{"id":81665,"date":"2018-09-27T17:15:07","date_gmt":"2018-09-28T00:15:07","guid":{"rendered":"https:\/\/jonestown.sdsu.edu\/?page_id=81665"},"modified":"2026-03-01T10:41:59","modified_gmt":"2026-03-01T18:41:59","slug":"meditating-on-the-fate-of-the-earth-and-its-species-wilson-harris-jonestown","status":"publish","type":"page","link":"https:\/\/jonestown.sdsu.edu\/?page_id=81665","title":{"rendered":"Meditating on the Fate of the Earth and Its Species: Wilson Harris\u2019 Jonestown<\/em>"},"content":{"rendered":"

(Ms. Gentian Miller is Senior Lecturer, teaching in the Faculty of Education and Humanities at the University of Guyana.)<\/em><\/p>\n

\u201cThere\u2019s a warning from which civilization recoils.
\nPerhaps it’s unable to read the signs\u201d (Harris 1996:101)<\/p>\n

\"\"<\/a>With no claim to being a fictionalized account of the Guyana tragedy, Wilson Harris\u2019 dream text, Jonestown<\/em> (1996) works as a \u201ctheatre of the arts,\u201d scathingly ridiculing the upsetting of the deft balance between humans and environment. The novel\u2019s ghost narrator, Francisco Bone, a Lazarus figure acting as emissary, returns from the Jonestown dead to warn us of the fate we should avoid. Bone\u2019s name also calls to mind the vision of dry bones coming back to life. Essentially Bone revisits the day of the dead, shoulders responsibility for the tragedy, and sets the stage for spiritual atonement for the trauma visited on the land. Bone therefore becomes the scapegoat for the healing of the land. When Harris\u2019 Jonestown<\/em> is read in consort with \u201cThe Music of Living Landscapes\u201d (Harris, 1999), \u201cTheatre of the Arts\u201d (Harris, 2002), \u201cThe Argument to the Outboard Motor\u201d (Walcott 2005), and \u201cSubjection and Resistance in the Transformation of Guyana\u2019s Mythological Landscape\u201d (Jackson 2005), recommendations for the coexistence of humans and environment become available. Harris\u2019 quantum fiction, Jonestown<\/em>, therefore allows for a dispassionate assessment of what we are doing to the earth and its species.<\/p>\n

The setting up of the Peoples Temple Agricultural Project, another Utopia, actually involved the conscripting of Amerindians to clear the forest and build \u201ctroolie huts\u201d (Miller, 2016); a painful repeat of earlier times. And it is this enigma that causes Harris to strike parallels with Jonestown and other examples of community breakdown in Central and South America, such as the demise of the Maya; the disappearance of the Caribs; and the Amerindian massacre of the 1840s at Kukenam Valley, Roraima (Harris, 1996:4). As quantum fiction, Jonestown<\/em> captures these \u201ctimes\u201d by way of Bone using a \u201cVirgin Ship\u201d to traverse boundaries of time and space, \u201cas if blended times are the solid threshold and elusive foundations of holocaustic Jonestown\u201d (Harris 1996:82). Harris\u2019 placing of Jonestown in such a rotational matrix works well as it provides scope for examining the specific tragedy within the context of other such catastrophes.<\/p>\n

Constructing another Utopia <\/strong><\/p>\n

\"\"<\/a>
Wilson Harris<\/figcaption><\/figure>\n

Harris\u2019 text criticizes Jonestown as a repeat of the colonizer\u2019s historical abuse of people and environment; the trafficking in persons and the yoking of humans to the land. Incidentally, such treatment of humans continues today in different forms: investors displace Amazon Indians and Guyana\u2019s indigenous people from their forest homes to make way for new roads, and hydro-electric dams; and mining and extractive industries pollute water and environment. As Harris notes: \u201cThe savage exploitation of rainforests continues in South America. Trees are felled like dumb creatures. River catchments are impoverished.\u201d He also denounces the \u201cdeadly cyanide overspill [that] seeped into the great Essequibo River of Guyana in 1995\u201d (Harris 1999:44).<\/p>\n

