Culture
Where are all the January transfers in the Premier League?
The rumour mill is still. The gossip columns are sparse. The Sky Sports News totaliser sits dormant. Fabrizio Romano seems to be tweeting more about deals that aren’t happening than ones that are. The Athletic has given David Ornstein the month off (just kidding: we would never let him have any time off).
This has been a quiet January transfer window.
There are nine days to go until the February 1 deadline and between the 20 clubs of the Premier League, there have been only six permanent purchases for actual money, for a total of around £44million ($56m).
Five of those won’t be doing much for their new employers in the short term, either.
Two are Brighton & Hove Albion’s latest additions to their cache of promising youngsters — 19-year-old Argentine defender Valentin Barco and 18-year-old Romanian winger Adrian Mazilu (whose move was agreed last summer and who has joined Vitesse on loan) for around £10.4million combined. Brentford recruited 18-year-old Turkish midfielder Yunus Emre Konak and Luton Town signed Tom Holmes but loaned him straight back to third-tier Reading, both for undisclosed fees. Aston Villa did an £8m deal for 18-year-old defender Kosta Nedeljkovic but immediately returned him on loan to Red Star Belgrade.
Then there’s Radu Dragusin, the defender signed by Tottenham Hotspur from Genoa for £25million, who is the only senior first-team player signed for a fee by a Premier League club this month.
Spurs, the great transfer negotiators, are thus responsible for more than half of the money spent in this window.
Dragusin’s move from Genoa is the only significant piece of January business (Giuseppe Bellini/Getty Images)
There have been some loans — most notably Timo Werner, also to Spurs from RB Leipzig, and, if it goes through, Manchester City’s Kalvin Phillips to West Ham United — for which money may have changed hands, but the most frequent type of transaction involving Premier League clubs this month has been them recalling youngsters from loans in the EFL.
Don’t expect a flurry of transfers in the coming days either.
The Athletic spoke to agents and other figures involved in the game, who confirmed it’s not just a case of big moves simply failing to get over the line despite the best efforts of clubs. Late deals could still emerge but there isn’t much in the pipeline, certainly in terms of incomings to the Premier League.
So why is this the case?
The first thing to say is that the January window is usually quiet. Last year, £815million was spent by Premier League clubs, but that was an outlier, with Chelsea’s extraordinary splurge accounting for nearly a third of that figure. In the previous nine winter windows, according to figures from Deloitte, the January spend in the Premier League averaged around £206m — so a little over £10m per club.
Compare that to the summer window: in 2023, the 20 Premier League clubs spent a collective £2.36billion. The summer before that, it was £1.92bn.
“January is always a difficult buyers’ market,” said one executive at a Premier League club, who, like others in this article, has been granted anonymity to protect relationships. “There’s only a small selection of teams to buy from, and you’ll probably have to overpay.”
And almost by definition, the players that you might have to overpay for in January may not exactly be the cream of the crop. “If a player is available in January, he’s available for a reason,” one agent told The Athletic. Often that reason is they haven’t been playing at their club. So if you need someone to slot into your first XI straight away, how ready are they going to be?
Tottenham newcomer Werner was a notable loan signing (Catherine Ivill/Getty Images)
But even in this context, this January has been particularly sleepy. And the biggest reason for that is how hard the Premier League’s profit and sustainability (PSR) rules are biting. Everton and Nottingham Forest have been charged with breaches and others are thought to be sailing quite close to the wind — one source indicated half of the division’s 20 clubs are glancing at their balance sheets nervously.
Forest seem the keenest of any side to do late deals, exploring moves for Borussia Dortmund and USMNT midfielder Gio Reyna and Ajax winger Carlos Forbs, but even then only on loan.
Manchester United have said they will have to be “really disciplined”, Newcastle United seem open to selling to balance their books, Wolverhampton Wanderers already got rid of most of their squad in the summer for that reason, and Fulham and Villa have to be careful.
These regulations have been in place since 2015 in the Premier League but there was perhaps previously a prevailing attitude that clubs could be fairly liberal in terms of abiding by them: if it meant equipping their squad to, say, qualify for Europe or avoid relegation, they would take a fine or even a transfer embargo for a window or two further down the line.
