{"id":8355,"date":"2025-03-02T18:21:10","date_gmt":"2025-03-03T02:21:13","guid":{"rendered":"https:\/\/www.catholicboy.com\/WP\/?page_id=8355"},"modified":"2025-03-02T18:24:11","modified_gmt":"2025-03-03T02:24:11","slug":"squirming-in-circles-like-fiumigated-bugs-jim-carroll-and-ecopoetics","status":"publish","type":"page","link":"https:\/\/www.catholicboy.com\/WP\/research\/academic-studies-of-jim-carroll\/squirming-in-circles-like-fiumigated-bugs-jim-carroll-and-ecopoetics\/","title":{"rendered":""Squirming in Circles Like Fumigated Bugs": Jim Carroll and Ecopoetics"},"content":{"rendered":"\n

By William Nesbitt
Exclusive to CatholicBoy.com<\/strong><\/p>\n\n\n\n

\n

\u201cThe shiny surfaces have not been kind to this century\u201d
\u2014Jim Carroll \u201cEcology\u201d<\/p>\n<\/blockquote>\n\n\n\n

Best known for the film adaptation of his novel The Basketball Diaries<\/em>, Jim Carroll composed several other books of prose as well as multiple books of poetry. As a sort of anti-Gary Snyder, Jim Carroll most closely associated himself with the cityscape of New York and writes about urban conditions and situations. However, significant portions of his work also focus on ecopoetical and ecocritical concerns. In her introduction to The Ecocriticism Reader<\/em>, Cheryll Glotfelty explains that \u201cSimply put, ecocriticism is the study of the relationship between literature and the physical environment\u201d (xviii). Like many theories, there are multiple methods, but \u201cAll ecological criticism shares the fundamental premise that human culture is connected to the physical world, affecting it and affected by it\u201d (xix). Drawing from a variety of approaches, \u201cEcocriticism takes as its subject the interconnections between nature and culture, specifically the cultural artifacts of language and literature\u201d (xix).<\/p>\n\n\n\n

Texts by Carroll such as Forced Entries<\/em> and other work reveal an uneasy and sometimes disturbing, but always complex, relationship with the natural environment. For example, \u201cTiny Tortures\u201d recounts teenage Carroll\u2019s performance piece in New York in the early 1970s (58). In the title essay of Marmalade Me<\/em>, Jill Johnston identifies the venue as the Longview Country Club (7). Ostensibly, the piece is not about ecocritical concerns and is instead about art, performance, poetry, audience reception, and critical (mis)interpretation. Carroll complains about poems \u201cbutchered en route from the poet\u2019s mouth,\u201d \u201cthe words dropping in front onto the liturgical red carpet, squirming in circles like fumigated bugs,\u201d (the image of the bugs providing foreshadowing, prolepsis, and connective tissue to the later events of the narrative) (Carroll 58). He summarizes that he is \u201cpretty much held captive, a prisoner of mumblings, poor phrasing\u201d (59).<\/p>\n\n\n\n

Explaining the context of the event, Carroll writes that \u201clately, they\u2019ve also been inviting these \u2018performance artists\u2019 to do their acts. Thisis just another name for the same folks who did \u2018Happenings\u2019 in the sixties,\u201d which he later identifies as \u201cConceptual\u201d art (59, 63). Carroll explains that he tried this once and \u201cthe event called for about twenty painters, musicians and artists to each do a \u2018piece\u2019 no longer than three minutes\u201d (60). On the morning of the event, Carroll wakes up disheveled and disordered from the preceding night. Unprepared for his appearance, Carroll brainstorms. While wiping vomit from his chin, he recounts that he \u201csaw the answer: \u201ca hearty-sized cockroach, trying in vain to scale the slick sides of the tub\u201d (60). Carroll now has the foundation for his performance piece, which, in essence, will be a captive animal performance.<\/p>\n\n\n\n

Here we note Carroll creating a tension between instrumental and intrinsic value. Greg Garrard defines instrumental value as \u201cpossessing value only in relation to human interests\u201d (207). \u201cUsually,\u201d the interest\u2014we might even say, ironically, the nature<\/em> of the interest\u2014is \u201cnarrowly economic\u201d as it often is in animal performance. However, economics do not seem to play a part in Carroll\u2019s interest as the currency circulating in his world is aesthetic capital based on somewhat arbitrary notions of artistic legitimacy and validity. Garrard defines intrinsic value as \u201cpossessing value in its own right, without reference to human interests\u201d1<\/a> <\/strong><\/sup>(207). Thus, the text opens up this division of values and Carroll consistently privileges the instrumental value of the roach.<\/p>\n\n\n\n

