{"id":1161,"date":"2022-01-27T19:17:26","date_gmt":"2022-01-27T10:17:26","guid":{"rendered":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/?p=1161"},"modified":"2022-02-28T10:37:26","modified_gmt":"2022-02-28T01:37:26","slug":"my-encounter-with-haruki-murakami-and-taiwans","status":"publish","type":"post","link":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/essays-en\/1161","title":{"rendered":"My Encounter with Haruki Murakami, and Taiwan\u2019s"},"content":{"rendered":"

To accompany the opening of the Haruki Murakami Library, we are publishing a series of essays titled Encountering the Literature of Haruki Murakami<\/em>. This series will provide a forum for people who have been involved in a variety of ways with Murakami\u2019s literature to talk about their \u201cencounters\u201d with his writing, and what \u201cconnections\u201d they feel to it.
\n\u3000\u3000Taiwanese Murakami translator Lai Ming-chu has sent us a jewel of an essay just in time for Christmas Eve. I met Ms. Lai for the first time at the International Conference of Eastern Studies (Kokusai T\u014dh\u014d Gakusha Kaigi) a few years ago, but the instant feeling of closeness that sprang up between us made it feel more like I was meeting an old friend. We\u2019ve kept in touch ever since, calling each other to talk about Murakami\u2019s literature or about translation, and whenever we do, we always lose track of time entirely, our conversations lasting for hours\u2014truly, it\u2019s an amazing connection we\u2019ve ended up sharing.
\n\u3000\u3000According to my research, Lai Ming-chu was the first person outside Japan to have translated Murakami\u2019s literature, introducing him to foreign readers as early as 1985. Murakami was not very well known in the Sinosphere at that point, and Ms. Lai\u2019s translation became famous not only in Taiwan, but also on the Mainland, where it was carried in literary journals and the like; indeed, it was via her translation that Chinese readers first encountered the literature of Haruki Murakami at all.
\n\u3000\u3000So now, without further ado, let\u2019s hear from Ms. Lai about her own encounter with Murakami in the 1980s!
\n\u3000\u3000And, as the original title of Hear the Wind Sing<\/em> puts it, Happy Birthday and White Christmas.<\/p>\n

Quan Hui (Editorial Director, Waseda International House of Literature)<\/p>\n

My Encounter with Haruki Murakami, and Taiwan\u2019s<\/strong>
\nLai Ming-chu<\/strong><\/h2>\n

I first saw the name \u201cHaruki Murakami\u201d in a Japanese magazine, after having returned to Taiwan from Japan. While in Japan, I\u2019d read Almost Transparent Blue<\/em> by Ry\u016b Murakami<\/em>, who\u2019d won the Akutagawa Prize at such a young age, so when I saw Haruki\u2019s name, I thought, how interesting\u2014another Murakami! And so, I ended up remembering the name of this author I\u2019d never heard of before.
\n\u3000\u3000But this turned out to be only the first of many times I\u2019d encounter his name, as he kept popping up in various magazines I was reading. My curiosity piqued, I looked through the last three months of the magazines that the designers at my company subscribed to and found that his name kept popping up\u2014more than a dozen times\u2014in weeklies and monthlies alike, and especially in the magazines aimed at women and at people working in advertising. Around the time A Wild Sheep Chase<\/em> won the Noma Literary Newcomer\u2019s Prize in November of 1982, the book had been introduced to readers many times over in reviews appearing in a variety of Japanese publications. Reading these reviews, I learned that his first novel, Hear the Wind Sing<\/em>, had won the Gunz\u014d Prize for New Writers, and that his novel Pinball, 1973<\/em> had become very popular among young readers.
\n\u3000\u3000I was working as a copywriter for an advertising agency in Taipei at the time, and I visited Eikan Bookstore, a Japanese-language bookstore on Zhongshan North Road, to see if they had any of these books. As it turned out, they had all three parts of this early trilogy on their shelf: Hear the Wind Sing; Pinball, 1973<\/em>; and A Wild Sheep Chase<\/em>. Enchanted by the colorful, mysterious art by Maki Sasaki on their covers, I bought all three, and thus began my reading of the novels of Haruki Murakami.<\/p>\n

