{"id":2277,"date":"2019-10-16T15:13:31","date_gmt":"2019-10-16T15:13:31","guid":{"rendered":"http:\/\/zatma.org\/?p=2277"},"modified":"2019-10-16T15:13:31","modified_gmt":"2019-10-16T15:13:31","slug":"to-walk-invisible-a-zen-parable","status":"publish","type":"post","link":"https:\/\/zatma.org\/?p=2277","title":{"rendered":"To Walk Invisible, A Zen Parable"},"content":{"rendered":"
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\"\"<\/a>\"\"<\/a>\"\"<\/a><\/p>\n

\u201cTo Walk Invisible\u201d <\/span>is a <\/span>television <\/span>drama <\/span>that first aired in 2017 <\/span>about the three Bront<\/span>\u00eb<\/span> sisters,<\/span> Charlotte, Emily and Anne<\/span>. The story tells of <\/span>a period in their lives when they are transformed from sisterly supporters, financially dependent on <\/span>their aging father <\/span>and <\/span>their only brother<\/span>, <\/span>into independent successful <\/span>writers. <\/span><\/p>\n

The <\/span>Bront<\/span>\u00eb<\/span> family, housed in the large rectory of the church where their father is the parson, <\/span>live<\/span> together but apart, each family members<\/span>\u2019<\/span> life unfolding behind the many closed doors of the old<\/span> <\/span>house. <\/span>It is a dark, somber and spartan domestic scene. E<\/span>ach <\/span>of the three <\/span>sister<\/span>s<\/span> and the<\/span>ir<\/span> brother <\/span>(Bramwell) <\/span>secretly struggle to make sense of their lives within the structure of family values they unconsciously share and unwittingly uphold. <\/span><\/p>\n

Bramwell<\/span> <\/span>is<\/span> celebrated within the family as the one with creative genius who w<\/span>ill<\/span> be famous. The <\/span>sisters all face <\/span>advancing age, <\/span>dwindling prospects for marriage and<\/span> few prospects for employment<\/span>. The <\/span>Victorian culture <\/span>of the day affords them <\/span>no ready options other than <\/span>d<\/span>epend<\/span>ence<\/span> on <\/span>their brother<\/span> to carry them on the shoulders of his success. <\/span>Yet <\/span>Bramwell<\/span> is descending into alcoholism<\/span>. H<\/span>is prospects<\/span> for fulfilling the family\u2019s expectations<\/span> <\/span>are<\/span> dwindling as well. <\/span><\/p>\n

As these<\/span> pressures in the <\/span>Bront<\/span>\u00eb<\/span> <\/span>house<\/span>hold<\/span> mount, <\/span>the <\/span>closed <\/span>doors <\/span>of the house <\/span>begin to <\/span>open<\/span>. <\/span> <\/span>Bramwell\u2019s drunken stupors<\/span>, which he has kept hidden, are revealed to the sisters as they dare to open his door and enter his world<\/span>. T<\/span>he<\/span> <\/span>sisters<\/span> leave their <\/span>private<\/span> spaces to<\/span> <\/span>encounter each other in the <\/span>shared<\/span> <\/span>regions o<\/span>f the house<\/span>. H<\/span>ere they <\/span>begin to s<\/span>peak<\/span> their feelings <\/span>in <\/span>whispered conversations<\/span>, having <\/span>previously <\/span>limited their <\/span>discuss<\/span>ions to<\/span> the business of their lives. <\/span> <\/span>T<\/span>he<\/span>y<\/span> gather<\/span> <\/span>in pairs, never all three together, <\/span>not yet trusting a wider audience of three<\/span>, to <\/span>begin <\/span>to <\/span>say out loud th<\/span>at<\/span> which <\/span>they<\/span> <\/span>had <\/span>not <\/span>yet dared to name<\/span>. <\/span>Failure. Addiction. Depression. Aging. <\/span>Anger at t<\/span>he sublimation of women into intellectually inferior roles<\/span>, though <\/span>the<\/span>y <\/span>know<\/span> they are not<\/span> intellectually inferior to men. <\/span><\/p>\n