This difference opens a rupture, hyperseparation, an \u201cinsistence upon radical separation of terms . . . which in fact may be interdependent,\u201d between the categories of human and animal or human and non-human (207). Garrard points out that \u201csuch dualistic constructions are almost invariably hierarchical, so that one term is more highly valued than the other\u201d (207). Remembering that Garrard offers \u201cmale and female\u201d as an example of hyperseparation, readers can see this hyperseparation reproduced again when Carroll refers to the roach as \u201che (or she . . . though I think it was a bull<\/em> roach),\u201d by which he means a male roach (61). The method he uses to make this determination this remains unknown. One is almost tempted to give Carroll some credit for not automatically assuming the roach is male. However, in the next sentence Carroll reduces the roach to an object by saying \u201cit<\/em> seemed to be holding up\u201d (61; emphasis added). Throughout the rest of the story, the narrator alternates between he<\/em> and it<\/em>.<\/p>\n\n\n\n

After Carroll arrives at the event, he considers leaving before his performance and \u201cjustifying an escape because of my stage fright. My theory was no more than an inverted elitism\u201d (62). These passages are ironic for several reasons. First, Carroll recognizes his own discomfort and desire to escape but not the roach\u2019s possible discomfort or desire to escape. Next, he identifies his theory as an inverted elitism. He seems to think that this elitism is based on his ideas, theories, and definitions of art. However, we can identify a parallel elitism based on his assumptions and constructions of a hierarchical framework in which humans are always already presumed superior to animals. This framework we may identify as anthropocentrism, \u201ca system of beliefs and practices that favours humans over other organisms\u201d (Garrard 206).<\/p>\n\n\n\n

Carroll begins his performance piece and shakes the roach out of the bag. At first, the roach does not move and Carroll says that \u201cif the little fucker had croaked on me I was up shit\u2019s creek\u201d (62). Again, this passage emphasizes that Carroll\u2019s concern is for the instrumental value of the roach instead of the intrinsic value. Carroll says that \u201cthen to my great relief he flipped over and spun around as if the whole thing had been purposefully done for dramatic effect\u201d (62). Once the roach begins to move, Carroll assaults him or her with combinations of blasts with Raid insecticide until the roach dies \u201cjust under the three-minute mark\u201d (63). Carroll describes \u201cthe crowd, whose mood and gestures had suddenly shifted from that of hip supporters of the arts into crazed rednecks in the heat of a cockfight\u201d (62-63). Apparently, then, the crowd and Carroll are equally compassionless.<\/p>\n\n\n\n

After the roach dies, Carroll writes, \u201cof course I felt compassion for the little vermin, but as far as the event went, things couldn\u2019t have gone better (63). Clearly this is speciesism, \u201cprejudice in favor of one\u2019s own species\u201d (Garrard 208). So Carroll extends a dash of token compassion to the deceased roach and then points out that the performance staged for Carroll and the other human onlookers went very well. As if to bolster his claim, he says, \u201cthe audience loved it\u201d (63). Reviewers loved it too, as evidenced by local publications such as The Village Voice<\/em> that say Carroll\u2019s piece is commentary on \u201c\u2018urban decay\u2019\u201d and \u201c\u2018a non-verbal demonstration on the horrors of Vietnam\u2019\u201d (63). Carrolladds sarcastically, \u201cI agree. All that was exactly what flashed through my head as I bagged the insect\u201d and \u201cthere was a large dose of
negative capability<\/em> as well\u201d (63).<\/p>\n\n\n\n