For the settling of the Peoples Agricultural Project, Jonestown, more than half a million US dollars was paid for land leased near Port Kaituma, Guyana in 1973. Land was appropriated and a commune was set up, but the socialist dream of self-sufficiency at Jonestown quickly degenerated, and Jonestown became another concentration camp for trafficked Americans. It was quickly transformed into rape of the land and people, and large scale murder\/poisoning by cult leaders. Not only is the poisoning of land ridiculed by Harris, but he also warns that the repercussions of our abuse of the environment are long term and will affect several generations. The exploitation of environment is abhorrent and the trafficking of persons is reprehensible.<\/p>\n

In an interview with George Handley, Caribbean writer and winner of the Nobel Prize for Literature Derek Walcott, comments on the appropriation of land by explorers and investors. This amounts to a \u201cviolation of landscape,\u201d Walcott says, a \u201cdesecration\u201d of that which is considered sacred (De Leoughrey et al., 128). A counter-argument posited by Handley is that such appropriation brings much needed investment to poorer countries and is therefore considered as development. Development at such a cost is roundly criticized by Walcott as prostitution (DeLoughrey and Handley, 2005:129). Handley also asks, isn\u2019t \u201chuman activity always, inevitably using nature in some way . . . result[ing] in a spiritual death of some kind\u201d (129). Walcott correctly points out that the problem is that \u201cthe rhythm of the human body is never satisfied with its own pace\u201d (DeLoughrey et al., 130). The impetus to discover, recreate, harness and exploit derives from human greed and the drive to control. Harris observes that \u201cThe grave is deep despite every carpet of leaves that Lazarus paints with music\u201d (Harris, 1999: 44). Therefore, checks and balances must be put in place to avoid abuse and other violations of landscape.<\/p>\n

Handley further asks about blame being attributed to \u201cWestern civilization . . . always [wanting] an Eden to go into,\u201d and in responding to this, Walcott condemns the pioneering impetus that resulted in the removal of Native Indians from their land and also resulted in the trafficking of slaves. Walcott also ridicules the exclusion of such issues in America\u2019s classic poem, Leaves of Grass<\/em> (Walt Whitman 1885), where there is nothing about \u201cslavery\u201d and there is no mention of the \u201cdecimation of the American Indian\u201d (De Loughrey et al. 132). Walcott asks how it could be okay to get soldiers to go into a territory that has Indians, shoot the Indians, convert those remaining, and say that \u201cI am doing it for their good\u201d (131). This narrative of the colonizer is repeated ad nauseam<\/em> and continues to affect native peoples everywhere. Ridiculing such appropriation of land, Harris says, \u201cthe taming of the wilderness has always been an uneasy programme, however desperately pursued in the body of civilizations\u201d (Bundy, 1999:44). The rape and poisoning of landscape at Jonestown is reprehensible.<\/p>\n

Handley further asks about western civilization nurturing \u201cthe idea of land as virgin so that you can have \u2018her\u2019 first\u201d (132). This angle is a dangerous one, since essentially it is a stereotypical construction of nature as female to be plundered. Walcott condemns the race\/class\/power dynamic of American investors seeking to build a hotel at the base of St. Lucia\u2019s Pitons, but avoids speaking specifically about landscape as female to be owned, controlled, raped and plundered. The only time Walcott addresses the feminization of landscape is when he condemns both government and investors for making the Pitons prostitutes: \u201cyou are making them whores\u201d he says (De Loughrey et al. 129). While Handley and Walcott address the colonizer\/colonized\/new-colonial construct which is at the heart of the matter, the treatment of landscape as violated female is glossed over.<\/p>\n

Rape of nature and woman<\/strong><\/p>\n

In her essay,\u201d Subjection and resistance in the transformation of Guyana\u2019s Mytho-Colonial landscape\u201d Shona Jackson criticizes the El Dorado myth as promoting the rape of land and woman, and ridicules the male desire to own, control and exploit (DeLoughrey et al. 2005). She criticizes the fact that in the hands of the independent Guyana government of the 1970s, the El Dorado myth morphed, developed a generative capacity, and became elemental to nationalistic discourse which coded \u201csubjection and rape of the land\u201d (De Loughrey et al., 88). Jackson also takes to task Wilson Harris\u2019 representation of Mariella, the abused Amerindian woman, who in Palace of the Peacock<\/em> (1960) is raped by Donne and made to be a guide for the colonizer and his crew. Though Donne\u2019s rape of Mariella, who also represents the landscape, is historical fact, Harris may be held culpable since he too benefits from making the rape victim a spectacle where the victim seeks help but is \u201craped\u201d by the male to whom she tells her story. The narrator says: \u201cShe lifted her dress to show me her legs. I stroked the firm beauty of her flesh and touched the ugly marks where she had been whipped . . . Her convulsive sobbing stopped when I touched her again\u201d (Palace of the Peacock 1960: 21). Mariella repeatedly becomes the symbol of satisfaction for male appetite. Succinctly, Harris exposes this issue, but if there is any condemnation, it is not stated.<\/p>\n