In <\/span>the realm of <\/span>my interior <\/span>spaces<\/span>,<\/span> I too have <\/span>encountered <\/span>the<\/span> <\/span>closed doors<\/span> of <\/span>a<\/span>ddiction, my deepest fears and failures<\/span>, <\/span>the <\/span>a<\/span>spects of life that do not fit the <\/span>identity I <\/span>had always assumed for myself arising from my history, my community and my family. <\/span>I too <\/span>have stayed busy with <\/span>making a life, keeping the doors closed on all that did not fit the look and feel of the world I knew. <\/span>But the life I was making, like the <\/span>Bront\u00eb\u2019s<\/span>, was based on a <\/span>plan<\/span> <\/span>with deep cracks, <\/span>riddled with <\/span>inconsistencies<\/span>.<\/span><\/p>\n<\/div>\n<\/div>\n

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Spiritual work, like the artistic journey of these women who <\/span>would <\/span>bec<\/span>o<\/span>me some of the world\u2019s <\/span>most respected<\/span> authors, begins<\/span>\u2026and continues\u2026<\/span>with opening doors. <\/span>To make great art or to cultivate <\/span>Buddha Mind<\/span>, one begins by naming that which <\/span>is hidden<\/span>.<\/span> \u201cTurn around the light to shine within,\u201d <\/span>* <\/span>says the ancient text. To s<\/span>hine the light of awareness, to tell <\/span>the truth of <\/span>how <\/span>life<\/span> is not conforming to our hopes and dreams and find the courage to name it<\/span>: In \u201c<\/span>To Walk Invisible<\/span>,\u201d<\/span> this <\/span>truth-telling <\/span>is the tension-filled<\/span> <\/span>opening <\/span>story line <\/span>of the <\/span>two-hour <\/span>drama<\/span>. <\/span> <\/span><\/p>\n

T<\/span>he impetus to open doors <\/span>arises<\/span> primarily <\/span>from <\/span>the<\/span> sisters\u2019 <\/span>consternation with Bramwell\u2019s drinking and his inability to hold a job. Bramwell<\/span> drink<\/span>s<\/span> to <\/span>escape<\/span> <\/span>from <\/span>the pressure of his role in the family<\/span>. <\/span>A heavy<\/span> mantle of the successful artist<\/span> has been placed on his shoulders. The expectations have <\/span>cultivated in him the pride and prestige of a Victorian gentleman. His failure to live up to this expectation brings a shame he cannot bear to face. He turns <\/span>increasingly <\/span>to <\/span>debilitating drinking<\/span>, all the while insisting he <\/span>remains <\/span>on <\/span>the road <\/span>to success<\/span>. He <\/span>self-medicat<\/span>es<\/span> and blam<\/span>es<\/span> others in order to bear the <\/span>pressures <\/span>of this delusion. <\/span><\/p>\n

A<\/span>ddiction to work<\/span> and <\/span>to intellectual prowess<\/span> <\/span>have ke<\/span>pt<\/span> my d<\/span>isenchantment with my life<\/span> from overtaking the drive to keep going, to not give up on the grand plan ordained and blessed by family, friends and culture. <\/span>Like Bramwell<\/span>\u2019s Victorian way of life<\/span>, my energy of <\/span>dis<\/span>appoint<\/span>ment with and <\/span>resistance to <\/span>a <\/span>21<\/span>st<\/span> century <\/span>lifestyle<\/span> <\/span>lies<\/span> buried beneath the deliciousness of <\/span>the <\/span>pride <\/span>I take <\/span>in being a smart<\/span> <\/span>and successful <\/span>modern <\/span>woman. <\/span><\/p>\n

Also,<\/span> like Bramwell, <\/span>I have <\/span>taken<\/span> comfort in blaming any number of others for the suffering I feel: parents, family, spouse, the social system, my culture of origin<\/span>. <\/span>B<\/span>ut<\/span> mostly I blame myself. <\/span>M<\/span>y struggle with pride and shame <\/span>is reflected <\/span>in the portrayal of Bramwell, who is <\/span>pridefully <\/span>angry at his family<\/span> <\/span>and <\/span>so <\/span>privately <\/span>ashamed of <\/span>his<\/span> failures that he is unable to <\/span>take responsibility for his plight<\/span>. <\/span>It is humbling to see <\/span>myself reflected in Bramwell\u2019s <\/span>resentment toward others<\/span>,<\/span> combined with <\/span>aggression t<\/span>urned inward. <\/span>It is revealing to me that it is his own pride and shame that<\/span> <\/span>kee<\/span>p<\/span> Bramwell from moving out of the system that holds him. <\/span><\/p>\n

