{"id":93709,"date":"2019-10-02T23:43:48","date_gmt":"2019-10-02T18:13:48","guid":{"rendered":"http:\/\/www.vallamai.com\/?p=93709"},"modified":"2019-10-02T23:58:16","modified_gmt":"2019-10-02T18:28:16","slug":"interview-with-jayanthi-sankar-the-author-of-dangling-gandhi","status":"publish","type":"post","link":"https:\/\/www.vallamai.com\/?p=93709","title":{"rendered":"Interview with Jayanthi Sankar, the author of ‘Dangling Gandhi’"},"content":{"rendered":"

Jayanthi Sankar,<\/span><\/strong> born and brought up in India, living in Singapore since 1990, has been creatively active from 1995. While she is in the process of writing her first novel, this is her first book of short stories collection \u2013 <\/i>Dangling Gandhi,\u00a0<\/i>coincidentally published three days before Gandhiji’s 150th birthday.\u00a0She has edited and translated the\u00a0Global Anthology of 43 contemporary Tamil short stories ‘Unwinding’-with contributions from 10 countries has been published in July 2019.\u00a0She has been published in several magazines and ezines like the indianruminations, museindia, The Wagon, inOpinion.\u00a0Her short stories have found places in various anthologies including ‘the other’.\u00a0She has been invited to participate in the panels of literary festivals such as<\/i>\u00a0(Asia Pacific Writers & Translators) APWT 2018 at Gold coast<\/em>,\u00a0Singapore Writers Festival, Seemanchal International Literary festival, Asean- India Pravasi Bharatiya Divas Writers Festival.\u00a0 Also a watercolour artist, she has been\u00a0<\/em>a freelancer for more than a decade and a half, with a three years of experience in journalism.<\/em>\u00a0<\/em>\u00a0jeyanthisankar28@gmail.com<\/em><\/a>\u00a0 \/\u00a0\u00a0\u00a0<\/em>yesjey28@gmail.com<\/em><\/a><\/p>\n

\"\"<\/a>
Sredhanea<\/figcaption><\/figure>\n
<\/div>\n

R. Sredhanea<\/span><\/strong>\u00a0is a food technologist and psychotherapist with a\u00a0lifetime\u00a0goal to establish a non-profit\u00a0organisation\u00a0that provides quality nutrition and education for the mentally disabled\u00a0kids. She\u00a0is presently the CPO of Neolithic\u00a0Foods\u00a0Private Limited, Theni. Her flair for the English language and inspiration from the works of Dan Brown, Jeffrey Archer,\u00a0and\u00a0Amish Tripathi nudged her to try her hand in fiction. Her two unpublished novels, “The Chord” and “The ugly duckling” strive to shout out her love for the two worlds- Literature and science. “Mirabhai” a translation of the renowned Tamil author Madhumitha’s work is her debut as a translator. She wishes to publish both her books and widen the horizons of Indian youth beyond Young Adult fiction.<\/p>\n

————————————————————————————–<\/p>\n

Sredhanea Ramkrishnan in a dialogue with the Author Jayanthi Sankar<\/span><\/strong>
\nJuly 2019 \u2013 via email
\n(On Dangling Gandhi and other short stories)<\/p>\n

Sredhanea Ramkrishnan:<\/strong> Let\u2019s begin with the title, what do you intend to send across to the readers by this title?<\/span><\/p>\n

Jayanthi Sankar:<\/strong> As you have already read the book, so you would know that in the title story Dangling
\nGandhi, is only a subtle metaphor. Although my favourite story of the collection is not this, I decided on this
\ntitle for the book as it suits all kinds of uncertainties and doubts of our times, the world over, on Gandhism as
\nwell as the nonviolence he upheld, becoming more and more debatable in this modern world. However, the
\nstory hardly touches on these, interestingly.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> In that story, an older adult’s love for his motherland is brought in by a jubilant
\nflashback. Isn&#39;t it strange how attached our human minds are to our land and our past?\u00a0 And all that a soul
\nneeded before its departure was a whiff of reminiscence!?<\/p>\n