Perhaps the intention of the piece is to expose how communities (over)interpret or create meaning based solely on context. After all, Carroll threw the piece together last minute and had no real intention informing it other than to fill his three minutes and was as surprised by the depth and positivity of the reviews as anyone else. Although Carroll quotes the \u201c\u2018a non-verbal demonstration on the horrors of Vietnam\u2019\u201d passage as an example of and a poke at critics finding meaning where none is meant, of imparting contentwhere there is only vacuum, we can discern the connection between a nameless soldier and the cockroach, between the herbicide\/defoliant Agent Orange and Raid if we find more of a closeness between the two than what Carroll identifies (63). Carroll concludes by writing, \u201cfact is, the only point I was making is the point you get . . . then as now\u201d (63). However, Carroll never explicitly states that point and leaves us to infer it. Presumably, the point is something about the critical absurdities of the artistic community and the ways in which they\/we will locate meaning where is it unintended\u2014as if intention, meaning, and interpretation are all identical. Carroll seems unware that his own piece is, in a sense, a piece of art criticism criticizing art criticism\u2014meta-criticism.<\/p>\n\n\n\n

In any event, although Carroll steers us to and assumes we will discern his intended meaning, he does leave us to puzzle it out for ourselves. Logically, just as the crowd and reviewers misunderstand the intent of the piece, we can also deliberately misunderstand it and see it as piercing commentary on captive animal performance. Although eco-Marxists may focus on \u201csystems of domination or exploitation of humans by other humans,\u201d we also apply eco-Marxism to \u201cTiny Tortures\u201d since the roach is a free source of labor dominated and exploited by Carroll (Garrard (31).2<\/a><\/sup><\/strong> Additionally, the piece has chronological complications and contradictions since Carroll identifies himself as \u201cabout seventeen,\u201d Forced Entries<\/em>\u2019 subtitle is The Downtown Diaries: 1971-1973<\/em>, and Carroll himself was born in in 1949, which places the text circa 1966. However, perhaps we can explain, if not excuse, Carroll\u2019s uninformed and incomplete sense of ecocritical concerns due to his immaturity.<\/p>\n\n\n\n

In selected later work, Carroll elevates his use\u2014it is still a use<\/em>\u2014of insectoid lifeforms. For example, the section \u201cNew Work 1989-1993\u201d from his selected poems contains a poem titled \u201cPraying Mantis.\u201d Half a lifetime later, Carroll presents a deeper view of insects, in this case the titular praying mantis. Of the mantis, the narrator says, \u201cit teaches me my true name\u201d (269). Additionally, \u201cIt instructs me on the ways when need be to hide,\u201d \u201cIt pulls the serpent from my ear,\u201d and \u201cit whispers, whispers, whispers a last word \/ What seems the last vapors of a long dream\u201d (269). In comparing the act of whispering to \u201cLike Baraka wrote, like James Brown sings,\u201d the narrator anthropomorphizes the mantis who whispers, \u201cplease, please, please\u2019\u201d (269). What the significance is, if any, that the two artists referenced by the poem are African American males the reader may determine. In any event, the insect becomes a sage, a teacher, operating at the high level of Amiri Baraka or James Brown.<\/p>\n\n\n\n

Finally, \u201cI Shot a Deer\u201d published in 2002 reveals an even more mature Carroll reacting to a deer impaled on a fence and reluctantly but sensitively performing a mercy killing. The narrator says that \u201cMy girlfriend and I were spending the weekend at her house, on a back road in Connecticut, asleep in an upstairs room. It was about 6 A.M., just barely light and misty, when we heard the sound: a high-pitched, aberrant whining\u201d (113\/114). He wakes and reports that \u201cAll I could see from the window was two deer in the front yard\u201d (113\/114). He heads outside to find the source of the disturbance and says, \u201cNow I could see what was causing the hideous sound, and it was dreadful\u201d (113\/114). He recalls that \u201cThere was a third, smaller deer impaled on the fence. Apparently, the mother and a sibling had jumped the fence, easily clearing its four-foot height. The smallest tried and failed. It must have taken off too soon\u201d (113\/114). Carroll confronts the \u201cdreadful\u201d sight \u201cin which the deer\u2019s \u201clanding drove the splintered thin pickets right through its belly and out the brown-and-white fur of its back\u201d (113\/114).<\/p>\n\n\n\n