Notwithstanding this, Harris\u2019 Jonestown<\/em> condemns Jones\u2019 rape of women, a characteristic feature of life at Jonestown, as the inexcusable. Bone, as mouthpiece, pronounces that \u201cJones was a charismatic pig\u201d and \u201chis brutal coercive intercourse with nature, with a woman he deemed a whore, with a goddess who said she pitied him, was visible when he held a gun to Marie\u2019s temple\u201d (125). The male framing of the abused woman, to justify his act, is also sanctioned here. \u201cCoercive intercourse\u201d is really a softened way of addressing rape, and maybe Harris is finding creative ways of addressing the issue. In another context, we get a reasoning narrator remarking that \u201cSex became senseless, predatory, the equipment of rapists\u201d (Harris, 1996: 191). Sexual abuse, that was methodically used as a method of social control in Jonestown, is purposefully ridiculed in Harris\u2019 novel, especially since it contributed, in no small way, to the dystopian nightmare Jonestown became.<\/p>\n

Women as avenging furies<\/strong><\/p>\n

Harris\u2019 theatre of arts does not only ridicule the rape of woman and landscape at Jonestown, but this text goes further to produce a radical reinterpretation of myths regarding women by representing them as transgressive archetypes. Instead of being trapped in the image of the goddess and good mother, mother goddesses are celebrated paradoxically as embodying womb that produces new life and as also as avenging furies. Moreover, in Jonestown, the abused archetypal woman \u2013 and by extension nature \u2013 transfigures to become \u201cavenging furies,\u201d or \u201ckilling goddesses\u201d such as the Sirens, Circe, Kali and others who \u201cpursue and punish doers of unavenged crimes\u201d (Harris, 1999:226). A physical storm erupts in this novel, and this fury can be interpreted as nature\u2019s response to the violation of landscape and life. Considering the generative capacity of the myth glossing over the rape of land and woman, Harris makes this myth morph further to undercut the traditional stereotype. Harris\u2019 novel ridicules human greed and exploitation of all forms of life while attempting to create a Utopia, but added to this, Jonestown<\/em> prescribes solutions to the problem.<\/p>\n

Sacraments of subsistence<\/strong><\/p>\n

A certain interdependence with nature and humans is necessary and needs to be maintained. Not to be confused with the creation of Utopia is the healthy need for taking a retreat to experience renewal in nature. Derek Walcott (2005) validates this treatment of environment and says, \u201cit is okay to find that place in nature and to renew oneself from time to time.\u201d Harris\u2019 poem \u201cTell Me Trees What Are You Whispering\u201d also endorses the cherishing of environment. It speaks of retreating \u201cfar away from the haunts of men\u201d to obtain spiritual nourishment (Seymour, A. J.: 1961). Modernist poet W. B Yeats also celebrated such treatment of nature, since he found it necessary to escape to \u201cThe Lake Isle of Innisfree\u201d where one only needs \u201ca cabin,\u201d \u201cnine bean rows,\u201d and \u201ca hive for the honey bee.\u201d (W. B. Yeats: 1892).<\/p>\n

Establishing communion with nature is good, but a certain practical balance must be achieved with humans and environment. Such a balance Harris describes as the \u201ccultivation\u201d of \u201ca sacrament of subsistence\u201d (Harris 1999:41). This pact is best illustrated by the Amerindians of Nappi, in Guyana\u2019s Rupunini, who tell the story of Nabbi the village elder, who would punish the hunter who would shoot a fish but carelessly allow the fish to escape with the arrow. If the hunter does not retrieve that fish, his punishment is death. The sacrament of subsistence is one that allows you to take from the environment only what you need. Such sacraments ensure that a deft balance is maintained. Nabbi then is a protector of the environment, a shaman. \u201cAmong other things, shamanism is a hunter\u2019s religion, concerned with the necessity of taking life in order to live oneself\u201d (Vitebsky, 1999:11). The violating of such time-honoured principles inevitably results in disasters we court.<\/p>\n