I remember being particularly taken by the sentence that starts Hear the Wind Sing<\/em>.<\/p>\n

\u5b8c\u74a7\u306a\u6587\u7ae0\u306a\u3069\u3068\u3044\u3063\u305f\u3082\u306e\u306f\u5b58\u5728\u3057\u306a\u3044\u3002\u5b8c\u74a7\u306a\u7d76\u671b\u304c\u5b58\u5728\u3057\u306a\u3044\u3088\u3046\u306b\u306d\u3002
\n\u201cThere\u2019s no such thing as a perfect piece of writing. Just as there\u2019s no such thing as a perfect despair.\u201d (Ted Goossen, trans.; from Wind\/Pinball<\/em> [New York: Vintage International, 2015])<\/p>\n

A \u201cperfect despair\u201d? The word usually used to modify \u201cdespair\u201d would be \u201ctotal,\u201d wouldn\u2019t it? Yet the phrase \u201cperfect despair\u201d left a surprisingly deep impression. This was evidence of the author\u2019s unique sensibility, surely. Haruki Murakami\u2019s choice of words was designed to strike readers as unusual, surprising. I tried my hand at translating the sentence into Chinese.<\/p>\n

\u6240\u8b02\u5b8c\u7f8e\u7684\u6587\u7ae0\u4e26\u4e0d\u5b58\u5728\u3002\u5c31\u50cf\u5b8c\u7f8e\u7684\u7d55\u671b\u4e0d\u5b58\u5728\u4e00\u6a23\u5662<\/p>\n

In Chinese, the phrase \u201cperfect despair\u201d \u2014\u5b8c\u7f8e\u7684\u7d55\u671b\u2014strikes the reader as slightly off, as it would be more usual to use the phrase \u201ctotal despair\u201d\u2014 \u5b8c\u5168\u7684\u7d76\u671b. But \u201ctotal despair\u201d is too<\/em> usual, sounding completely banal and lacking any sense of surprise, and the wordplay and fun of the original is lost. When I ended up translating the whole novel, I went back and forth about this quite a lot\u2014\u201cperfect\u201d despair, or \u201ctotal\u201d? As I became more familiar with his unique individuality and style, though, it became clear that Haruki Murakami was a perfect<\/em>ionist.
\n\u3000\u3000In Japanese, the sentence \u201cJust as there\u2019s no such thing as a perfect despair\u201d ends with the particle \u201cn\u00e9.\u201d \u201cN\u00e9\u201d is an extremely Japanese way to end a sentence; we have very few such endings in Chinese. And so, when it comes time to translate it, I am presented with a conundrum: should I leave it, or leave it out? These sorts of ending are used in Japanese as ways of respecting the feelings of others, and they create a sense of closeness between speaker and listener. I felt that I must recreate this very Japanese sense of solicitude in my translation, and so in some instances, I left the \u201cn\u00e9\u201d ending in, transforming it into the Chinese \u201c\u5662.\u201d<\/p>\n

There are some other scenes in this early trilogy that left an impression on me.<\/p>\n