Jayanthi Sankar:<\/strong> The story did just that \u2013 to capture the childhood memories of the departing soul amidst the
\ninterestingly woven present life and the voices of the next two generations. A gentle stroke of the zero brush of
\nmulticultural diversity helped add value to this particular painting of words.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> We are all well aware of the dreadful imperialism, but your stories paint a different
\nshade of post-colonialism that none of us even imagined, don&#39;t you think it might offend or shock a patriotic
\nmind?<\/p>\n

Jayanthi Sankar:<\/strong> However dreadful a period may be, it will certainly have other sides to it. At least one angle
\nother than what has always been projected to the future generations. When you say \u2018none of us even imagined\u2019
\nshows how we are all preconditioned to think other than what has been prescribed to us.<\/p>\n

Haven\u2019t we seen Schindler in the famous movie? Are we going to argue that that character is going to offend
\nthe Jews? Such a character or depiction creates debates, and that\u2019s the sole purpose.<\/p>\n

In the same way, my stories are not meant to offend anyone or deliberately crafted to paint a different shade but
\nonly to raise questions and to provide ample space for debates. They are, but many flashes and images of real-
\nlife gathered in my memory over decades since my childhood, from what I heard from seniors in the family,
\nrelatives, extended families, and friends. Readers are sure to feel my neutral tone as they are not biased in any
\nway.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> As we all are slowly moving towards being global citizens, is patriotism even relevant
\nanymore?<\/p>\n

Jayanthi Sankar:<\/strong> Yes, patriotism is slowly losing its meaning in the modern world but, knowing the past and
\nthe period when patriotism in its truest sense existed and had its relevance becomes important to confront our
\nmodern day challenges. They may be of border issues, immigration, and terrorism of any kind. Values and
\nissues do vary, but there is always a string of continuity.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> When we see the twelve short stories, the sequence seems to be chronological, almost
\nfrom the 1850s till present date, but with a higher leaning towards the period of Independence of India. Why
\ndoes the part seem to interest you the most?<\/p>\n

Jayanthi Sankar:<\/strong> Well, it\u2019s interesting to note that you have read them as one whole unit. I guess my interest in
\nthe Independence of India could have arisen from the life experiences seniors shared along the journey of my
\ngrowing up years and the school days\u2019 subject of Indian history. Nothing more than any of us would normally
\nknow.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> Tell us a bit about your journey and evolution as an author and a human being.<\/p>\n

Jayanthi Sankar:<\/strong> Although I remember growing up as the eldest of the four children in the family, turning a
\nsecond mother to the youngest when I was nine a lot of internal debates and thought processes had happened
\nwith less than optimum reading, I\u2019d say. I used to be always quiet and responding more in syllables than words,
\neverything around me set me to think though I never used to express.<\/p>\n

Having grown up in different states in India, naturally, I got exposed to different languages, people, and
\ncultures. I never knew back then that I would write one day.<\/p>\n

Later, when I came to Singapore as a young mother of my elder son, the libraries here fascinated me. My
\nreading increased unimaginably. I used to read in English and Tamil. I started writing fiction in 1995 in both the
\nlanguages and eventually decided to focus on one language at a time. And in the past 4 to 5 years, I have turned
\nmy focus to writing primarily in English.<\/p>\n

The voracious reading shaped the human being that I am today with the writer being is only a byproduct.
\nReading continues to catalyst the evolution of both in me, also resulting in spiritual progress.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> I would like to know how you came up with the idea of making the floods the centric
\ntheme or the connecting factor between two differently timed yet profound sorrows and what effect you expect
\non a reader with a fleeting note about Winston Churchill in the story.<\/p>\n

Jayanthi Sankar:<\/strong> \u2018Did Churchill know?\u2019 was written long before the recent devastating floods of Kerala.
\nWhen I witnessed the images of the floods, I was intrigued, especially because I had lived through a similar one
\nin my fiction during its creation.<\/p>\n

This story carries two tiny canvases of the older man and Jack with a very vast and broader canvas of the tea
\nestates that began during the colonial periods and how the devastating floods destroyed the hilly region.
\nI\u2019d been to Munnar a few years back for four days on holiday with friends. The hill station with the surrounding
\nranges of hills captivated me just as the Winston Churchill bridge\/arch did. I felt the arch stood there heavily
\ncarrying the remnants of the past. Ironically, Churchill detested India and Indians, and that makes us, the people
\nof the later generations raise several questions.<\/p>\n