Recommendations are given by Harris in his essay, \u201cThe Music of Living Landscapes\u201d to help us understand how we should treat landscape and life (Harris, 1999). Harris urges us to recognize that landscape possesses resonance, a resonance that is compared with orchestrated music. For this reason, we should not treat landscape as \u201cpassive furniture\u201d (Harris, 1999:40). We are told that we should listen to the land and enter into conversation with trees, rivers, rocks, and other life forms. Harris encourages us to understand how \u201crocks dance\u201d and \u201csing\u201d as they provide a tidal function in rivers. Harris\u2019 musical analogy extends to describe the \u201corchestration of species,\u201d where harmony is achieved. Humans are encouraged by Harris to establish an affinity with environment, learn to read the signs, discern and learn to read the music. Harris also specifically re-defines landscape, asking us to consider the \u201cmeasureless life of the earth\u201d which takes in several geological ages. If we consider the example of the Kingston foreshore in Guyana, it is actually land reclaimed from the sea; the ironic equivalent is that of \u201cswimming on dry land\u201d (Harris 1999:174). We are infinitesimally small and our generation is singular in the grand scheme of things; therefore, we need to treat environment in a way that sustains life for the future.<\/p>\n

Further to this, Harris gives us a cardiopulmonary metaphor that helps us to envisage landscape as a living entity. Harris says, \u201cLiving landscapes have their own pulse and arterial topography and sinew which differ from ours but are real \u2013 however far-flung in variable form and content\u201d (Harris 1999:44). This metaphor that attributes human life to the earth emphasizes that all of nature is alive. This equation of \u201caliveness\u201d is seen at work in Harris\u2019 Jonestown<\/em> where parallelism is struck with trees, cattle, and humans as tragic victims. Bone has a vision of \u201cbodies piled everywhere from which [he] fled\u201d but the images coalesce and the Jonestown dead in \u201cGRAVE LAND\u201d is paralleled with a \u201cSawyers pit,\u201d filled with \u201csliced limbs and planks from fallen living body of trees\u201d (Harris 1996:107). The images also displace each other, bringing into focus yet another life-form that suffers, animals. Bone says: \u201cThe cattle lay in the Jonestown Clearing on the Day of the Dead. Cattle have human faces . . .\u201d (Harris 1996:36). This vision lets us recognize that humans are not superior to other species; every death diminishes environment, and we begin to ask questions about just recompense.<\/p>\n

Crime and Punishment<\/strong><\/p>\n

The issue of punishment for crimes committed is also thoroughly addressed in Harris\u2019\u00a0Jonestown<\/em>. Bone questions the nature of moral responsibility while he is in \u201cLimbo Land\u201d, \u201cGRAVE LAND\u201d, running from and advocating for the death of the predator, the one responsible for the crime committed on Jonestown. Bone says: \u201cI was driven to contemplate poisoning the air everywhere that he breathed, the seas and ocean and lakes and rivers in which he swam, the environments and places that clothed him\u201d (Harris 1996:75). But even as Bone contemplates such course of action, Harris\u2019 novel again moves beyond the individual case and giving attention to several. He reveals the irony inherent in the predator\/prey archetype where the desiring of the death of another, the desiring of capital punishment for crimes committed, also turns the prey himself into a predator. Bone, in seeking revenge, desires the Predator\u2019s death; this in itself is essentially a pre-figuring of what happens at the end of the text. Storm-tossed and hunted in limbo-land, Bone is rescued by the archetypal huntsman Christ, who throws a net to cover and catch him, thereby saving him from the predator.<\/p>\n