\u300c\u3042\u306825\u4e07\u5e74\u3067\u592a\u967d\u306f\u7206\u767a\u3059\u308b\u3088\u3002\u30d1\u30c1\u30f3\u2026\u2026OFF\u3055\u300225\u4e07\u5e74\u3002\u305f\u3044\u3057\u305f\u6642\u9593\u3058\u3083\u306a\u3044\u304c\u306d\u3002\u300d
\n\u98a8\u304c\u5f7c\u306b\u5411\u3063\u3066\u305d\u3046\u56c1\u3044\u305f\u3002
\n\u2026\u2026
\n\u300c\u592a\u967d\u306f\u3069\u3046\u3057\u305f\u3093\u3060\u3001\u4e00\u4f53\uff1f\u300d
\n\u300c\u5e74\u8001\u3044\u305f\u3093\u3060\u3002\u6b7b\u306b\u304b\u3051\u3066\u308b\u3002\u79c1\u306b\u3082\u541b\u306b\u3082\u3069\u3046\u3057\u3088\u3046\u3082\u306a\u3044\u3055\u3002\u300d
\n\u300c\u4f55\u6545\u6025\u306b\u2026\u2026\uff1f\u300d
\n\u300c\u6025\u306b\u3058\u3083\u306a\u3044\u3088\u3002\u541b\u304c\u4e95\u6238\u3092\u629c\u3051\u308b\u9593\u306b\u7d04 15 \u5104\u5e74\u3068\u3044\u3046\u6b73\u6708\u304c\u6d41\u308c\u305f\u3002\u541b\u305f\u3061\u306e\u8afa\u306b\u3042\u308b\u3088\u3046\u306b\u3001\u5149\u9670\u77e2\u306e\u5982\u3057\u3055\u3002\u541b\u306e\u629c\u3051\u3066\u304d\u305f\u4e95\u6238\u306f\u6642\u306e\u6b6a\u307f\u306b\u6cbf\u3063\u3066\u6398\u3089\u308c\u3066\u3044\u308b\u3093\u3060\u3002\u3064\u307e\u308a\u6211\u3005\u306f\u6642\u306e\u9593\u3092\u5f77\u5fa8\u3063\u3066\u3044\u308b\u308f\u3051\u3055\u3002\u5b87\u5b99\u306e\u5275\u751f\u304b\u3089\u6b7b\u307e\u3067\u3092\u306d\u3002\u3060\u304b\u3089\u6211\u3005\u306b\u306f\u751f\u3082\u306a\u3051\u308c\u3070\u6b7b\u3082\u306a\u3044\u3002\u98a8\u3060\u3002\u300d<\/p>\n

\u201cIn another 250,000 years the sun will explode,\u201d a voice whispers. \u201cClick…OFF! 250,000 years. Not so far away, you know.\u201d
\nIt is the voice of the wind.
\n[…]
\n\u201cBut what has happened to the sun?\u201d
\n\u201cIt got old. It\u2019s dying. There\u2019s nothing either of us can do about it.\u201d
\n\u201cBut it\u2019s so sudden…\u201d
\n\u201cSudden? Hardly. One and half billion years passed while you were down the well. As you earthlings say, time flies. The tunnels you passed through run along a time warp\u2014that\u2019s why we dug them as we did. They allow us to wander across time. From the creation of the universe to its final demise. We exist in a realm outside life and death. We are the wind.\u201d (Hear the Wind Speak<\/em>, Ted Goossen, trans.)<\/p>\n

Look at the complete control he exercises here, moving from the realistic to the unreal so freely, the scale of time and space spreading out into infinity, able to speak of life and death so directly\u2014it\u2019s fascinating.<\/p>\n

\u3084\u3042\u3001\u5143\u6c17\u304b\u3044\uff1f\u3053\u3061\u3089\u306f\u30e9\u30b8\u30aaN\u30fbE\u30fbB\u3001\u30c6\u30ec\u30d5\u30a9\u30f3\u30fb\u30ea\u30af\u30a8\u30b9\u30c8\u3002\u307e\u305f\u571f\u66dc\u65e5\u306e\u591c\u304c\u3084\u3063\u3066\u304d\u305f\u3002\u2026\u2026\u4eca\u65e5\u306f\u30ec\u30b3\u30fc\u30c9\u3092\u304b\u3051\u308b\u524d\u306b\u3001\u541b\u305f\u3061\u304b\u3089\u3082\u3089\u3063\u305f\u4e00\u901a\u306e\u624b\u7d19\u3092\u7d39\u4ecb\u3059\u308b\u3002
\n\u2026\u2026
\n\u50d5\u306f\u30fb\u541b\u305f\u3061\u304c\u30fb\u597d\u304d\u3060\u3002<\/strong>
\n\u3042\u306810\u5e74\u3082\u7d4c\u3063\u3066\u3001\u3053\u306e\u756a\u7d44\u3084\u50d5\u306e\u304b\u3051\u305f\u30ec\u30b3\u30fc\u30c9\u3084\u3001\u305d\u3057\u3066\u50d5\u306e\u3053\u3068\u3092\u307e\u3060\u899a\u3048\u3066\u3044\u3066\u304f\u308c\u305f\u3089\u3001\u50d5\u306e\u3044\u307e\u8a00\u3063\u305f\u3053\u3068\u3082\u601d\u3044\u51fa\u3057\u3066\u304f\u308c\u3002<\/p>\n