The story comes under parallel storytelling. It was not planned. I discovered that the story fell into that
\ncategory, only upon reflecting later on.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> Physical disability is often looked upon as a bane; for the first time, your second story
\ndepicts a hearing and speech impaired man as an asset rather than a liability. Did you want to bring out this
\npoint in particular or was it just an unintentional note?<\/p>\n

Jayanthi Sankar:<\/strong> It is more complex than that in the story \u2018Punkah Wallah.\u2019 For Herman, Mani may be an
\nasset. But when you read a little deeper, you will also feel that an act that appears to help many a time becomes
\nthe exploitation of the situation.<\/p>\n

The protagonist of this short story represents the community of fan men. Colonial English of not only the
\nsubcontinent of India but also of Malaya used these men to do this job of fanning them. Those were the days
\nbefore Electricity came widely to the eastern part of the world.<\/p>\n

My dad used to have an elderly friend when I was in my mid-teens while we were in Shillong. He was a Sardar
\nwho used to share things about his ancestors, childhood, and partition. He said there were many of his relatives
\nin the then British Indian army and many worked as fan men and that one such lad was taken away to far away
\nMalaya.\u00a0The memories of those interactions surfaced in me to craft this short story, one of my favorites.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> Do you mean to say animal-loving and animal eating\/ killing pests and insects\u00a0the
\ncomplete contrasts and exclusive of each other?<\/p>\n

Jayanthi Sankar:<\/strong> On the contrary, in \u2018The peacock feather fan\u2019 I depicted the interdependency of not just
\nanimals, insects and pests but also the humans. There is an inevitable, invisible chain similar to the food chain
\nalso at workplace, the institution of family and marriage and everywhere. And this chain also has prey that turns
\na predator or a predator turning to be a prey at some point of time, and that\u2019s what the story intends to bring
\nabout.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> Subtle yet profound expression of the pain of betrayal of trust in \u2018Mobile Dictionary\u2019
\nwhich raises in the reader a question. Which betrayal do you think would have been more hurtful, by the family
\nmember or the dotted upon friend?<\/p>\n

Jayanthi Sankar:<\/strong> The betrayal by the friend or mentee of the story in today\u2019s world would not even be a
\nbetrayal at all. In those days, especially in the community that the protagonist belonged to such a betrayal meant
\nheinous.<\/p>\n

There are other nuances in the story like Ramasamy Iyer who could empathise the hunger of his beloved cow,
\ncould not even digest what his 20 years old sister needed and was after.<\/p>\n

This story is typically character-driven. The protagonist is based on my paternal grandfather, who founded three
\nprimary and high schools in the Southernmost of the present state of Tamil Nadu, during the colonial period. An
\nerudite who memorized the dictionary used to be revered by his English friends, I have been told. I have never
\nmet him. He died when my dad was hardly five years old.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> In love, life, and separation, the significance of sacrifice has been well talked about
\nby all, but timing? Isn’t that the most crucial of it all?<\/p>\n

Jayanthi Sankar:<\/strong> We continue to learn in this school of life, don\u2019t we? The timely favourable happenings bring
\nus happiness and joy and a stronger belief in humanity and untimely unfavourable incidents just the opposite.
\nIronically, the whole unpredictability of life and the uncertainties make our lives. Those who realize this and
\nembrace the truth to live with the flow find peace with life. In \u2018The Pavilion\u2019 the love and untimely separation
\nin the past bring into this world the protagonist.<\/p>\n

\"\"<\/a><\/p>\n

Sredhanea Ramkrishnan:<\/strong> Poverty vs. luxury well explained by a bus ride, a child&#39;s kindness and observance
\nshine through, do you think as we grow into adults we lose sight of humanity or are we too selfish to observe
\nthe need of others?<\/p>\n

