{"id":99,"date":"2019-05-13T07:03:33","date_gmt":"2019-05-13T07:03:33","guid":{"rendered":"http:\/\/engp06.epgpbooks.inflibnet.ac.in\/?post_type=chapter&#038;p=99"},"modified":"2019-05-13T07:22:22","modified_gmt":"2019-05-13T07:22:22","slug":"ayi-kwei-armah-the-beautyful-ones-are-not-yet-born","status":"publish","type":"chapter","link":"https:\/\/ebooks.inflibnet.ac.in\/engp06\/chapter\/ayi-kwei-armah-the-beautyful-ones-are-not-yet-born\/","title":{"rendered":"Ayi Kwei Armah: The Beautyful Ones Are Not Yet Born"},"content":{"raw":"<div><span style=\"float: right\"><a href=\"https:\/\/youtu.be\/krRQxNB4ZKg\" target=\"_blank\" rel=\"noopener\"><img class=\"\" src=\"http:\/\/epgpbooks.inflibnet.ac.in\/wp-content\/uploads\/2018\/11\/download.png\" alt=\"epgp books\" width=\"58\" height=\"58\" \/><\/a>\r\n<\/span><\/div>\r\n<div>\r\n\r\n<strong>Ayi Kwei Armah<\/strong>\r\n<ul>\r\n \t<li>Basic details about Armah and his novels<\/li>\r\n \t<li>About <em>The Beautyful Ones Are Not Yet Born<\/em><\/li>\r\n \t<li>Title<\/li>\r\n \t<li>The context of the novel<\/li>\r\n \t<li>The novel\u2019s allegorical features<\/li>\r\n \t<li>Dominant imagery<\/li>\r\n<\/ul>\r\n<strong>Ayi Kwei Armah\u00a0<span style=\"text-align: initial;font-size: 1em\">(1939- )<\/span><\/strong>\r\n\r\n&nbsp;\r\n\r\n\u2022\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ghanaian writer\r\n\r\n\u2022\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <em>The Beautyful Ones Are Not Yet Born <\/em>(1968)\r\n\r\n\u2022\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <em>Fragments <\/em>(1970)\r\n\r\n\u2022\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <em>Why Are We So Blest? <\/em>(1971)\r\n\r\n\u2022\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <em>Two Thousand Seasons <\/em>(1973)\r\n\r\n\u2022\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <em>The Healers <\/em>(1978)\r\n\r\n\u2022\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <em>Osiris Rising <\/em>(1995)\r\n\r\n&nbsp;\r\n<p class=\"no-indent\"><strong><em>The Beautyful Ones Are Not Yet Born <\/em>(1968)<\/strong><\/p>\r\n\r\n<ul>\r\n \t<li>Armah\u2019s first and best-known novel.<\/li>\r\n \t<li style=\"text-align: justify\">An allegorical tale about an unnamed railway clerk\u2014\u2018the man\u2019\u2014and his inability fit into a society where bribery and corruption have become the norm.<\/li>\r\n \t<li style=\"text-align: justify\">Despite family pressure and ample opportunities, he manages to remain a non- participant in the national game of corruption.<\/li>\r\n \t<li style=\"text-align: justify\">Considered a fool, a failure, a coward by his family and colleagues, he himself is confused about his attitude.<\/li>\r\n \t<li style=\"text-align: justify\">But at the end, his self-doubts are resolved unexpectedly when the government is overthrown in a military coup.<\/li>\r\n<\/ul>\r\n<\/div>\r\n<div>\r\n<p class=\"no-indent\"><strong><em>The Beautyful Ones<\/em><\/strong><\/p>\r\n\r\n<ul>\r\n \t<li style=\"text-align: justify\">A profoundly pessimistic novel.<\/li>\r\n \t<li style=\"text-align: justify\">Captured the mood of the first decade after Ghana\u2019s independence in 1957.<\/li>\r\n \t<li style=\"text-align: justify\">The decade of disillusionment\u2019.<\/li>\r\n \t<li style=\"text-align: justify\">Armah: \u201ca brilliant Ghanaian novelist\u201d, but an \u201calienated native\u201d\u2014Achebe, \u201cAfrica and Her Writers\u201d (1972).