{"id":2698833,"date":"2026-11-05T08:14:59","date_gmt":"2026-11-05T13:14:59","guid":{"rendered":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/utm_sourcerssutm_mediumrssutm_campaigncormac-mccarthy-was-a-great-author-who-doesnt-deserve-a-bad-biography\/"},"modified":"2026-11-05T08:26:23","modified_gmt":"2026-11-05T13:26:23","slug":"utm_sourcerssutm_mediumrssutm_campaigncormac-mccarthy-was-a-great-author-who-doesnt-deserve-a-bad-biography","status":"publish","type":"post","link":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/utm_sourcerssutm_mediumrssutm_campaigncormac-mccarthy-was-a-great-author-who-doesnt-deserve-a-bad-biography\/","title":{"rendered":"Cormac McCarthy Was A Great Author Who Doesn&#8217;t Deserve A Bad Biography &#8211; The Federalist"},"content":{"rendered":"<aside class=\"mashsb-container mashsb-main mashsb-stretched\"><div class=\"mashsb-box\"><div class=\"mashsb-count mash-medium\" style=\"&quot;\"><div class=\"counts mashsbcount\">30<\/div><span class=\"mashsb-sharetext\">SHARES<\/span><\/div><div class=\"mashsb-buttons\"><a class=\"mashicon-facebook mash-medium mash-nomargin mashsb-noshadow\" href=\"https:\/\/www.facebook.com\/sharer.php?u=https%3A%2F%2Fwww.conservativenewsdaily.net%2Fbreaking-news%2Futm_sourcerssutm_mediumrssutm_campaigncormac-mccarthy-was-a-great-author-who-doesnt-deserve-a-bad-biography%2F\" target=\"_top\" rel=\"nofollow\"><span class=\"icon\"><\/span><span class=\"text\">Facebook<\/span><\/a><a class=\"mashicon-twitter mash-medium mash-nomargin mashsb-noshadow\" href=\"https:\/\/twitter.com\/intent\/tweet?text=&amp;url=https:\/\/www.conservativenewsdaily.net\/breaking-news\/?p=2698833&amp;via=ConservNewsDly\" target=\"_top\" rel=\"nofollow\"><span class=\"icon\"><\/span><span class=\"text\">Twitter<\/span><\/a><a class=\"mashicon-subscribe mash-medium mash-nomargin mashsb-noshadow\" href=\"#\" target=\"_top\" rel=\"nofollow\"><span class=\"icon\"><\/span><span class=\"text\">Subscribe<\/span><\/a><div class=\"onoffswitch2 mash-medium mashsb-noshadow\" style=\"display:none\"><\/div><\/div>\n            <\/div>\n                <div style=\"clear:both\"><\/div><\/aside>\n            <!-- Share buttons by mashshare.net - Version: 4.0.47--><p>Cormac McCarthy is portrayed here as America\u2019s great storyteller &#8211; a writer whose novels feel summoned by history itself and concerned with raw, ofen brutal truths beneath civilization\u2019s surface. He was also a gifted craftsman: a precise chronicler of landscape, a stern observer of character, and an heir to the tradition of the Great American Novel.<\/p>\n<p>The reviewer argues that Tracy Daugherty\u2019s Cormac McCarthy: A Legacy Revisited fails as a biography. Daugherty is accused of bringing bias to the project &#8211; an apparent dislike of the South (especially Knoxville) and of William Faulkner &#8211; and of relying too heavily on gossip from acquaintances, publishing insiders, and McCarthy\u2019s former partners. His literary readings are called shallow and clich\u00e9d, missing the central moral and existential concerns that drive McCarthy\u2019s work.<\/p>\n<p>The book\u2019s treatment of McCarthy\u2019s relationships is judged awkward: Daugherty presents complaints from ex-wives and girlfriends as proofs of misogyny, while many of those women reportedly balanced criticism with admiration. the reviewer also faults Daugherty for projecting contemporary social-justice frameworks onto McCarthy, whom he describes as politically conservative and focused on larger metaphysical and moral questions rather than partisan narratives.<\/p>\n<p>Biographically, McCarthy\u2019s life is sketched as follows: born in 1933 and originally named Charles Joseph McCarthy Jr., he adopted the name Cormac to avoid cultural associations. He grew up in Knoxville in an Appalachian milieu, had a tough but supportive relationship with his father, and spent time hunting and drifting through local social scenes. After an interrupted early college experience, he served in the Air Force, then returned to the University of Tennessee, where he matured as a writer and met his first wife, Lee Holleman. They separated after the birth of their son Cullen (later Chase), who was mostly raised by his mother; McCarthy contributed little financially.