Judith, Carroll\u2019s girlfriend, comes to the deer and \u201cheld its chin in one hand and caressed its head with the other\u201d (113\/114). Realizing nothing can be done to save the deer, she says, \u201c\u2018we have to get my gun\u2019\u201d (113\/114). The narrator locates both the gun and single bullet left within it. Carroll hurries “over to the fence\u201d and reports that the fawn\u2019s \u201cbreathing was heavier now, labored, desperate\u201d (113\/114). He prepares to euthanize the deer and says that \u201cAs I raised the gun, its eyes locked with mine. Doe eyes: There was still a wet elegance in them, at once a rueful defiance and a desperate need for life. I saw my own reflection as well.\u201d Garrard summarizes John Berger\u2019s 1980 essay \u201cWhy Look at Animals?\u201d which claims that when we look at animals, they may return our gaze, and in that moment we are aware of both likeness and difference\u201d (152). Garrard points out that \u201cTV wildlife,\u201dfor example, \u201cis powerless to makes its gaze register at all against our imperial eye\u201d (153). Thus, unlike the animals of books, films, and TV, this deer has the capability to gaze back. But what is this \u201cwet elegance,\u201d \u201cthis rueful defiance and a desperate need for life\u201d that Carroll spies? Are these qualities located by Carroll or invented, imagined, placed by Carroll? In any event, Carroll \u201cpoked the muzzle against the short stiff hairs above the fawn’s ear and, recalling Judith’s gesture, put my other hand on its chin. So I was touching it gently as I pulled the trigger, and the weight of its head collapsed into my palm. I had killed my first deer.\u201d We must give Carrollsome credit. Whereas the earlier Carroll briefly noted the death of the roach, the later Carroll describes in-depth, perhaps even agonizes, over the condition and death of the deer and attempts,but perhaps does not succeed at, an ecomimetic response, a \u201cdirect, unmediated representation of nature\u201d (Garrard 207).<\/p>\n\n\n\n

When we look at the lines of thought running through all three works, \u201cTiny Tortures, \u201cPraying Mantis,\u201d and \u201cI Shot a Deer,\u201d several provoking ideas emerge. First, there are parallels among all three works in regard to the concept of Disnification (also called Disneyfication or Disneyization), a term originated by Steve Baker, in which something is rendered childish or stupid. In short, consider the deer from \u201cI Shot a Deer\u201d as Bambi and the talking praying mantis, as a version of Jiminy Cricket the talking cricket, or Manny Wise the praying Mantis of A Bug\u2019s Life<\/em>. Also, Disney\u2019s representation of roaches is complicated. Jimmy the Cockroach is a helpful pet in Lilo & Stitch<\/em>; Wall-E<\/em> has a roach named Hal named after Hal Roach, the film\u2019s producer; there are the trio of cockroaches from Oggy & the Cockroaches<\/em>; and, most notably, \u201cRoach Motel\u201d the 32nd episode of The Lion King\u2019s Timon and Pumbaa<\/em> ending with Timon and Pumbaa eating roaches. One must wonder how the audience\u2019sreaction might have changed had Timon and Pumbaa feasted on the remains of Bambi\u2019s mother.<\/p>\n\n\n\n

Furthermore, in the wake of post-911 enhanced interrogation tactics, torture<\/em> has become a word laden and abundant with meaning. Although the point of this paper is not the study of those particular practices, it is interesting to note that like animal performers, prisoners of war are also frequently kept in inhumane conditions andtheir treatment considered a necessary condition of their service to a higher function, in this case the performance of war. We recall the connections various reviews drew between Carroll\u2019s \u201cTiny Tortures\u201d performance and the predicament of soldiers caught in the Vietnam War. \u201cTiny Tortures\u201d creates a false binary between the human and non-human world. Some people feel that injustices of the Guantanamo Bay detention camp and Abu Gharib are irrelevant because the prisoners there have been rendered in the non-human field, no better than animalsby the very fact of their
detainment\/confinement\/imprisonment. Such a view follows fundamentalist Christian doctrine
Nesbitt 9 and assumes that only humans have rights. Finally, what \u201cTiny Tortures\u201d demonstrates is that while there are most definitely tortures, there are absolutely no tiny tortures.<\/p>\n\n\n\n


Notes<\/h2>\n\n\n\n

1<\/strong><\/sup> Cockroaches play important roles in the ecosystem. Besides serving as food for various creatures, cockroach breakdown plant material that is indigestible to other lifeforms, and help replenish nitrogen to nourish plants. More relevantto the urban environment of New York City, cockroaches are also excellent consumers of garbage that would otherwise become uncollected refuse or take up space in landfills.<\/p>\n\n\n\n