<\/li>\r\n<\/ul>\r\n<p class=\"no-indent\"><strong>Title<\/strong><\/p>\r\n\r\n<ul>\r\n \t<li style=\"text-align: justify\">The title with an intentional misspelling is taken from a slogan written on the rear of a bus.<\/li>\r\n \t<li style=\"text-align: justify\">Ironical juxtaposition of the philosophical profundity of the slogan and its mundane context and its corrupted expression.<\/li>\r\n \t<li style=\"text-align: justify\">The title \u201cexpresses the meaning of the text as accurately as any title can\u201d\u2014Armah.<\/li>\r\n<\/ul>\r\n<p class=\"no-indent\"><strong>Title<\/strong><\/p>\r\n\r\n<ul>\r\n \t<li style=\"text-align: justify\">The bust of Queen Nefertiti, \u201cThe beautiful one has come\u201d.<\/li>\r\n \t<li style=\"text-align: justify\">Excavated by Ludwig Borchardt, a German archaeologist on 6 Dec 1912.<\/li>\r\n \t<li style=\"text-align: justify\">Now in the Egyptian Museum in Berlin.<\/li>\r\n \t<li style=\"text-align: justify\">\u00a0Armah links it to Osiris, the Egyptian god of transition, resurrection, and regeneration.<\/li>\r\n<\/ul>\r\n<p class=\"no-indent\"><strong>Title<\/strong><\/p>\r\n&nbsp;\r\n<p style=\"text-align: justify\">\u201cThe phrase 'The Beautiful One' is ancient, at least five thousand years old. To professional Egyptologists, it is a praise name for a central figure in Ancient Egyptian culture, the dismembered and remembered Osiris, a sorrowful reminder of our human vulnerability to\u00a0<span style=\"font-size: 1em;text-align: initial\">division, fragmentation and degeneration, and at the same time a symbol of our equally human capacity for unity, cooperative action, and creative regeneration\u201d\u2014Armah.<\/span><\/p>\r\n\r\n<\/div>\r\n<div>\r\n<p class=\"no-indent\"><strong>Context<\/strong><\/p>\r\n\r\n<\/div>\r\n<div>\r\n<ul>\r\n \t<li style=\"text-align: justify\">Set in post-independence Ghana of 1965-66.<\/li>\r\n \t<li style=\"text-align: justify\">Final months of Kwame Nkrumah\u2019s regime.<\/li>\r\n \t<li style=\"text-align: justify\">Nkrumah ruled from 1957 till he was ousted in a coup on 24 Feb 1966.<\/li>\r\n \t<li style=\"text-align: justify\">\u00a0Freedom fighter, first Prime Minister and President of independent Ghana.<\/li>\r\n \t<li style=\"text-align: justify\">Criticized for promoting personality cult and for not fulfilling the expectations of the people.<\/li>\r\n<\/ul>\r\n<p class=\"no-indent\"><strong>Characters<\/strong><\/p>\r\n\r\n<ul>\r\n \t<li style=\"text-align: justify\">\u201cThe man\u201d\u2014the unnamed protagonist.<\/li>\r\n \t<li style=\"text-align: justify\">Oyo\u2014his ambitious wife.<\/li>\r\n \t<li style=\"text-align: justify\">Teacher\u2014another allegorical character in whom the man often confides.<\/li>\r\n \t<li style=\"text-align: justify\">Joseph Koomson\u2014classmate of \u2018the man\u2019 who becomes \u2018Minister Plenipotentiary\u2019.<\/li>\r\n \t<li style=\"text-align: justify\">Estella Koomson\u2014the pretentious wife of Koomson.<\/li>\r\n<\/ul>\r\n<strong>Allegory<\/strong><strong>Two major features of allegory:<\/strong>\r\n\r\n&nbsp;\r\n\r\n1)\u00a0\u00a0\u00a0 Abstract names, and 2) Belief in transformation\r\n\r\n\u2022\u00a0\u00a0\u00a0\u00a0\u00a0 \u2018The man\u2019\r\n\r\n\u2022\u00a0\u00a0\u00a0\u00a0\u00a0 \u2018Teacher\u2019\r\n\r\n\u2022\u00a0\u00a0\u00a0\u00a0\u00a0 A luxury hotel\u2014\u2018Atlantic-Caprice\u2019\r\n\r\n\u2022\u00a0\u00a0\u00a0\u00a0\u00a0 Fishing boat, an instrument of social mobility\u2014\u2018Ahead\u2019\r\n\r\n&nbsp;\r\n<p style=\"text-align: justify\">Ironic gap between what the names suggest and what they are: \u2018the man\u2019\u2014not Everyman or the Idealman but the unrepresentative man; \u2018Teacher\u2019\u2014aloof, equally confused.