Hey, all you out there. How\u2019re you feeling tonight? It\u2019s Saturday evening again, time for your Greatest Hits Request Show, right here on NEB Radio. […] I\u2019m gonna shake things up a little tonight, read you a letter I just received from one of our listeners before we start the music.
\n[…]
\nI love all you kids out there!
\nIf you remember anything about this program in ten years\u2014the songs I played for you, perhaps, or maybe even yours truly\u2014then please remember that. (Hear the Wind Speak<\/em>, Ted Goossen, trans.)<\/p>\n

Murakami includes a sketch he made of the NEB Radio t-shirt in Hear the Wind Sing<\/em>. Now, forty years later, he\u2019s the DJ for his own show called Murakami Radio where he can play whatever records he chooses, listening to them with his readers, talking with them, even designing t-shirts inspired by his novels that readers can buy from UNIQLO.
\n\u3000\u3000In Pinball, 1973<\/em>, there are two nameless twin girls who go by 208 and 209, the numbers on the T-shirts they received at the opening of a supermarket as the 208th and 209th customers.
\n\u3000\u3000A Wild Sheep Chase<\/em> unfolds as a series of mysteries: Dolphin Hotel, Junitaki Village, the Ainu youth, the Sheep Professor, the Sheep Man, the history Hokkaid\u014d\u2019s modern settlers, the Manchurian War….
\n\u3000\u3000I returned to Eikan Bookstore filled with the desire to read whatever else I could find by Murakami. Besides the trilogy, I ended up buying everything they had that was either by or about him: the short story collections A Perfect Day for Kangaroos<\/em> and A Slow Boat to China<\/em>, the photobook Pictures of Waves, Tales of Waves<\/em> that he co-created with K\u014dichi Inakoshi, the essay collection Happy Ending at the Elephant Factory<\/em> that he cowrote with Mizumaru Anzai, and literary critic Sabur\u014d Kawamoto\u2019s book The Sensitivity of the City<\/em>, which includes in-depth analyses of Murakami\u2019s writing. I bought them all and read them, one after the other.
\n\u3000\u3000Thinking that I wanted to introduce Taiwanese readers to this new author\u2019s wonderful works, I talked to Zhou Haozheng, my former colleague at the ad agency, Qiao Lian, who had moved on to become the editor-in-chief at New Book Review Monthly<\/em>. \u201cTranslate it and show it to me, and if it\u2019s as wonderful as you say, we\u2019ll run it,\u201d he said. In the end, my first Murakami translations came out in a special feature called \u201cThe World of Haruki Murakami\u201d in New Book Review Monthly<\/em>, No. 23 (August 1985).
\n\u3000\u3000I translated three essays from Sabur\u014d Kawamoto\u2019s The Sensitivity of the City<\/em> (\u201cAuthors in the City,\u201d \u201cThe \u2018No Generation\u2019 of the 1980s,\u201d and \u201cThe World of Haruki Murakami\u201d), introduced Murakami\u2019s style to readers, and then translated three short Murakami pieces: \u201cStreets of Illusion,\u201d \u201cSupermarket Lifestyles of the 1980s,\u201d (from Pictures of Waves, Tales of Waves<\/em>) and \u201cSunset in the Mirror\u201d (from Happy Ending at the Elephant Factory<\/em>); the special feature ran ten pages in total. It was through the \u201cThe World of Haruki Murakami\u201d special feature in New Book Review Monthly<\/em> that Taiwanese readers first encountered the name \u201cHaruki Murakami.\u201d (Later, I learned that this was the first time his work was introduced to any audience outside Japan at all).
\n\u3000\u3000However, New Book Review Monthly<\/em> ended its run with its subsequent issue (No. 24), and Zhou went on to become the editor-in-chief at China Times. When I asked if Murakami\u2019s works might be published there, I was told that they would reserve judgment until they saw more works in translation.
\n\u3000\u3000It was then that I quit my job and travelled to the USA to translate more of Murakami\u2019s novels. I visited my older brother and a friend, and during my travels, I translated Hear the Wind Sing<\/em> and Pinball, 1973<\/em> and sent them to Zhou at China Times<\/em> for review.<\/p>\n