2<\/strong><\/sup> The same exploitative entertainment occurs in \u201cA Day at the Races\u201d with other insects.<\/p>\n\n\n\n

<\/p>\n\n\n\n

Works Cited <\/h2>\n\n\n\n

Carroll, Jim. \u201cEcology.\u201d Void of Course: Poems 1994-1997<\/em>. Penguin, 1998, p. 74. <\/p>\n\n\n\n

– – -. \u201cI Shot a Deer.\u201d Gentlemen’s Quarterly<\/em>, Jan. 2002, pp. 113-114. <\/p>\n\n\n\n

– – -. \u201cPraying Mantis.\u201d Fear of Dreaming: The Selected Poems of Jim Carroll.<\/em> Penguin, 1993, p. 269. <\/p>\n\n\n\n

– – -. \u201cTiny Tortures.\u201d Forced Entries: The Downtown Diaries: 1971-1973<\/em>. Penguin, 1987, pp. 58-63. <\/p>\n\n\n\n

Garrard, Greg. Ecocriticism<\/em>. 2nd ed. Routledge, 2012. <\/p>\n\n\n\n

Glotfelty, Cheryl. Introduction. The Ecocriticism Reader: Landmarks in Literary Ecology<\/em>, edited by Glotfelty and Harold Fromm, U of Georgia P, 1996, pp. xv-xxxvii.m Johnston, <\/p>\n\n\n\n

Jill. Marmalade Me<\/em>. Wesleyan UP, 1971, pp. 7-13.<\/p>\n","protected":false},"excerpt":{"rendered":"