<\/p>\r\n<p class=\"no-indent\"><strong>Allegory<\/strong><strong>Transformation:<\/strong><\/p>\r\n\r\n<ul>\r\n \t<li style=\"text-align: justify\">Circular pattern.<\/li>\r\n \t<li style=\"text-align: justify\">Begins and ends with scenes of corruption.<\/li>\r\n \t<li style=\"text-align: justify\">On both occasions, the protagonist is a non-participant.<\/li>\r\n \t<li style=\"text-align: justify\">The more things change, the more they remain the same.<\/li>\r\n \t<li style=\"text-align: justify\">Regimes change but there is no transformation.<\/li>\r\n \t<li style=\"text-align: justify\">Denies the luxury of any complacent belief in the inevitability of change.<\/li>\r\n<\/ul>\r\n<\/div>\r\n<strong>Imagery<\/strong>\r\n<ul>\r\n \t<li style=\"text-align: justify\">Scatological imagery.<\/li>\r\n \t<li style=\"text-align: justify\">The novel is filled with \u201csuch incredible filth and shit and stink\u201d that \u201cit will make anybody puke\u201d\u2014Ama Ata Aidoo.<\/li>\r\n \t<li style=\"text-align: justify\">Images of filth and rot as physical signifiers of an abstract idea.<\/li>\r\n \t<li style=\"text-align: justify\">Physical counterpart of the protagonist\u2019s inner self.<\/li>\r\n<\/ul>\r\n<strong>Two features of the decay that dominates the physical world of the novel:<\/strong>\r\n<ul>\r\n \t<li>Loss of definition: things melt into one another; lose form, obscure difference and value.<\/li>\r\n \t<li>Failure to perform their intended function Examples:\r\n<ul>\r\n \t<li style=\"text-align: justify\">Garbage bin in the street<\/li>\r\n \t<li style=\"text-align: justify\">Staircase banister in the man\u2019s office<\/li>\r\n<\/ul>\r\n<\/li>\r\n<\/ul>\r\n<p style=\"text-align: justify\">The fusion and failure of things in the physical world parallels the confusion and impotence of the man\u2019s mind.<\/p>\r\n<p class=\"no-indent\"><strong>Conclusion<\/strong><\/p>\r\n\r\n<ul>\r\n \t<li style=\"text-align: justify\">Not a simple story of an upright man Vs a corrupt society.<\/li>\r\n \t<li style=\"text-align: justify\">Nor a traditional moral tale of the eventual victory of honesty over corruption.<\/li>\r\n \t<li style=\"text-align: justify\">It exposes the rot that afflicts the society as well as the individual.<\/li>\r\n \t<li style=\"text-align: justify\">A complex novel that employs the allegorical mode only to subvert its familiar conventions.<\/li>\r\n<\/ul>\r\n<table>\r\n<tbody>\r\n<tr>\r\n<td><strong>you can view video on Ayi Kwei Armah: The Beautyful Ones Are Not Yet Born<\/strong><\/td>\r\n<td><a href=\"https:\/\/youtu.be\/krRQxNB4ZKg\" target=\"_blank\" rel=\"noopener\"><img class=\"alignnone wp-image-120\" src=\"http:\/\/epgpbooks.inflibnet.ac.in\/wp-content\/uploads\/2018\/11\/download.png\" alt=\"\" width=\"36\" height=\"36\" \/><\/a><\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>","rendered":"<div><span style=\"float: right\"><a href=\"https:\/\/youtu.be\/krRQxNB4ZKg\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" class=\"\" src=\"http:\/\/epgpbooks.inflibnet.ac.in\/wp-content\/uploads\/2018\/11\/download.png\" alt=\"epgp books\" width=\"58\" height=\"58\" \/><\/a><br \/>\n<\/span><\/div>\n<div>\n<p><strong>Ayi Kwei Armah<\/strong><\/p>\n<ul>\n<li>Basic details about Armah and his novels<\/li>\n<li>About <em>The Beautyful Ones Are Not