At the end of the text, Native Indians subject Bone\/Deacon\/Jones to trial and judgement. Bone\u2019s denial is strong since he claims not to be Deacon\/Jones. But eventually, as sacrificial victim, he accepts responsibility, and they push him off the edge of the mountain, in Maya style. As readers, we hold our breath, satisfied with the punishment. However, while falling, Bone\/Deacon\/Jones is miraculously caught in the net of \u201cmusic,\u201d \u201cthe net of the Huntsman Christ\u201d (Harris 1996:233). We are therefore given an ironic twist at the end of this text. With such a twist, Harris\u2019 quantum novel provides a unique intervention and challenges the whole archetypal ritual of sacrifice. Jonestown<\/em> takes the issue of human sacrifice \u2013 revolutionary suicide \u2013 back to the time of the Maya civilization where the gods desired pulsing hearts, ripped from sacrificial victims. \u201cThis horrible contradiction was the result of man becoming the toy of his religion,\u201d says Harris (1967:190).<\/p>\n

In this radical twist at the end of Jonestown<\/em>, the Christ archetype overturns the demand for sacrificial offerings of animals or humans. The death penalty is criticized in Jonestown<\/em> as \u201cself-conscious and fashionable judgements\u201d (29). Harris also points us to Kafka\u2019s short story, \u201cThe Penal Colony,\u201d where the death penalty is exposed as inhumane. Harris says:<\/p>\n

In this work the visionary relinquishment of sacrifice is the theme which is grounded upon the wheel of humanitarian progress in terms of man\u2019s all-embracing and gruesome self-torture. The work seeks to find its poise upon a life-line or age of cruel obsession which is now ending. Finis to torture. And yet something is bungled, even as the last executioner is self-executed. The ritual of self-sufficient justice runs to an untidy halt. (Harris, 1967:25)<\/p><\/blockquote>\n

Harris\u2019 novel presents hope, rebirth and rejuvenation as superior to death. Salvation, redemption, and rebirth are intricately woven into the possibilities for healing of both life and land. There is the possible resurrection of Jonestown, as we saw earlier with the timber limbs becoming rejuvenated. Bone says: \u201cThe light of the incalculable glow and gloom of the Forest seemed to boil everywhere within the pit, within the noises of bustling Jonestown\u201d (107).\u00a0\u201cOne could hear through curtains of leaves, bustling Jonestown arisen from its grave,\u201d says Bone (Harris, 1996:107). Lazarus, as representing rebirth, figures again and speaks of re-birth and renewal; this merges with the motif of the womb and the birth of a child which symbolizes hope and new life.<\/p>\n

Harris\u2019 Jonestown <\/em> of course facilitates an investigation of the fate of the earth and its species. It ridicules the setting up of another Utopia and our attempts at taming the wilderness. It ridicules our rape of nature and woman. It provides recommendations on how we should treat life and land. There is the apocalyptic vision of the tragedy, but the text goes beyond the doom and gloom. This text gives us several possibilities. Contrasting the apocalyptic vision, there is the vision where \u201cThe trees however participate in a resurrection where with \u2018living bodies,\u2019 and \u2018lungs\u2019\u201d (Harris 1996:107), they come alive. In addition, Francisco Bone tells us of his vision \u2013 that is similar to the vision of Ezekiel \u2013 where the bones \u201cshone with the mysterious, alarming light of aroused flesh-and-blood, trembling flesh-and-blood wood that steamed, it seemed, as it arose from the pit\u201d (Harris 1996:108). Certainly, re-birth, reanimation and renewal trumps death and destruction. And if one is inclined to believe that Harris is granting more importance to Christian doctrine, consider also that the Diwali festival of lights celebrates good overcoming evil; light dispelling darkness. Harris also has written in \u201cThe Uses of Myth\u201d on something called \u201chappy catastrophe.\u201d On the point of the death penalty, incidentally, prisons have become re-imagined spaces in the Netherlands because the prison population has radically diminished. The obsession with cruel torture and death is indeed ending.<\/p>\n

References<\/strong><\/p>\n

\n

Buell, Lawrence. (1995). The Environmental Imagination: Thoreau, Nature Writing and the Formation of American Culture. <\/em>Cambridge: Belknap Press of Harvard University Press. <\/p>\n

Eliot, T. S. (1922).\u00a0“The Waste Land”<\/em> \u2013 Retrieved from The Poetry Foundation<\/a>.<\/p>\n

Harris, Wilson. (2002). \u201cThe Theatre of Arts.\u201d In Hena Maes-Jelinek (Ed. ), Theatre of the Arts; Wilson Harris and the Caribbean.<\/em> (pp. 9-10) Amsterdam: Rodopi.<\/p>\n