By William NesbittExclusive to CatholicBoy.com \u201cThe shiny surfaces have not been kind to this century\u201d \u2014Jim Carroll \u201cEcology\u201d Best known for the film adaptation of his novel The Basketball Diaries, Jim Carroll composed several other books of prose as well as multiple books of poetry. As a sort of anti-Gary Snyder, Jim Carroll most closely … Continue reading "Squirming in Circles Like Fumigated Bugs": Jim Carroll and Ecopoetics<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":3990,"menu_order":7,"comment_status":"closed","ping_status":"closed","template":"","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_post_was_ever_published":false,"footnotes":""},"folder":[35],"class_list":["post-8355","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P9VlUH-2aL","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":548,"url":"https:\/\/www.catholicboy.com\/WP\/works\/literary-works\/books-of-poetry-by-jim-carroll\/","url_meta":{"origin":8355,"position":0},"title":"Books of Poetry by Jim Carroll","author":"Cassie Carter","date":"August 15, 2021","format":false,"excerpt":"Mass Market Books Void of CoursePublished: 1998By: Jim CarrollPublisher: Penguin PoetsDescription: Carroll's last collection of poetry, released in October 1998. Includes \"8 Fragments for Kurt Cobain.\" (113 pages) Get this book on Amazon.com Fear of Dreaming: The Selected Poems of Jim CarrollPublished: 1993, 1998By: Jim CarrollPublisher: Penguin BooksDescription: This 273-page\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"Hearts & Sinew (various editions) by Jim Carroll","src":"https:\/\/i0.wp.com\/www.catholicboy.com\/WP\/wp-content\/uploads\/2021\/04\/hearts_sinew_versions.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.catholicboy.com\/WP\/wp-content\/uploads\/2021\/04\/hearts_sinew_versions.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.catholicboy.com\/WP\/wp-content\/uploads\/2021\/04\/hearts_sinew_versions.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.catholicboy.com\/WP\/wp-content\/uploads\/2021\/04\/hearts_sinew_versions.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":4275,"url":"https:\/\/www.catholicboy.com\/WP\/works\/jim-carroll-music-and-spoken-word\/music-jim-carroll-jim-carroll-band\/catholic-boy-jim-carroll-band\/","url_meta":{"origin":8355,"position":1},"title":"Catholic Boy","author":"catholicboy.com","date":"January 10, 2022","format":false,"excerpt":"Catholic BoyBy The Jim Carroll BandAtco, 1980 Get this on AmazonSee also: Catholic Boy - Fat Possum reissue, 2021 Songs View Lyrics Wicked Gravity Three Sisters Day and Night Nothing Is True People Who Died City Drops Into the Night Crow It's Too Late I Want the Angel Catholic Boy\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"Cover Art - Catholic Boy (1980) - by The Jim Carroll Band","src":"https:\/\/i0.wp.com\/www.catholicboy.com\/WP\/wp-content\/uploads\/2023\/03\/cboy.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":14,"url":"https:\/\/www.catholicboy.com\/WP\/works\/","url_meta":{"origin":8355,"position":2},"title":"Words | Music | Film","author":"Cassie Carter","date":"May 14, 2018","format":false,"excerpt":"Jim Carroll's published ouvre includes literary works, recordings, and films. In the index below, the main headings link to broad overviews for individual categories, while the subcategory headings link to more detailed subcategory overviews (where you can also order items online). The subcategory indexes link to details about individual works.\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":4165,"url":"https:\/\/www.catholicboy.com\/WP\/works\/articles-poems-by-jim-carroll\/","url_meta":{"origin":8355,"position":3},"title":"Articles & Poems by Jim Carroll","author":"catholicboy.com","date":"January 10, 2022","format":false,"excerpt":"\"The Man Who Sold the World.\"\u00a0By Jim Carroll.\u00a0New York Times Book Review, 1 Dec. 2002.Carroll reviews Kurt Cobain's\u00a0Journals: \"It's fascinating like a car wreck, and I, for one, wish that only the music survived his death.\" \"I Shot a Deer.\" By Jim Carroll.\u00a0Gentlemen's Quarterly, January 2002: 113-14.GQ\u00a0asked five writers to\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":4057,"url":"https:\/\/www.catholicboy.com\/WP\/works\/jim-carroll-music-and-spoken-word\/music-jim-carroll-jim-carroll-band\/pools-of-mercury\/","url_meta":{"origin":8355,"position":4},"title":"Pools of Mercury","author":"Cassie Carter","date":"January 10, 2022","format":false,"excerpt":"Pools of MercuryBy Jim CarrollMercury Records, October 1998 Get this on Amazon.com LINER NOTES Produced by Anton SankoRecorded and mixed by Denny McNerney Mastered by Denny McNerneyRecorded & mastered at Easter Island Recording, NYC (212-229-2949)Assistant engineering--Jim Naisby The Poems: \"I Am Not Kurt Schwitters,\" \"Things That Fly,\" \"It Goes,\" and\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"Cover Art - Pools of Mercury (1998) - by Jim Carroll","src":"https:\/\/i0.wp.com\/www.catholicboy.com\/WP\/wp-content\/uploads\/2021\/04\/pom.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":4035,"url":"https:\/\/www.catholicboy.com\/WP\/photos-video-audio\/photo-gallery\/the-jim-carroll-website-image-gallery-misc-new-images\/","url_meta":{"origin":8355,"position":5},"title":"The Jim Carroll Website: Image Gallery: Misc. New Images","author":"catholicboy.com","date":"January 10, 2022","format":false,"excerpt":"> > Misc. New Images > 8 January 2001 >These are images for which I haven't yet created pages. Portraits Jim Carroll -- Portrait from Lou Reed: Rock and Roll Heart (PBS) Jim Carroll, Spring 1971 (by Gerard Malanga) Jim Carroll, Ted Berrigan, Lee Crabtree, and Julius Orlovsky (1969) Jim\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.catholicboy.com\/WP\/wp-json\/wp\/v2\/pages\/8355","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.catholicboy.com\/WP\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.catholicboy.com\/WP\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.catholicboy.com\/WP\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.catholicboy.com\/WP\/wp-json\/wp\/v2\/comments?post=8355"}],"version-history":[{"count":4,"href":"https:\/\/www.catholicboy.com\/WP\/wp-json\/wp\/v2\/pages\/8355\/revisions"}],"predecessor-version":[{"id":8361,"href":"https:\/\/www.catholicboy.com\/WP\/wp-json\/wp\/v2\/pages\/8355\/revisions\/8361"}],"up":[{"embeddable":true,"href":"https:\/\/www.catholicboy.com\/WP\/wp-json\/wp\/v2\/pages\/3990"}],"wp:attachment":[{"href":"https:\/\/www.catholicboy.com\/WP\/wp-json\/wp\/v2\/media?parent=8355"}],"wp:term":[{"taxonomy":"folder","embeddable":true,"href":"https:\/\/www.catholicboy.com\/WP\/wp-json\/wp\/v2\/folder?post=8355"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}