\"\"

\u201cThe World of Haruki Murakami,\u201d New Book Review Monthly, No. 23 (August 1985)<\/p><\/div>\n

Later, when I was living in New York, I went to the Kinokuniya bookstore on Sixth Avenue and came across Murakami\u2019s new novel, Hard-Boiled Wonderland and the End of the World<\/em>. As I started to read it, I found that it was a novel written in a new style, one that told two intertwining stories at once. Excited, I read through the book as if watching a movie, impressed by the freshness of its images: the Elevator, the golden Beasts, the Library, the Shadows, the Wall, the Map of the End of the World\u00ac\u2014. Summer had passed in New York, and a beautiful autumn had arrived; the sides of the roads were blanketed in golden leaves. As the temperature got lower and lower, the increasingly severe cold reminded me of winter in Tokyo, and it struck me as so strange to be reading Hard-Boiled Wonderland<\/em>… in a foreign country like this, but also so oddly perfect\u2014in fact, it struck me that to be able to read about both the End of the World and the Hard-boiled Wonderland in New York was an unbelievably perfect coming together of events.
\n\u3000\u3000Along with Hard-Boiled Wonderland<\/em>…, I\u2019d bought Happy Jack: Heart of the Rat\u2014A Haruki Murakami Studies Reader<\/em>, which I found fascinating, as it included critical and personal essays by contributors from a wide variety of fields. I was especially impressed by Takashi Masaki\u2019s essay, \u201cA World of Japanese Spirit in Western Clothing,\u201d with which I wholeheartedly agreed. I felt it expressed exactly how I felt as I translated Murakami\u2019s first two books.
\n\u3000\u3000I decided then that I wanted to translate A Wild Sheep Chase<\/em> and Hard-Boiled Wonderland and the End of the World<\/em>. I returned to Taipei and inquired to Zhou about the publisher\u2019s intentions.
\n\u3000\u3000Managing Editor Chen Yu-Hang, himself an author, explained it this way, \u201cI like Murakami\u2019s style too\u2014I find it so refreshing. But we want to leave his debut piece, Hear the Wind Sing<\/em>, for later, and publish Pinball, 1973<\/em> first. We also think that it\u2019s easier to hook new readers with short stories, so we\u2019d like you to translate a collection of short stories to put out as well.\u201d
\n\u3000\u3000When I translated the collection A Perfect Day for Kangaroos<\/em>, the response was, \u201cThe content is very interesting, but the title is too fairytale-like and invites misunderstanding. I think we should borrow the title of another story: \u201cOn Seeing the 100% Perfect Girl One Beautiful April Morning.\u201d But that\u2019s too long, so let\u2019s shorten it to On Seeing the 100% Perfect Girl<\/em> [in Chinese: \u9047\u898b100%\u7684\u5973\u5b69].\u201d It turned out to be a great title. Many readers apparently ended up buying one copy for themselves and one copy as a gift for their lover, and it has turned out to be a longtime bestseller.
\n\u3000\u3000On June 15, 1986, my translation of Pinball, 1973<\/em> came out [in Chinese: 1973\u5e74\u7684\u5f48\u73e0\u73a9\u5177], which was followed half a year later by the collection On Seeing the 100% Perfect Girl<\/em> [in Chinese: \u9047\u898b100%\u7684\u5973\u5b69]. My translation of Hear the Wind Sing<\/em> was finally published a year and nine months later, on April 1, 1988.<\/p>\n

\"\"