Harris, Wilson. (1960). Palace of the Peacock<\/em>. London. Faber and Faber.<\/p>\n

Harris, Wilson. (1967). Tradition the Writer and Society: Critical Essays <\/em>London; New Beacon.<\/p>\n

Harris, Wilson. (1971). \u201cTell me Trees What Are You Whispering.\u201d \u00a0In West Indian Poetry<\/em>: An Anthology for Schools. <\/em>(pp. 33). London: Longman.<\/p>\n

Harris, Wilson. (1996). Jonestown<\/em>. London: Faber and Faber.<\/p>\n

Harris, Wilson. (1999). \u201cThe Music of Living Landscapes.\u201d In Andrew Bundy (Ed.),\u00a0Selected Essays of Wilson Harris: The Unfinished Genesis of the Imagination. <\/em>(pp. 40-46). New York: Routledge.<\/p>\n

Harris, Wilson. (1999). \u201cMerlin and Parsifal: Adversarial Twins.\u201d In Andrew Bundy (Ed.),\u00a0Selected\u00a0<\/em>Essays of Wilson Harris: The Unfinished Genesis of the Imagination. <\/em>(pp. 167-176). New York: Routledge.<\/p>\n

Harris, Wilson. (1999). \u201cThe Amerindian Legacy.\u201d In Andrew Bundy (Ed.),\u00a0Selected<\/em>\u00a0Essays of Wilson Harris: The Unfinished Genesis of the Imagination. <\/em>(pp. 40-46). New York: Routledge.<\/p>\n

Jackson, Shona. (2005). \u201cSubjection and Resistance in the Transformation of Guyana\u2019s Mythological Landscape.\u201d \u00a0In Elizabeth De Loughrey et al. Caribbean Literature and the Environment: Between Nature and Culture. <\/em>(Eds. ), (pp. 126-139). Charlottesville: University of Virginia Press.<\/p>\n

Miller, Gentian. (2016). Interview with Jonestown survivor, Reno Jones. Manuscript submitted for publication.<\/p>\n

Miller, Gentian. (2014). \u201cThe Carib Bone-Flute Music in Palace of the Peacock<\/em>.\u201d \u00a0In Nicholas Faraclas et al.\u00a0Creolization and Commonalities<\/em>. (Eds. ), (pp. 205-2014). Willemstad: University of Curacao.<\/p>\n

Vitebsky, Piers. (1995). Shamanism<\/em>. Oklahoma: University of Oklahoma Press.<\/p>\n

Walcott, Derek. (2005). \u201cThe Argument to the Outboard Motor.\u201d In Elizabeth De Loughrey et al. Caribbean Literature and the Environment<\/em>: Between nature and Culture<\/em>. (pp. 126-139). Charlottesville: University of Virginia Press.<\/p>\n

Yeats, W. B. (1892). The Countess Kathleen and Various Legends and Lyrics<\/em>. London: T. \u00a0Fisher Unwin.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

(Ms. Gentian Miller is Senior Lecturer, teaching in the Faculty of Education and Humanities at the University of Guyana.) \u201cThere\u2019s a warning from which civilization recoils. Perhaps it’s unable to read the signs\u201d (Harris 1996:101) With no claim to being a fictionalized account of the Guyana tragedy, Wilson Harris\u2019 dream text, Jonestown (1996) works as […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":81151,"menu_order":15,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-81665","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/jonestown.sdsu.edu\/index.php?rest_route=\/wp\/v2\/pages\/81665","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jonestown.sdsu.edu\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/jonestown.sdsu.edu\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/jonestown.sdsu.edu\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/jonestown.sdsu.edu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=81665"}],"version-history":[{"count":16,"href":"https:\/\/jonestown.sdsu.edu\/index.php?rest_route=\/wp\/v2\/pages\/81665\/revisions"}],"predecessor-version":[{"id":134459,"href":"https:\/\/jonestown.sdsu.edu\/index.php?rest_route=\/wp\/v2\/pages\/81665\/revisions\/134459"}],"up":[{"embeddable":true,"href":"https:\/\/jonestown.sdsu.edu\/index.php?rest_route=\/wp\/v2\/pages\/81151"}],"wp:attachment":[{"href":"https:\/\/jonestown.sdsu.edu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=81665"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}