But it would appear the 10-point penalty given to Everton in November has provoked the desired effect in terms of a deterrent: one senior figure at a Premier League club said the decision had made some clubs “sit up and go, ‘Jesus Christ, this thing is real’”. It was a “line in the sand” moment, the realisation that punishments could have a serious impact, rather than just a mere inconvenience.
Another knock-on effect related to the PSR punishments is a relative lack of peril for some of the clubs in the bottom half of the league. A second charge has left Everton facing another points deduction, Forest could also be docked some and the present bottom three are among the weaker sets of promoted clubs we have seen in Premier League history. All of which means it’s pretty likely that three of those five will end up getting relegated.
In previous years, a team in Crystal Palace’s position — 15th with 21 points from 21 games, five clear of the relegation zone but with the division’s third-weakest attack in terms of goals scored — might have considered spending a significant sum on a forward to help them out, even if they had to overpay for him. Something like that might amount to a £30million bet on saving £100m by avoiding the drop. But considering the diminished risk of relegation, Palace may not think it’s worth the risk.
But the rules aren’t the only thing to have hindered the market.
On the most basic level, there just aren’t that many players available, at least not at the top end. “Everyone is always looking for a striker, but there just aren’t any around,” said one agent.
Victor Osimhen, currently at the Africa Cup of Nations, would be incredibly expensive to get out of Napoli. Lautaro Martinez would be similarly pricy and Inter Milan are unlikely to sell him at any price while they’re in the Serie A title race. The Kylian Mbappe Paris Saint-Germain exit saga will restart in the summer. Brentford are unlikely to sell Ivan Toney this month.
Victor Boniface might have been a candidate for a move but he picked up an injury before AFCON. Serhou Guirassy, who had a remarkably low release clause of around £15million, appears to have decided to stay with Stuttgart until at least the summer.
Osimhen in action for Nigeria at the Africa Cup of Nations (Issouf Sanogo/AFP via Getty Images)
Having two international tournaments going on at the same time as the winter window is another factor: only two Premier League clubs — Manchester City and Newcastle — don’t have any players at either AFCON or its Asian Cup equivalent, which won’t conclude until the second weekend of February.
This limits the pool of available players in a couple of ways: first, January tends to be about recruiting players for an instant impact, which is naturally diminished if the player you want might not be with you until halfway through next month. But also, if a club’s number of available players is already down due to tournament absentees, they’re less likely to sell any of the ones that are still in the building.
This is quite a depressing prism through which to view two incredibly important and entertaining tournaments but, in a football world where transfers are king, it is part of the thinking.
The Saudi Pro League broadly keeping its collective wallet in its collective pocket is also a consideration.
Premier League clubs were the biggest beneficiaries of Saudi largesse last summer, with around £250million brought in for Fabinho, Aymeric Laporte, Riyad Mahrez, Edouard Mendy, Kalidou Koulibaly and others. With less money received from what was — and could still be — a reliable source of correcting mistakes and balancing books for profligate Premier League sides, there is less of it available to spend.
Perhaps the biggest reason for the lack of big-money moves, though, is that spending a lot of money in this window tends not to work. Take Chelsea last January: they dropped around £270million on Mykhailo Mudryk, Enzo Fernandez, Benoit Badiashile and Noni Madueke (plus Malo Gusto and Andrey Santos, who didn’t actually move to the London club until the summer), a figure that doesn’t even include the £9.7m loan fee for Joao Felix. Chelsea were 10th at the end of that month. They finished 12th.
Additionally Southampton, Leeds United and Leicester City spent around £140million between them, hoping to turn their respective seasons around. Those three clubs were relegated, all recording a worse points-per-game record post-January than they did in the months before. Leicester and Leeds dropped from 14th and 15th when the window shut and through the trap door.
Fernandez was part of Chelsea’s £270m splurge a year ago (Jacques Feeney/Offside/Offside via Getty Images)
It stretches beyond recent history and extends further than the Premier League, too.