<\/p>\n<p>McCarthy later traveled, spent time in Europe, married Annie DeLisle, and returned to Tennessee, where he wrote Outer dark, Child of God, and much of Suttree. By the mid-1970s he left Tennessee for good and eventually settled in El Paso, Texas, where the American West became his dominant subject. There he produced Blood Meridian (often hailed as his masterpiece) and the Border Trilogy (All the Pretty Horses, The crossing, Cities of the Plain). The reviewer criticizes Daugherty for a dismissive or inattentive reading of Blood Meridian.<\/p>\n<p>Contrary to Daugherty\u2019s purported thesis, McCarthy is said to take the Western seriously rather than mocking it: he immersed himself in the borderlands, traveled widely there, learned Spanish later in life, and used setting to reveal character.Like Faulkner, McCarthy reveals people obliquely and is less interested in psychological nuance than in moral choice, necessity, and the human capacity for violence. Existential themes and a struggle with fate,God,and moral agency are central to his fiction.<\/p>\n<p>The reviewer also finds Daugherty negligent in exploring McCarthy\u2019s religious background. Raised Catholic, schooled in Catholic institutions, and later dismissive of organized religion, mccarthy nonetheless grappled with faith and admired genuine devotion.the book\u2019s neglect of McCarthy\u2019s declared literary influences &#8211; especially Faulkner and Melville &#8211; is called a serious omission.<\/p>\n<p>In later life McCarthy fathered another son in his sixties, produced The Road, and enjoyed financial success after film adaptations of his work. He became involved with the santa Fe Institute and eventually moved to Santa Fe. Over a long career he avoided academic life, stuck to his own terms, and remained a singular moral and literary figure in American letters.<\/p>\n<p>The reviewer\u2019s final judgment: Daugherty\u2019s book is gossipy, biased, and inadequate as a definitive biography. It might potentially be of passing interest if you can tolerate its tone, but a truly worthy biography of McCarthy will require a more sympathetic, better-informed hand.Meanwhile, readers are urged to (re)read McCarthy\u2019s novels to understand the man through his work.<\/p>\n<p>The piece closes with a short author byline noting Tony Daniel\u2019s credentials as a novelist, short\u2011story writer, screenwriter, and senior editor at Baen Books, with links to his website and social profile.  <\/p>\n<p class=\"readmore\">\n    <button onclick=\"showReadMore()\" id=\"readmorebtn\">Read more&#8230;<\/button>\n<\/p>\n<hr id=\"line\">\n<span id=\"more\"><\/p>\n<div>\n<p>Cormac McCarthy was America\u2019s great shaman-storyteller. His novels often seem as much called into being as written, demanded by the weight of the past forever encroaching into the present, and filled with ancient blood truths asserting themselves through whatever gloss of civilization we paint across man\u2019s moral nature. But of course McCarthy was also merely human, an enchanter with words, an epic portraitist of the American landscape, a dour and exacting witness to character, and a link to the heyday of the Great American Novel.<\/p>\n<p>He deserves a biographer equal to the task of depicting his contradictory personal story, his monk-like devotion to his art, the muddy origins of his stark, noble, and often downright ghastly themes, his obsession with the skull beneath the skin and the viscera of life, and his literary and philosophical influences. Unfortunately, Tracy Daugherty, author of <em><a href=\"https:\/\/www.amazon.com\/Cormac-McCarthy-Revisited-Tracy-Daugherty\/dp\/1250348722\" target=\"_blank\" rel=\"noreferrer noopener\">Cormac McCarthy: A Legacy Revisited<\/a><\/em>, is not that biographer.<\/p>\n<p>For starters, Daugherty seems to genuinely hate the South, particularly Knoxville \u2014 McCarthy\u2019s hometown and, after the American Southwest, the greatest influence on his work \u2014 and expresses a condescending loathing toward the work of William Faulkner, as well, whom Daugherty depicts as an overrated mumbler propped up by the New York publishing cognoscenti of his day. Not exactly the best frame of mind to bring to an author who is, inarguably, Faulkner\u2019s greatest heir.