Jayanthi Sankar:<\/strong> It\u2019s more to do with the conditioning of the mind rather than the adulthood by itself. Those
\nwho grow into adulthood with some awareness that the conditioning is almost inevitable, escape this to some
\nextent. Even those who are already adults and can unlearn are capable of shedding at least portions of the
\nconditionings. In these, I believe, lies the selflessness and humanity. Though \u2018Beyond Borders\u2019 portrays a
\ntypical bus ride in Singapore, a simple story runs through in which I guess the unconditioned mind of the child
\nhas naturally come out well.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> Again, strength and talent despite a physical disability. What inspires you to highlight
\nthe good side of physical challenges?<\/p>\n

Jayanthi Sankar:<\/strong> I didn\u2019t think of highlighting the good side of physical challenge. I created the character
\nVenu in \u2018The Pavilion\u2019 who lives his life normally like his peers despite his condition. It\u2019s neither to glorify
\nphysical challenge nor to bring sympathy in the readers but to show perhaps his inner strength, more through
\nthe feel the reader gets rather than through words. And it used to be common those days to come across people
\naffected by Polio.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> Allegory, the most difficult form of literature seems to be your forte. What made you
\nprefer it over other styles like flash fiction or vignette? Do you think the readers would be able to find the
\nessence of the story in the same thread as you wish them to?<\/p>\n

Jayanthi Sankar:<\/strong> Normally, I play with the theme and characters in my mind before I start crafting. Therefore,
\nI let the theme and content choose the form. That having said, I love all other forms, and I hope to try my hand
\nat them as well.<\/p>\n

Different readers can read these stories in different depths. Albeit the stories are in a simple language, I won\u2019t
\ndeny that they are layered and require some effort to understand well enough. I\u2019ve been blessed with readers
\nlike you who read in some places beyond my intent and also those who sought my guidance before reading the
\nsecond time. There were also a couple of readers who said they were unable to go into them and I could
\nunderstand.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> Suffering is the ones left behind, not the dead. Aren&#39;t we all in a way facing the
\nconsequences of our ancestor&#39;s actions? Good or bad?<\/p>\n

Jayanthi Sankar:<\/strong> The dead leave behind both good and bad residues for us to endure, I suppose, just the way
\nwe will be when we leave.<\/p>\n

\u2018Mother\u2019 talks about the devastating fury of Earth turning upside down the lives of an entire lineage of an
\nEnglish family settled in Shillong.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> One can write about emotion in detail only if one had experienced it, loss by death or
\nlove and ways of overcoming the loss seem to be better depicted in your stories. Is there a reason behind this?<\/p>\n

Jayanthi Sankar:<\/strong> This moment, when I read your question, I am thinking. And except my empathy, I have no
\nreason that I can think of because, fortunately, loss by death or love and ways of overcoming the loss have not
\nbeen my life. Those effective depictions in my stories, for me, reflect my empathy. I tend to live those lives
\nwhile conceiving and crafting.<\/p>\n

If a writer can write well about death only after he experiences it, is it even possible for us readers to have texts
\ndepicting death?<\/p>\n

I believe empathy is capable of creating the emotion in any writer even if she had not experienced that
\nparticular emotion.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> As an author, how do you think writing this book helped you?<\/p>\n

Jayanthi Sankar:<\/strong> Only \u2018Read Singapore\u2019 was written back in 2011. Writing the other 11 of the stories over
\nfour years was so far the best creative phase that I loved and enjoyed.<\/p>\n

I am writing a novel in English right now, and Dangling Gandhi has become the creative personal record that I
\nhope to break. And that generates so much of motivation and drive, although, I have to accept that there are
\ntimes when the other end is also felt. These swings by themselves are so interesting to watch as I currently plan
\nthe novel chapters.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> Who do you think are your target audience?<\/p>\n

Jayanthi Sankar:<\/strong> All readers who enjoy literary fiction, Literary critics, Academics, and the serious readers of
\nthe western world who are eager to know more about literature, culture, lands, and people of the east. I am very
\nsure the simple language will help the readers enjoy these varied, layered, nonlinear narrations, and assimilate.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> Is feminism just supporting equal rights and liberating women, or is it much deeper
\nthan that? Maybe not judging anyone for their actions and respecting their journey?<\/p>\n