Yet Born<\/em><\/li>\n<li>Title<\/li>\n<li>The context of the novel<\/li>\n<li>The novel\u2019s allegorical features<\/li>\n<li>Dominant imagery<\/li>\n<\/ul>\n<p><strong>Ayi Kwei Armah\u00a0<span style=\"text-align: initial;font-size: 1em\">(1939- )<\/span><\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>\u2022\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ghanaian writer<\/p>\n<p>\u2022\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <em>The Beautyful Ones Are Not Yet Born <\/em>(1968)<\/p>\n<p>\u2022\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <em>Fragments <\/em>(1970)<\/p>\n<p>\u2022\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <em>Why Are We So Blest? <\/em>(1971)<\/p>\n<p>\u2022\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <em>Two Thousand Seasons <\/em>(1973)<\/p>\n<p>\u2022\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <em>The Healers <\/em>(1978)<\/p>\n<p>\u2022\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <em>Osiris Rising <\/em>(1995)<\/p>\n<p>&nbsp;<\/p>\n<p class=\"no-indent\"><strong><em>The Beautyful Ones Are Not Yet Born <\/em>(1968)<\/strong><\/p>\n<ul>\n<li>Armah\u2019s first and best-known novel.<\/li>\n<li style=\"text-align: justify\">An allegorical tale about an unnamed railway clerk\u2014\u2018the man\u2019\u2014and his inability fit into a society where bribery and corruption have become the norm.<\/li>\n<li style=\"text-align: justify\">Despite family pressure and ample opportunities, he manages to remain a non- participant in the national game of corruption.<\/li>\n<li style=\"text-align: justify\">Considered a fool, a failure, a coward by his family and colleagues, he himself is confused about his attitude.<\/li>\n<li style=\"text-align: justify\">But at the end, his self-doubts are resolved unexpectedly when the government is overthrown in a military coup.<\/li>\n<\/ul>\n<\/div>\n<div>\n<p class=\"no-indent\"><strong><em>The Beautyful Ones<\/em><\/strong><\/p>\n<ul>\n<li style=\"text-align: justify\">A profoundly pessimistic novel.<\/li>\n<li style=\"text-align: justify\">Captured the mood of the first decade after Ghana\u2019s independence in 1957.<\/li>\n<li style=\"text-align: justify\">The decade of disillusionment\u2019.<\/li>\n<li style=\"text-align: justify\">Armah: \u201ca brilliant Ghanaian novelist\u201d, but an \u201calienated native\u201d\u2014Achebe, \u201cAfrica and Her Writers\u201d (1972).<\/li>\n<\/ul>\n<p class=\"no-indent\"><strong>Title<\/strong><\/p>\n<ul>\n<li style=\"text-align: justify\">The title with an intentional misspelling is taken from a slogan written on the rear of a bus.<\/li>\n<li style=\"text-align: justify\">Ironical juxtaposition of the philosophical profundity of the slogan and its mundane context and its corrupted expression.<\/li>\n<li style=\"text-align: justify\">The title \u201cexpresses the meaning of the text as accurately as any title can\u201d\u2014Armah.<\/li>\n<\/ul>\n<p class=\"no-indent\"><strong>Title<\/strong><\/p>\n<ul>\n<li style=\"text-align: justify\">The bust of Queen Nefertiti, \u201cThe beautiful one has come\u201d.<\/li>\n<li style=\"text-align: justify\">Excavated by Ludwig Borchardt, a German archaeologist on 6 Dec 1912.<\/li>\n<li style=\"text-align: justify\">Now in the Egyptian Museum in Berlin.<\/li>\n<li style=\"text-align: justify\">\u00a0Armah links it to Osiris, the Egyptian god of transition, resurrection, and regeneration.