<\/p>\n<p>The book is in large part a compilation of gossip drawn from McCarthy\u2019s acquaintances, publishing associates, and former wives and girlfriends. Its literary analysis is banal \u2014 on the order of a junior-level college thesis paper with talk of \u201cdoubling\u201d and other such clich\u00e9s of literary analysis \u2014 and wholly misses the heart of McCarthy\u2019s magnificence as well as the reasons for his literary shortcomings. Of course, McCarthy\u2019s themes are Faulknerian, Southern, and, above all, the consequence of an existentialist\u2019s life-and-death struggle with God, fate, and mankind\u2019s soul \u2014 or lack thereof.<\/p>\n<p>Daugherty\u2019s reportage on the gossip of McCarthy\u2019s wives and girlfriends is particularly cringeworthy. This Daugherty attempts to characterize as an indictment of McCarthy\u2019s misogynistic nature, only to be belied by the actual words of the women who, for the most part, express understanding of McCarthy\u2019s faults and failings \u2014 some of which were quite egregious \u2014 and admiration for his virtues. As Rick says of Renault in <em>Casablanca<\/em>, \u201cOh, he\u2019s just like any other man, only more so.\u201d Most of all, Daugherty\u2019s thematic concerns \u2014 social justice, a Howard Zinn\u2013influenced picture of a deeply flawed America \u2014 are most distinctly <em>not<\/em> those of Cormac McCarthy, who, despite his bohemian lifestyle and personal failings, was politically and culturally conservative and fairly patriotic (although politics hardly mattered to his larger concerns). One gets the sense that Daugherty\u2019s attempt to paint McCarthy as a casualty of backward and unjust times would have seemed laughable and even loathsome to McCarthy, who considered himself nobody\u2019s victim. For McCarthy, the world was headed downward, not upward, and always toward its doom.<\/p>\n<p>Very little of what concerns Daugherty in his biographical sketch matters to McCarthy\u2019s work \u2014 and that work is the key to its author\u2019s character. Everything McCarthy did revolved around writing, and anything that stood in the way, however worthy in the moment, must be shorn from his life.<\/p>\n<h2><strong>An Uncompromising Life<\/strong><\/h2>\n<p>Born in 1933, Cormac McCarthy was the third child and oldest son of six siblings. His given name was Charles Joseph McCarthy, Jr., and his childhood friends knew him as Chuck or Charlie. In order to avoid constant association with the name of Edgar Bergen\u2019s ventriloquist dummy \u2014 a comedy act that was ubiquitous in the 1950s and 1960s \u2014 he took the name Cormac from a nickname his Irish-American father had acquired as a child. McCarthy had a contentious relationship with his father, a Providence, Rhode Island, native (as was McCarthy\u2019s mother) and Yale Law graduate who became a well-to-do lawyer for the Tennessee Valley Authority based in Knoxville. The older McCarthy seemed to his young son the definition of staid propriety, and it must be said that the father did not grasp his son\u2019s genius until later in life. The elder McCarthys did, however, lend years of support in the form of cash and a crash pad for their errant knight of a son, and later provided a summer haven for McCarthy\u2019s older son, Cullen, who otherwise grew up separated from his father in Bakersfield, California. Throughout life, McCarthy remained close with his brother Dennis and sister Bobbie.<\/p>\n<p>While Charles McCarthy, Sr., may have been the psychological model for Cornelius Suttree\u2019s father in McCarthy\u2019s novel <em>Suttree<\/em> (1979), he was hardly a monster, and McCarthy was hardly a saint as a son, as he himself acknowledged. Cormac grew up in a Knoxville suburb and was wholly of the Appalachian South. When he and his childhood buddies wandered, they traveled outward, into the nearby woods and fields for hunting with .22 rifles and adventure, then later to the pool halls and juke joints on the town\u2019s periphery.