Jayanthi Sankar:<\/strong> \u2018My mother is feminist\u2019 aims to tell that respecting others\u2019 journey is just the basic. It tells us
\nthat a man though a son would still see his mother as a feminist if he searches for reasons to justify his action
\nthat he has mixed feelings about \u2013 undergoes an unexpected after-effect.<\/p>\n

To me, feminism with all its various shades is deeper than those two. Constantly evolving as we human evolve,
\nfeminism too undergoes constant changes.<\/p>\n

This story was included in the Anthology, \u2018the Other\u2019.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> Are love and pain co-dependant? What&#39;s your take on unrequited love? Do we hate the object of our love that left us or ourselves for having fallen for the wrong person?<\/p>\n

Jayanthi Sankar:<\/strong> I think it\u2019s both – the love turning into hatred for the one who left and also upon self for
\nhaving fallen for the wrong person. Natasha in \u2018Am I a jar?\u2019 is hurt and confused for the same reasons. As far as my knowledge goes, Love mostly comes along with heartaches and naturally unrequited love would mean
\nnaturally tremendous pain.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> Life, love, loss, you&#39;ve covered them all, is satire too latent in your words?<\/p>\n

Jayanthi Sankar:<\/strong> I hope to search to discover, which I\u2019ve already started.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> It&#39;s good to know where we come from and respect our culture but do you think we
\nshould branch out and flourish or still be grounded and attached to our roots<\/p>\n

Jayanthi Sankar:<\/strong> Knowing the roots can give the feeling of a groundedness wherever you may go. With the
\nglobe shrinking, it\u2019s only natural that one branches out to explore and flourish as he takes his roots within him.
\nSome are unable to part with their roots and land and therefore end up returning sooner. Momo in \u2018The peasant
\ngirl\u2019 is one such girl.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> Indian, Malay, and Chinese cultures beautifully intersperse in your words. Being an
\nIndian descent settled in Singapore, tell us what impact the history of Indian, Chinese and Malay, and
\nmythology and politics have on your writings.<\/p>\n

Jayanthi Sankar:<\/strong> Comprising not just the local ethnic groups but also of the immigrants and the floating tourist
\npopulation, Singapore is almost as diverse as London. Two hundred years old modern Singapore is
\ncomparatively young, though. Due to her geographical location, one of the earliest ports in the Asia Pacific,
\ndiversity has always been her specialty.<\/p>\n

When one lives here for nearly three decades, it\u2019s very natural that she gets exposed to diversity. It is not too
\nunique when she happens to evolve as a writer, and she depicts that.<\/p>\n

In my formative years, I was fortunate to have been exposed to a multicultural environment as my dad being a
\ncentral government engineer used to be transferred all over the subcontinent. So I grew up in many states.
\nShillong was one such beautifully diverse place.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> Having read about, heard, and even being an immigrant, what do you think is the
\nbiggest shock an immigrant faces? Cultural, social, economic, or educational?<\/p>\n

Jayanthi Sankar:<\/strong> I think it depends much on the immigrant\u2019s exposure, childhood, upbringing, and other
\nbackgrounds. For instance, 30 years back when I migrated to Singapore, because of my exposure I could see the
\ncity as naturally diverse whereas many ladies came directly from their home town could not take the culture
\nshock. They had lived all their lives in their village, or town, or city, or state.<\/p>\n

Here, I am reminded of a friend\u2019s friend, a guy from IIT Chennai, graduated, and had gone to the US. Decades
\nback, not exposed to other cultures when the Information technology was not as advanced as it is now, he had a
\nculture shock of seeing the cleavages of the American women and returned within months to his native place.
\nSredhanea Ramkrishnan: If you&#39;d written these stories maybe a few years ago, do you think they&#39;d have shaped up the same way?<\/p>\n

Jayanthi Sankar:<\/strong> My creative journey started in my late twenties, and so now, in my mid-fifties, my
\nstorytelling has evolved. I\u2019m better exposed and experienced in forms and techniques, and therefore, I think
\nthese stories have come out at the right time for these themes that stayed in me for decades would not have
\nshaped this well, if years ago.<\/p>\n