Feeling forced by others is a potent form of impotence. <\/span> <\/span>Zen <\/span>teaches <\/span>me to see the pride<\/span> in the <\/span>blaming<\/span>, to see the damage it has done, and to let it go, <\/span>without <\/span>substituting <\/span>shame<\/span> in its wake<\/span>. <\/span>I am learning to recognize<\/span> that <\/span>I am n<\/span>either a God or a demon, neither enviable or pitiable, neither a victim nor a perpetrator, but <\/span>able and willing, with the help of so many forces in the universe who proclaim the Truth, to <\/span>follow a path of the teachings<\/span>.<\/span><\/p>\n<\/div>\n<\/div>\n

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The sisters see that they have escaped the most dangerous intensities of pride and shame because they are considered nobodies within their social structures. Such a <\/span>paradoxical <\/span>gift it was to them, to be nobody! <\/span>The humility of \u201cnobody\u201d takes dedicated practice to realize when one begins from <\/span>the inner perception <\/span>of <\/span>a \u201csuccessful\u201d life. <\/span>Buddhist training includes regular examination of all the ways <\/span>a student <\/span>intoxicate<\/span>s her<\/span>self and the <\/span>further <\/span>instruction to drop these <\/span>poisonous <\/span>barriers to Buddha Mind. <\/span><\/p>\n

In my practice I am facing how I intoxicate with the deliciousness of constant thinking, planning, figuring things out, of being the one who knows. As I let these <\/span>thought patterns<\/span> go, it becomes more apparent <\/span>that<\/span> striving for <\/span>intoxicating <\/span>intellectual<\/span> <\/span>dominance <\/span>has kept<\/span> pride and shame running, ke<\/span>pt<\/span> me <\/span>bound to<\/span> a <\/span>mental-emotional, familial and social <\/span>system that <\/span>hide<\/span>s<\/span> <\/span>a deeper t<\/span>ruth. <\/span><\/p>\n

To see the <\/span>Bront<\/span>\u00eb<\/span> <\/span>s<\/span>isters\u2019 capacity to abandon social conformity <\/span>is <\/span>an inspiration. They are not captive to the <\/span>successes <\/span>they <\/span>claim as members of <\/span>the culture<\/span> because there were few <\/span>rewards and benefits <\/span>for <\/span>single <\/span>women<\/span> like themselves<\/span>. T<\/span>his gives them freedom. <\/span>R<\/span>elinquishment of my pride <\/span>and \u201cstatus\u201d <\/span>is my ticket to <\/span>great<\/span> freedom as well. <\/span><\/p>\n

The<\/span> <\/span>Bront<\/span>\u00eb<\/span> <\/span>sisters<\/span> further empower themselves by their refusal to blame Bramwell for their plight. <\/span>Despite their fury at him for lying, cheating<\/span>, fighting<\/span> and<\/span> stealing his way through his descent into alcoholism, the<\/span>y know<\/span> that Bramwell has been under tremendous pressure to be what his family needed him to be. They see what it has cost him to live with the expectations of his family to which he was so ill-suited. <\/span>\u201cI\u2019m so glad I\u2019m not HIM,\u201d Emily declares, <\/span>speaking with empathy of the multiple <\/span>pressures to succeed he has had to contend with. Their <\/span>compassion carries all three sisters through the scourge of the alcoholic disease as it progresses in their beloved brother. <\/span>Throughout their own changing relationship to power, success and creativity, the three sisters take care of their failing <\/span>sibling<\/span>, protect him from knowing too much of their mounting artistic successes<\/span> and<\/span> <\/span>tender<\/span>ly respond to his immediate needs<\/span> <\/span>when he is at his most undone by the disease<\/span>. <\/span><\/p>\n