<\/li>\n<\/ul>\n<p class=\"no-indent\"><strong>Title<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: justify\">\u201cThe phrase &#8216;The Beautiful One&#8217; is ancient, at least five thousand years old. To professional Egyptologists, it is a praise name for a central figure in Ancient Egyptian culture, the dismembered and remembered Osiris, a sorrowful reminder of our human vulnerability to\u00a0<span style=\"font-size: 1em;text-align: initial\">division, fragmentation and degeneration, and at the same time a symbol of our equally human capacity for unity, cooperative action, and creative regeneration\u201d\u2014Armah.<\/span><\/p>\n<\/div>\n<div>\n<p class=\"no-indent\"><strong>Context<\/strong><\/p>\n<\/div>\n<div>\n<ul>\n<li style=\"text-align: justify\">Set in post-independence Ghana of 1965-66.<\/li>\n<li style=\"text-align: justify\">Final months of Kwame Nkrumah\u2019s regime.<\/li>\n<li style=\"text-align: justify\">Nkrumah ruled from 1957 till he was ousted in a coup on 24 Feb 1966.<\/li>\n<li style=\"text-align: justify\">\u00a0Freedom fighter, first Prime Minister and President of independent Ghana.<\/li>\n<li style=\"text-align: justify\">Criticized for promoting personality cult and for not fulfilling the expectations of the people.<\/li>\n<\/ul>\n<p class=\"no-indent\"><strong>Characters<\/strong><\/p>\n<ul>\n<li style=\"text-align: justify\">\u201cThe man\u201d\u2014the unnamed protagonist.<\/li>\n<li style=\"text-align: justify\">Oyo\u2014his ambitious wife.<\/li>\n<li style=\"text-align: justify\">Teacher\u2014another allegorical character in whom the man often confides.<\/li>\n<li style=\"text-align: justify\">Joseph Koomson\u2014classmate of \u2018the man\u2019 who becomes \u2018Minister Plenipotentiary\u2019.<\/li>\n<li style=\"text-align: justify\">Estella Koomson\u2014the pretentious wife of Koomson.<\/li>\n<\/ul>\n<p><strong>Allegory<\/strong><strong>Two major features of allegory:<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>1)\u00a0\u00a0\u00a0 Abstract names, and 2) Belief in transformation<\/p>\n<p>\u2022\u00a0\u00a0\u00a0\u00a0\u00a0 \u2018The man\u2019<\/p>\n<p>\u2022\u00a0\u00a0\u00a0\u00a0\u00a0 \u2018Teacher\u2019<\/p>\n<p>\u2022\u00a0\u00a0\u00a0\u00a0\u00a0 A luxury hotel\u2014\u2018Atlantic-Caprice\u2019<\/p>\n<p>\u2022\u00a0\u00a0\u00a0\u00a0\u00a0 Fishing boat, an instrument of social mobility\u2014\u2018Ahead\u2019<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: justify\">Ironic gap between what the names suggest and what they are: \u2018the man\u2019\u2014not Everyman or the Idealman but the unrepresentative man; \u2018Teacher\u2019\u2014aloof, equally confused.<\/p>\n<p class=\"no-indent\"><strong>Allegory<\/strong><strong>Transformation:<\/strong><\/p>\n<ul>\n<li style=\"text-align: justify\">Circular pattern.<\/li>\n<li style=\"text-align: justify\">Begins and ends with scenes of corruption.<\/li>\n<li style=\"text-align: justify\">On both occasions, the protagonist is a non-participant.<\/li>\n<li style=\"text-align: justify\">The more things change, the more they remain the same.<\/li>\n<li style=\"text-align: justify\">Regimes change but there is no transformation.<\/li>\n<li style=\"text-align: justify\">Denies the luxury of any complacent belief in the inevitability of change.<\/li>\n<\/ul>\n<\/div>\n<p><strong>Imagery<\/strong><\/p>\n<ul>\n<li style=\"text-align: justify\">Scatological imagery.<\/li>\n<li style=\"text-align: justify\">The novel is filled with \u201csuch incredible filth and shit and stink\u201d that \u201cit will make anybody puke\u201d\u2014Ama Ata Aidoo.