-json\/wp\/v2\/comments?post=49"}],"version-history":[{"count":0,"href":"https:\/\/www.tomascohen.info\/en\/wp-json\/wp\/v2\/pages\/49\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.tomascohen.info\/en\/wp-json\/wp\/v2\/media?parent=49"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}