The<\/span> <\/span>Bront<\/span>\u00eb\u2019s<\/span> <\/span>compassion <\/span>helps me <\/span>to relinquish <\/span>blaming myself for <\/span>my<\/span> addictions<\/span> and <\/span>sham<\/span>ing <\/span>myself <\/span>for<\/span> my <\/span>failure to<\/span> <\/span>better <\/span>manag<\/span>e<\/span> the <\/span>p<\/span>ressure<\/span>s<\/span> to conform<\/span>. <\/span>Watching the sisters, moment by moment<\/span> as they<\/span> move from <\/span>trying to save Bramwell <\/span>to <\/span>simply caring<\/span> for him opened me to the possibility of forgiv<\/span>eness<\/span> <\/span>fo<\/span>r my <\/span>perceived <\/span>inadequacies. It is a relief <\/span>when I can<\/span> forgive myself<\/span>,<\/span> and in the forgiving to open to <\/span>\u201c<\/span>failure<\/span>\u201d<\/span> as <\/span>a good<\/span> <\/span>teacher<\/span>. <\/span>My instinct to feel shame <\/span>about <\/span>my strategies for coping with a system that I could not bear<\/span> <\/span>is further unraveled <\/span>when I <\/span>see that<\/span> <\/span>Bramwell\u2019s <\/span>suffering<\/span> <\/span>is the impetus <\/span>that drives the sisters out of their delusional family identities, even while their brother cannot bear to open this door. <\/span>I appreciate<\/span> that <\/span>the pain of too much delicious<\/span> and poisonous thinking<\/span>, too much dependence on <\/span>knowing-it-all <\/span>made for enough suffering that I could begin<\/span> to let <\/span>it<\/span> go<\/span>. <\/span>And in the letting go, I <\/span>see the larger system of <\/span>false <\/span>beliefs and values <\/span>that drove me to <\/span>intoxicate.<\/span><\/p>\n<\/div>\n<\/div>\n

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As they share their pain and their inspirations with each other, the sisters <\/span>argue and resist <\/span>each other\u2019s<\/span> ideas as much as they take comfort in their sharing. <\/span>They are terrified of the unraveling family fabric and what it means for them<\/span>. It takes <\/span>strength<\/span> to name out loud the failures of a system we always counted on to hold us, create meaning for us. The Bront\u00eb women are <\/span>my <\/span>wise <\/span>older sisters<\/span>, showing me <\/span>the <\/span>W<\/span>ay with t<\/span>heir courage<\/span>ous and determined<\/span> relinquish<\/span>ment of<\/span> old ways of <\/span>being<\/span>. Yet their courage is not without <\/span>uncertainty<\/span> and trepidation. T<\/span>hey are deeply <\/span>hesitant to risk what <\/span>Charlotte <\/span>is the first to name <\/span>out loud: <\/span>That their writing, which all four <\/span>siblings <\/span>have<\/span> together<\/span> practiced since childhood<\/span>, is the sisters\u2019 ticket out of poverty. <\/span> <\/span><\/p>\n

There are many threads to be unwound as th<\/span>e<\/span> conversation <\/span>between the<\/span> sisters<\/span> takes shape<\/span>. <\/span>Charlotte confesses to Anne<\/span> <\/span>the escape <\/span>from their personal misery<\/span> that <\/span>her<\/span> writing has afforded <\/span>her<\/span>, an escape into fantasy and lore. Together the<\/span> two sisters acknowledge <\/span>that to feel most alive in their writing<\/span> they must<\/span> turn away from <\/span>fantasy, the<\/span> <\/span>subjects of the <\/span>stories they wrote as children, <\/span>to writing the truth of women\u2019s lives. <\/span> <\/span>My <\/span>own writing as spiritual practice has often reflected the <\/span>fantasy of <\/span>I Know<\/span>, <\/span>I Am Somebody, I <\/span>H<\/span>ave the <\/span>A<\/span>nswers.<\/span> <\/span>Seeing these fantasies in my writing<\/span>, <\/span>I am <\/span>show<\/span>n <\/span>where blindness to childhood ways continues to hold sway<\/span>. Here too the <\/span>Bront<\/span>\u00eb<\/span> sisters inspire me to keep going<\/span>,<\/span> to keep seeking a way to write that is fresh, alive, <\/span>that tells the truth of <\/span>this path<\/span>, this world beyond the visible, the understood. <\/span> <\/span> <\/span><\/p>\n