<\/p>\n<p>After a brief, unsuccessful stint at the University of Tennessee in the early 1950s, McCarthy joined the Air Force, where he deliberately flunked out of officer training school and spent four years stationed in Alaska, where he clerked and was a disc jockey on the Air Force radio station, but mostly read constantly and without ceasing. After the Air Force and some knocking about hitchhiking, he returned to the University of Tennessee in Knoxville, where he studied for several years and came into his own as a young writer mentored by several influential teachers and involved in the literary scene on campus. There he met his first wife, Lee Holleman, a student from Arkansas. When Lee graduated, the two moved to Chicago for a stint, where McCarthy took a job as a clerk at auto parts merchant J. C. Whitney (McCarthy had a lifelong love of cars and was a good mechanic) and began work on what would become his first novel, <em>The Orchard Keeper<\/em> (1965).<\/p>\n<p>McCarthy and Lee returned to a house on the outskirts of Knoxville, where Lee became pregnant with Cullen. Meanwhile, the two were becoming more and more unhappy with circumstances and with one another. This led to a cataclysmic split, as Lee took a job in Montana and McCarthy almost inexplicably watched her leave with the baby and did not follow or attempt reconciliation. Lee eventually ended up in California, where she raised Cullen alone and taught high school English for decades. Father and son saw each other infrequently, and the usually penniless McCarthy contributed nothing to his son\u2019s upkeep. Cullen McCarthy, who changed his first name to Chase, would eventually become an architect.<\/p>\n<p>McCarthy spent the following years traveling and writing, with a long stint in Europe, where he met his second wife, English dancer and performer Annie DeLisle, whom he brought back to Knoxville. The two attempted to renovate a decrepit country house-<em>cum<\/em>-dairy barn about twenty-five miles south of Knoxville near Louisville, Tennessee, while McCarthy wrote, worked at odd jobs mostly to <a href=\"https:\/\/www.conservativenewsdaily.net\/breaking-news\/the-real-crisis-affecting-the-american-family\/\" title=\"The true crisis impacting American families.\">gain life experience<\/a> rather than for the money, socialized with Annie with a friend group of cultured locals, and often caroused by himself with a group of drinking buddies who ranged from unstable to shady. The English-accented Annie, who had been a performer on a cruise ship when McCarthy met her, would remain in the area for life and eventually operated a successful Italian restaurant in Knoxville. McCarthy survived off his meager advances and a small grant his Random House editor, Tennessee native Albert Erskine, had a hand in arranging. Ever the observer, McCarthy seldom participated in any activity that seriously threatened his writing. In East Tennessee, he completed <em>Outer Dark<\/em> (1968) and <em>Child of God<\/em> (1973), and did much of the work on his first masterpiece, <em>Suttree<\/em>.<\/p>\n<p>With <em>Suttree<\/em> apparently near completion in 1976 (he would not finish it for another two years), McCarthy seems to have exhausted the creative inspiration from his upbringing in Knoxville and life in Appalachia. Once again, McCarthy broke with a wife and took to the road, this time into the American interior, never to live permanently in Tennessee again. After much travel, McCarthy settled in El Paso, Texas \u2014 his base for the next two decades.<\/p>\n<p>With the move to El Paso, McCarthy entered into the most important relationship of his life \u2014 with the American West. The land and its history became his muse, his obsession, and the undiscovered country of his soul. There he produced the apotheosis of his art, the dark masterpiece <em>Blood Meridian<\/em> (1985), which many regard as the greatest novel of the late twentieth century, comparable in scope and importance to Melville\u2019s <em>Moby-Dick<\/em>, Twain\u2019s <em>Huckleberry Finn,<\/em> Faulkner\u2019s <em>The Sound and the Fury,<\/em> and Hemingway\u2019s <em>For Whom the Bell Tolls.<\/em> In El Paso, he would also write his Border Trilogy, <em>All the Pretty Horses<\/em> (1992)<em>, The Crossing<\/em> (1994)<em>,<\/em> and <em>Cities of the Plain<\/em> (1998)<em>.