Sredhanea Ramkrishnan:<\/strong> What recent\/ past life experience of yours readied you to pen down these stories?
\nJayanthi Sankar: Like I said earlier, my experience from enriched explorations in both reading and writing has
\nbrought me to this phase, and naturally. Most of these stories have always been churning deep in me all the
\ntime, only waiting to be created, I suppose. When the stories surfaced I could give them the needed shapes.<\/p>\n

Title: Dangling Gandhi
\nAuthor: Jayanthi Sankar
\nGenre: (Literary) fiction\/short stories
\nPublished by: Zero Degree publishing
\nYear: 2019 \/ ISBN: 978-93-88860-03-12
\nPages: 154
\nPrice: Rs.220<\/p>\n

Credit: ScarletleafReview, CANADA<\/p>\n","protected":false},"excerpt":{"rendered":"

Jayanthi Sankar, born and brought up in India, living in Singapore since 1990, has been…<\/p>\n","protected":false},"author":1,"featured_media":93710,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[707,4,771],"tags":[3002,2824,3001],"class_list":["post-93709","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-english","category-interviews","category-share-again","tag-dangling-gandhi","tag-jayanthi-sankar","tag-sredhanea-ramkrishnan"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/www.vallamai.com\/wp-content\/uploads\/2019\/10\/Jayanthi-Sankar-with-book-scaled.jpg","featured_image_urls":{"full":["https:\/\/www.vallamai.com\/wp-content\/uploads\/2019\/10\/Jayanthi-Sankar-with-book-scaled.jpg",2560,1702,false],"thumbnail":["https:\/\/www.vallamai.com\/wp-content\/uploads\/2019\/10\/Jayanthi-Sankar-with-book-150x150.jpg",150,150,true],"medium":["https:\/\/www.vallamai.com\/wp-content\/uploads\/2019\/10\/Jayanthi-Sankar-with-book-300x199.jpg",300,199,true],"medium_large":["https:\/\/www.vallamai.com\/wp-content\/uploads\/2019\/10\/Jayanthi-Sankar-with-book-768x511.jpg",640,426,true],"large":["https:\/\/www.vallamai.com\/wp-content\/uploads\/2019\/10\/Jayanthi-Sankar-with-book-1024x681.jpg",640,426,true],"1536x1536":["https:\/\/www.vallamai.com\/wp-content\/uploads\/2019\/10\/Jayanthi-Sankar-with-book-1536x1021.jpg",1536,1021,true],"2048x2048":["https:\/\/www.vallamai.com\/wp-content\/uploads\/2019\/10\/Jayanthi-Sankar-with-book-2048x1362.jpg",2048,1362,true],"covernews-featured":["https:\/\/www.vallamai.com\/wp-content\/uploads\/2019\/10\/Jayanthi-Sankar-with-book-1024x681.jpg",1024,681,true],"covernews-medium":["https:\/\/www.vallamai.com\/wp-content\/uploads\/2019\/10\/Jayanthi-Sankar-with-book-540x340.jpg",540,340,true]},"author_info":{"display_name":"admin","author_link":"https:\/\/www.vallamai.com\/?author=1"},"category_info":"English<\/a> \u0ba8\u0bc7\u0bb0\u0bcd\u0b95\u0bbe\u0ba3\u0bb2\u0bcd\u0b95\u0bb3\u0bcd<\/a> \u0bae\u0bb1\u0bc1 \u0baa\u0b95\u0bbf\u0bb0\u0bcd\u0bb5\u0bc1<\/a>","tag_info":"\u0bae\u0bb1\u0bc1 \u0baa\u0b95\u0bbf\u0bb0\u0bcd\u0bb5\u0bc1","comment_count":"0","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.vallamai.com\/index.php?rest_route=\/wp\/v2\/posts\/93709","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.vallamai.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.vallamai.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.vallamai.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.vallamai.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=93709"}],"version-history":[{"count":0,"href":"https:\/\/www.vallamai.com\/index.php?rest_route=\/wp\/v2\/posts\/93709\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.vallamai.com\/index.php?rest_route=\/wp\/v2\/media\/93710"}],"wp:attachment":[{"href":"https:\/\/www.vallamai.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=93709"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.vallamai.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=93709"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.vallamai.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=93709"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}