But the risk of failure is great. <\/span>Emily <\/span>names the <\/span>fear<\/span> they all feel of <\/span>exposure <\/span>to<\/span> ridicule for daring to imagine <\/span>that their writing <\/span>could be published, and would sell. Women <\/span>in Victorian <\/span>England <\/span>were rarely <\/span>publish<\/span>ed<\/span>, and when women\u2019s writing was brought to print, its authors were subject to the ridicule and hostility of Victorian men. <\/span>The tension<\/span> around how to move forward<\/span> <\/span>becomes the subject of the<\/span> sister\u2019s<\/span> first three-way truth-telling. It is an <\/span>explo<\/span>sion<\/span> into open fury<\/span>, kindled when <\/span>Charlotte <\/span>steals into Emily\u2019s room to read <\/span>the <\/span>poetry<\/span> she has written and hidden away<\/span>. <\/span>Emily is livid, strikes out at her older sister, disgusted with her actions and her grand <\/span>publishing <\/span>schemes. <\/span> <\/span>Charlotte is unrepentant. Emily\u2019s poetry has taken her breath away<\/span>. <\/span>As Charlotte steals her first reading of her sister\u2019s work, we the audience hear the <\/span>exquisite poetry as a voice-over while we watch Emily walk<\/span>ing <\/span>the <\/span>twisted<\/span> paths and steep hills of the <\/span>moors outside <\/span>of the town, far from the constricted world of her home life. We see <\/span>her<\/span> <\/span>as <\/span>a <\/span>part of <\/span>the<\/span> wide<\/span>, <\/span>open<\/span> <\/span>world<\/span> through which she moves<\/span>, stretching to <\/span>where earth <\/span>meet<\/span>s<\/span> the sky<\/span>. We <\/span>breathe <\/span>more deeply to see her here<\/span>, sensing <\/span>the freedom that is coming for the sisters<\/span>.<\/span><\/p>\n<\/div>\n<\/div>\n

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Anne is the careful<\/span>, thoughtful <\/span>middle sister, brokering between her two head<\/span>–<\/span>strong<\/span> older<\/span> siblings a continued openness to what is unfolding. <\/span>She quietly finds a way to keep<\/span> naming the truth<\/span> of writing\u2019s power to bring great joy and aliveness into their difficult lives. <\/span>Eventually<\/span> <\/span>all<\/span> three <\/span>are captivated by the <\/span>creative energy <\/span>they <\/span>experience<\/span> <\/span>i<\/span>n the<\/span> act of writing of the human experience. <\/span>They begi<\/span>n to<\/span> <\/span>let the <\/span>aliveness<\/span> <\/span>of it <\/span>propel them forward, <\/span>now sharing as three<\/span> the nourishment, the truth they find in <\/span>writing, the possibility of using their<\/span> stories and poems <\/span>as a means of having power in the world. <\/span><\/p>\n

Turning the light within, opening long-closed doors to reveal the darkness and pain there<\/span> and<\/span> <\/span>the <\/span>instability it can create<\/span>, the <\/span>explosions that can result, <\/span>this is the muck of life that holds gold within it. <\/span>As the sisters tentative sharing eventually leads them to shaping their new reality, so too the consistent practice with naming and studying all the various manifestations of one\u2019s <\/span>desire and aversion<\/span> allows a Zen student to drop the delusions, <\/span>letting go over and over of all <\/span>the goods and <\/span>bads<\/span>, the failures and successes <\/span>she holds to so tightly<\/span> so that a third possibility can emerge<\/span>. <\/span><\/p>\n

Letting go<\/span>, so unbearable at times, becomes easier to trust as one tastes the <\/span>freshness of life out beyond the tired painful <\/span>dualities of old <\/span>habits of mind<\/span>. <\/span>For the <\/span>Bront<\/span>\u00eb<\/span> sisters, <\/span>th<\/span>is spacious<\/span> <\/span>brightness<\/span> is <\/span>first revealed in <\/span>Emily\u2019s poetry. <\/span>Her compositions<\/span>, <\/span>uncovered<\/span> <\/span>by Charlotte,<\/span> are <\/span>the<\/span> force that propels the three women <\/span>to write secretly, invisibly,<\/span> <\/span>and then <\/span>to publish a small volume under an assumed (man\u2019s) name. <\/span> <\/span><\/p>\n<\/div>\n<\/div>\n

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On a spiritual path, the <\/span>work too is in secret, invisible<\/span> a<\/span>nd driven by deep love for the possibility of finding that which is true<\/span>, that which is <\/span>not accessible within the realm of <\/span>family and social values.<\/span> The sisters \u201cwalk invisible\u201d so that their creative energies can be protected from probing, judging, doubting <\/span>minds<\/span>. <\/span>Minds <\/span>that still cling to the old ways, <\/span>the mind<\/span> that <\/span>remains<\/span> within them and outside of them, <\/span>the mind<\/span> that insist<\/span>s<\/span> they<\/span> <\/span>stay put in the known. <\/span>T<\/span>hey are beginning to see something that is all around them, but visible only to them. They are charting a new course, telling a new story. T<\/span>hese are possibilities one must relinquish the material world in order to see, just as the <\/span>Bront<\/span>\u00eb<\/span> sisters had to relinquish the Victorian social order<\/span> and<\/span> their <\/span>dependent roles in a <\/span>family system in order to writ<\/span>e<\/span> in a completely new way about changing women\u2019s lives.<\/span> <\/span><\/p>\n