<\/em> Daugherty\u2019s depiction and analysis of <em>Blood Meridian<\/em> in his biography are so dismissive and threadbare it leaves one wondering if he even read the novel. He certainly seems to dislike it.<\/p>\n<p>Contra Daugherty, the last thing McCarthy seeks to do in <em>Blood Meridian<\/em> is to subvert the western as a fictional form. Instead, he takes the western genre seriously and gives himself wholly over to it as a writer, inhabiting its structure, minutely studying the physical landscape and people of West Texas and Mexico to fill out his setting. McCarthy traveled <em>everywhere<\/em> in the border region, driving thousands of miles, asking questions ceaselessly of the inhabitants, even learning Spanish, albeit a bit too late to complete his bachelor\u2019s at Tennessee. Above all, McCarthy absorbed and brought to life the psychic landscape over which the American western is laid.<\/p>\n<p>Taking a leaf from his greatest influence, William Faulkner, McCarthy comes at character obliquely, preferring to use setting and the exigencies of the story to reveal the bare bones of the man within. McCarthy is unconcerned with psychological niceties and is interested in what we are at base: creatures who are able to choose between good and evil and frequently choose evil. Our lives are bounded by necessity. We could die or be killed at any moment. But also we choose, and our choices, too, are woven into time\u2019s landscape. Small threads, yes, but worthy of teasing out and following as each winds its way within the tapestry until finally playing out abruptly or fading imperceptibly into the woodwork. \u201cOne must imagine Sisyphus happy,\u201d says Albert Camus, one of McCarthy\u2019s favorites, in <em>The Myth of Sisyphus.<\/em> But Sisyphus also remains trapped forever in Hades. His actions may seem futile or even meaningless, but they matter to <em>him<\/em>. Even so, the violence-addled Kid in <em>Blood Meridian<\/em>, even so serial killer Lester Ballard in <em>Child of God,<\/em> and even so thrice-doomed cowboy romantic John Grady in <em>All the Pretty Horses.<\/em><\/p>\n<p>Equally missing from Daugherty\u2019s book is a much-needed examination of McCarthy\u2019s grappling with God. McCarthy was raised Catholic and spent twelve years in Catholic school but grew up in deeply Protestant Knoxville. He was dismissive of organized religion thereafter but was no atheist. He was never contemptuous of real faith when he saw it, which he considered as hard a path to follow as a life of pure violence. He was an admirer of Mother Teresa and was fond of her famous line, \u201cMy dear Senator, God did not call me to be successful. He called me to be faithful.\u201d And finally, there is almost no accounting of McCarthy\u2019s literary influences in the book, although McCarthy laid these face-up on the table for all to see. Daugherty\u2019s dismissal of Faulkner and Melville is particularly egregious and practically criminal, in a purported biography of Cormac McCarthy. There is no excuse, either. McCarthy may have guarded details of his personal life, but he could be effusive when discussing the writers he loved and revered.<\/p>\n<h2><strong>Carrying the Vanguard of American Literature<\/strong><\/h2>\n<p>McCarthy ended up living eighty-nine years, and in his mid-sixties fathered yet another son whom this time he doted on, a relationship that inspired his final homage to striving in the face of inexorable fate, <em>The Road<\/em> (2006). By this time, his poverty was a thing of the past. Movies based on <em>No Country for Old Men<\/em> (2005) and <em>The Road,<\/em> as well as Billy Bob Thornton\u2019s (nearly unwatchable) adaptation of <em>All the Pretty Horses<\/em>, had left him well off.<\/p>\n<p>In the late 1990s, McCarthy became heavily involved with a think tank called the Santa Fe Institute, founded in part by McCarthy\u2019s old friend and fellow MacArthur Genius Grant fellow, physicist Murray Gell-Mann (who predicted and named the subatomic particle the quark \u2013 and even played a notable role in media criticism, having lent his name to the phenomenon known as \u201c<a href=\"https:\/\/www.goodreads.com\/quotes\/65213-briefly-stated-the-gell-mann-amnesia-effect-is-as-follows-you\" target=\"_blank\" rel=\"noreferrer noopener\">Gell-Mann Amnesia<\/a>\u201d). McCarthy eventually relocated to Santa Fe in 2001. In a sense, and as McCarthy had long feared, academia \u2014 even though it was the Santa Fe Institute\u2019s Hogwarts-for-physicists quirky version of it \u2014 had finally swallowed him.