<\/li>\n<li style=\"text-align: justify\">Images of filth and rot as physical signifiers of an abstract idea.<\/li>\n<li style=\"text-align: justify\">Physical counterpart of the protagonist\u2019s inner self.<\/li>\n<\/ul>\n<p><strong>Two features of the decay that dominates the physical world of the novel:<\/strong><\/p>\n<ul>\n<li>Loss of definition: things melt into one another; lose form, obscure difference and value.<\/li>\n<li>Failure to perform their intended function Examples:\n<ul>\n<li style=\"text-align: justify\">Garbage bin in the street<\/li>\n<li style=\"text-align: justify\">Staircase banister in the man\u2019s office<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p style=\"text-align: justify\">The fusion and failure of things in the physical world parallels the confusion and impotence of the man\u2019s mind.<\/p>\n<p class=\"no-indent\"><strong>Conclusion<\/strong><\/p>\n<ul>\n<li style=\"text-align: justify\">Not a simple story of an upright man Vs a corrupt society.<\/li>\n<li style=\"text-align: justify\">Nor a traditional moral tale of the eventual victory of honesty over corruption.<\/li>\n<li style=\"text-align: justify\">It exposes the rot that afflicts the society as well as the individual.<\/li>\n<li style=\"text-align: justify\">A complex novel that employs the allegorical mode only to subvert its familiar conventions.<\/li>\n<\/ul>\n<table>\n<tbody>\n<tr>\n<td><strong>you can view video on Ayi Kwei Armah: The Beautyful Ones Are Not Yet Born<\/strong><\/td>\n<td><a href=\"https:\/\/youtu.be\/krRQxNB4ZKg\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-120\" src=\"http:\/\/epgpbooks.inflibnet.ac.in\/wp-content\/uploads\/2018\/11\/download.png\" alt=\"\" width=\"36\" height=\"36\" \/><\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"author":11,"menu_order":11,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":["prof-t-vijay-kumar"],"pb_section_license":""},"chapter-type":[],"contributor":[59],"license":[],"class_list":["post-99","chapter","type-chapter","status-publish","hentry","contributor-prof-t-vijay-kumar"],"part":3,"_links":{"self":[{"href":"https:\/\/ebooks.inflibnet.ac.in\/engp06\/wp-json\/pressbooks\/v2\/chapters\/99","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ebooks.inflibnet.ac.in\/engp06\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/ebooks.inflibnet.ac.in\/engp06\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/ebooks.inflibnet.ac.in\/engp06\/wp-json\/wp\/v2\/users\/11"}],"version-history":[{"count":8,"href":"https:\/\/ebooks.inflibnet.ac.in\/engp06\/wp-json\/pressbooks\/v2\/chapters\/99\/revisions"}],"predecessor-version":[{"id":101,"href":"https:\/\/ebooks.inflibnet.ac.in\/engp06\/wp-json\/pressbooks\/v2\/chapters\/99\/revisions\/101"}],"part":[{"href":"https:\/\/ebooks.inflibnet.ac.in\/engp06\/wp-json\/pressbooks\/v2\/parts\/3"}],"metadata":[{"href":"https:\/\/ebooks.inflibnet.ac.in\/engp06\/wp-json\/pressbooks\/v2\/chapters\/99\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/ebooks.inflibnet.ac.in\/engp06\/wp-json\/wp\/v2\/media?parent=99"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/ebooks.inflibnet.ac.in\/engp06\/wp-json\/pressbooks\/v2\/chapter-type?post=99"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/ebooks.inflibnet.ac.in\/engp06\/wp-json\/wp\/v2\/contributor?post=99"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/ebooks.inflibnet.ac.in\/engp06\/wp-json\/wp\/v2\/license?post=99"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}