As the story draws to a close, <\/span>the <\/span>three sisters finally share with their heart-sick father, whose son <\/span>they all now openly acknowledge will not be who they hoped, th<\/span>at they are the true authors of published and widely heralded novels. Written under pseudonyms, Emily has authored <\/span>Wuthering Heights, <\/span>Charlotte <\/span>Jane Eyre <\/span>and Anne <\/span>Agnes Grey.<\/span> All three novels, but especially <\/span>Jane Eyre<\/span> are already immensely popular<\/span>. T<\/span>he books occupy a central shelf in the Bront\u00eb home, yet the sisters have remained anonymous until this moment in the film. <\/span>Their disclosure is compelled by their <\/span>wish <\/span>that <\/span>their father know they <\/span>have <\/span>been transformed under his nose, they have become three people who he does not know and could not have imagined. <\/span>It is a tender moment, a<\/span> <\/span>moment of great <\/span>tribute to <\/span>walking invisible. <\/span><\/p>\n

In the end, what matter<\/span>ed<\/span> to the<\/span>se, my older<\/span> sisters<\/span>,<\/span> <\/span>was<\/span> that they found a way to write<\/span>, <\/span>found<\/span> words that no one before them had found<\/span>,<\/span> to speak a truth no one before them had s<\/span>poken<\/span>,<\/span> of<\/span> the world <\/span>in which <\/span>they lived. The <\/span>successes of their novels <\/span>bespeak<\/span> of <\/span>readers <\/span>hungry for th<\/span>ese words<\/span>, hungry<\/span> for that which they<\/span>,<\/span> too<\/span>,<\/span> <\/span>were on the cusp of knowing<\/span> but didn\u2019t know how to say. And after all the publishing and <\/span>accolades <\/span>and re-printings, the sisters<\/span> were still \u201cnobody.\u201d <\/span>They <\/span>navigated <\/span>the stormy <\/span>waters<\/span> of their Victorian <\/span>world<\/span> <\/span>without resentment and reached the <\/span>other shore<\/span>, without celebration. A<\/span>nd kept <\/span>walking<\/span>.<\/span><\/p>\n

\"Humming<\/h4>\n

Lao <\/span>Huo<\/span> <\/span>Shakya<\/span><\/p>\n

ZATMA is not a blog.<\/p>\n

\u00a0If for some reason you need elucidation on the teaching,<\/p>\n

please contact editor at:\u00a0yao.xiang.editor@gmail.com<\/a><\/p>\n

*Accessed 10\/<\/span>13\/2019 from<\/span> <\/span>https:\/\/www.asinglethread.net\/wp-content\/uploads\/2015\/08\/A-Single-Thread-Chant-Book-rev-2.pdf#page61<\/span><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Spiritual work, like the artistic journey of the Bronte sisters who would become some of the world\u2019s most respected authors, begins\u2026and continues\u2026with opening doors. To make great art or to cultivate Buddha Mind, one begins by naming that which is hidden. \u201cTurn around the light to shine within,\u201d * says the ancient text. To shine the light of awareness, to tell the truth of how life is not conforming to our hopes and dreams and find the courage to name it: In \u201cTo Walk Invisible,\u201d this truth-telling is the tension-filled opening story line of the two-hour drama.<\/p>\n","protected":false},"author":6,"featured_media":1730,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"","neve_meta_content_width":0,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","footnotes":""},"categories":[13],"tags":[168,169,170],"class_list":["post-2277","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays-by-yao-xiang-shakya","tag-bronte","tag-jane-eyre","tag-wuthering-heights"],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/zatma.org\/index.php?rest_route=\/wp\/v2\/posts\/2277","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/zatma.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/zatma.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/zatma.org\/index.php?rest_route=\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/zatma.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2277"}],"version-history":[{"count":7,"href":"https:\/\/zatma.org\/index.php?rest_route=\/wp\/v2\/posts\/2277\/revisions"}],"predecessor-version":[{"id":2285,"href":"https:\/\/zatma.org\/index.php?rest_route=\/wp\/v2\/posts\/2277\/revisions\/2285"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/zatma.org\/index.php?rest_route=\/wp\/v2\/media\/1730"}],"wp:attachment":[{"href":"https:\/\/zatma.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2277"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/zatma.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2277"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/zatma.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2277"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}