The author, Lai Ming-chu, during her stay in New York<\/p><\/div>\n

Wanting to introduce the wonderfulness of Haruki Murakami to more readers, I contributed a profile of Murakami to a feature on \u201cThe Literary \u3000Standard-Bearers of 1980s Japan\u201d for the first year anniversary issue of the magazine Japan Digest<\/em> in January of 1987, as well as translating the story \u201cA Slow Boat to China\u201d for the issue.
\n\u3000\u3000That same year, on September 10, Norwegian Wood<\/em> was published in Japan.
\n\u3000\u3000The cover claimed that it was \u201cThe Most Intense 100% Love Story of Today,\u201d and it quickly became a bestseller.
\n\u3000\u3000Japan Digest<\/em> caught wind of this development and immediately put together a team of five translators\u2014\u5289\u60e0\u798e, \u9ec3\u742a\u739f, \u5085\u4f2f\u5be7, \u9ec3\u7fe0\u5a25, and \u9ec3\u921e\u6d69\u2014to produce a translation for their affiliated publishing company, \u6545\u90f7Publishing House. It came out on February 25, 1989, as \u632a\u5a01\u7684\u68ee\u6797.
\n\u3000\u3000Most Taiwanese readers say that the first Murakami novel they ever read was this translation of Norwegian Wood<\/em>.
\n\u3000\u3000Readers encounter Murakami\u2019s works and become taken with the freshness of his style and the freedom of invention in his stories. There\u2019s also a feeling of closeness, arising from his ability to use simple words to express deep meaning in lively ways\u2014this is stimulating to the reader, and inspiring.
\n\u3000\u3000\u201cI might be able to write something myself.\u201d
\n\u3000\u3000\u201cI want to write just as I think.\u201d
\n\u3000\u3000Not a few readers of Murakami\u2019s literature end up feeling encouraged to write their own stories, draw their own pictures, compose their own songs.
\n\u3000\u3000Nothing brings me more pleasure, nor makes me happier, than to be a longtime reader and translator of Murakami\u2019s works.<\/p>\n

(Translated by One Transliteracy, LLC)<\/p>\n

January 28, 2022<\/p>\n

\n

\"\"
\nProfile<\/strong><\/p>\n

Lai Ming-chu was born in Miaoli County, Taiwan. In 1969, she graduated from the Agricultural Economics Department at National Chung Hsing University, and then, after working there as an adjunct researcher, went to Japan to study in the Horticultural Science Department at Chiba University in 1975. After returning to Taiwan in 1978, she worked as a copywriter in the advertising world. In 1985, she began translating works by Haruki Murakami, and her Murakami translations now number over forty works. She has also introduced many other works of Japanese literature to Chinese readers, starting with A Portrait of Shunkin by Jun\u2019ichir\u014d Tanizaki.<\/p>\n<\/div>\n

One TransLiteracy, LLC, is a boutique translation and cultural consultation agency founded by Miyabi \u201cAbbie\u201d Yamamoto, Ph.D. We are a team of highly educated native or native-level bilingual and bicultural experts who provide meticulous translations with linguistic acuity, hone texts for precision and elegance, and provide concise explanations of cross-cultural exchange. The founder, Abbie, grew up in Tsukuba, Japan and received her Ph.D. in Japanese and Korean literatures at the University of California, Berkeley. She is passionate about promoting cross-cultural exchange and everyday practices of intentional inclusion.<\/p>\n

\uff0aThis article was made possible through the support of the Waseda International House of Literature and Top Global University Project in collaboration with Waseda University’s Global Japanese Studies.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Taiwanese Murakami translator Lai Ming-chu has sent us a jewel of an essay just in time for Christmas Eve. I met Ms. Lai for the first time at the International Conference of Eastern Studies (Kokusai T\u014dh\u014d Gakusha Kaigi) a few years ago, but the instant feeling of closeness that sprang up between us made it feel more like I was meeting an old friend. We\u2019ve kept in touch ever since, calling each other to talk about Murakami\u2019s literature or about translation, and whenever we do, we always lose track of time entirely, our conversations lasting for hours\u2014truly, it\u2019s an amazing connection we\u2019ve ended up sharing.<\/p>\n","protected":false},"author":4,"featured_media":1053,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[104],"tags":[],"class_list":["post-1161","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays-en","ja"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/posts\/1161","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/comments?post=1161"}],"version-history":[{"count":2,"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/posts\/1161\/revisions"}],"predecessor-version":[{"id":1218,"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/posts\/1161\/revisions\/1218"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/media\/1053"}],"wp:attachment":[{"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/media?parent=1161"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/categories?post=1161"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/tags?post=1161"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}