<\/p>\n<p>Cormac McCarthy mustered out of the Air Force in 1957 determined to be a writer who carried on the grand tradition of American literature he found in all the novels he had imbibed. He spent the next fifty years doing just that, avoiding the temptation of joining (or even setting foot in) the academy and fleeing fame as if it were the plague. He lived life on his own terms. He was a stubborn cuss, a gentleman in temperament and manners (<em>all<\/em> of his former female companions testify to this), and without equal during his time on the American literary stage.<\/p>\n<p>His full biography will have to wait for more capable hands, but Daugherty\u2019s gossipy account is of interest if you can wade through his melodramatic purple prose and whining complaints about a country that, for all its faults, is great enough to have produced and intermittently nurtured a giant like Cormac McCarthy. Better yet, spend your time reading or rereading McCarthy\u2019s great novels while we await a telling of the author\u2019s story that is truly worthy of the man and the stupendous accomplishment of stubbornly carrying the vanguard of American literature into the twenty-first century.<\/p>\n<hr>\n<p>      Tony Daniel is the author of 11 fantasy and <a href=\"https:\/\/www.conservativenewsdaily.net\/breaking-news\/the-10-sci-fi-books-everyone-needs-to-read\/\" title=\"The 10 Sci-Fi Books Everyone Needs To Read\">science fiction novels<\/a>, the latest of which is young adult fantasy, &#8220;The Amber Arrow.&#8221; His science fiction books include &#8220;Guardian of Night&#8221; and two Star Trek novels. He\u2019s also an award-winning short story writer. Daniel has co-written screenplays for monster movies that appear on the SyFy and Chiller Channels including the films &#8220;Beneath&#8221; and &#8220;Flu Birds.&#8221; In the long ago 2000s, he wrote and directed numerous audio dramas for SCIFI.COM starring actors such as Stanley Tucci, Oliver Platt, Kyra Sedgwick, and Lou Diamond Phillips. Daniel\u2019s nonfiction has appeared in The American Spectator, The Seattle Times, Stuff, Maxim UK, and The Stranger. In addition to writing, Daniel is a senior editor at Baen Books. His website is <a href=\"http:\/\/tonydaniel.com\">tonydaniel.com<\/a>. Follow him on Parler @darkcoffee.<\/p>\n<\/p><\/div>\n<p><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>McCarthy was America\u2019s premier shamanic storyteller<\/p>\n","protected":false},"author":4479,"featured_media":2698834,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_mo_disable_npp":"","fifu_image_url":"https:\/\/thefederalist.com\/wp-content\/uploads\/2026\/10\/Book-Cover-Image-8.png","fifu_image_alt":"","footnotes":""},"categories":[546],"tags":[68125,87489,87488,87491,87490],"class_list":["post-2698833","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-federalist","tag-americanliterature","tag-biographydebate","tag-cormacmccarthy","tag-literarycriticism","tag-thefederalist"],"fifu_image_url":"https:\/\/thefederalist.com\/wp-content\/uploads\/2026\/10\/Book-Cover-Image-8.png","_links":{"self":[{"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/posts\/2698833","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/users\/4479"}],"replies":[{"embeddable":true,"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/comments?post=2698833"}],"version-history":[{"count":3,"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/posts\/2698833\/revisions"}],"predecessor-version":[{"id":2698856,"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/posts\/2698833\/revisions\/2698856"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/media\/2698834"}],"wp:attachment":[{"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/media?parent=2698833"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/categories?post=2698833"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.conservativenewsdaily.net\/breaking-news\/wp-json\/wp\/v2\/tags?post=2698833"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}