“We’ve done analysis that looks at net spend in January and how that correlates with changes in points-per-game after the window,” says Omar Chaudhuri, chief intelligence officer for the research company Twenty First Group. “If you look across the ‘big five’ European leagues over time, there is no correlation.”
Chaudhuri points to a report that his company authored in 2017, which essentially calculated that the average club gained virtually no benefit from spending money on players in January. “Even a net spend of €30million (£25.7m; €32.5m) more than the average club has generated just 0.1 points per game,” read that report.
“Another interesting one,” adds Chaudhuri, “is my colleague did some analysis that looked at strikers bought in January in the big five leagues since 2012, and found that 40 per cent of them didn’t even score a goal in the remainder of that season.”
There are examples of January spending working brilliantly. Virgil van Dijk and Bruno Fernandes were signed in this window and have gone on to be hugely valuable players for Liverpool and Manchester United, but they were long-term targets rather than impulse mid-season buys.
Other positive recent examples of winter recruitment include what Newcastle did in January 2022, their first window under the ownership of the Saudi Public Investment Fund, when the signings of Kieran Trippier, Dan Burn, Bruno Guimaraes and Chris Wood helped them move from the relegation zone to a comfortable 11th-place finish. It also worked for Palace this month in 2017, when Jeffrey Schlupp, Patrick van Aanholt and Luka Milivojevic (along with the appointment of Sam Allardyce as manager late the previous month) came in and were influential in them rising from the bottom three when the window closed to survival in 14th, seven points clear of the drop, four months later.
Virgil van Dijk was a long-term Liverpool target (Andrew Powell/Liverpool FC via Getty Images)
“There are opportunities to spend in January, but it’s not going to make or break your season,” says Chaudhuri. “Ultimately, it’s a function of how smart that recruitment is, but a lot of other things are going to influence the second half of your season. Your fixture list, the managers, whether you have any youngsters coming through… a lot of clubs might see January as a chance to fix their season, but it’s a bit of a loss, really, unless you’re excellent at recruitment.”
So the rest of the month may be quiet, boring even. But could that be a good thing?
From a financial perspective, it’s probably healthy that clubs are being weaned off the idea of spending money they might not have. On a more conceptual level though, might it be better for us all to move past the idea that the only solution to a problem in football is to buy someone?
“It’s all quiet, which is good,” said Chelsea head coach Mauricio Pochettino this week, which isn’t a surprise — the last thing he needs is more players to try to integrate. It was arguably the challenge of having to knit together so many signings that cost Pochettino’s Nottingham Forest counterpart Steve Cooper his job last month.
This might be temporary. It’s possible that by January 2025, all of the factors outlined here will have diminished in importance and the splurge will be on again. But, for now, it looks like this transfer window will gently click shut at 11pm UK time a week on Thursday, with not a lot having happened.
It’s probably for the best.
(Top photos: Getty Images; design: Eamonn Dalton)
Now that we’ve memorized the first half of our poem, let’s learn a little more about the man who wrote it. (Haven’t memorized anything yet? Click here to start at the beginning.)
For most of his life, Wystan Hugh Auden (1907-73) was a star. He was widely read, quoted, argued over and gossiped about, achieving a level of fame that few writers now — and not many then — could contemplate. His New York Times obituary did not hesitate to call him “the foremost poet of his generation.”
Celebrity of that kind is ephemeral, but Auden’s words have continued to circulate in the half century since his death. Maybe you’ve heard some of them before. In the 1994 film “Four Weddings and a Funeral,” his poem “Funeral Blues” is recited by Matthew (John Hannah) over the casket of his lover, Gareth (Simon Callow).
In the Gen-X touchstone “Before Sunrise” (1995), Jesse (Ethan Hawke) regales Celine (Julie Delpy) with an impression of Dylan Thomas reading Auden’s “As I Walked Out One Evening.”
In both these scenes, the characters use Auden’s poetry to give voice to a longing for which they otherwise might not have words. Auden’s poetry is often useful in that way. It speaks to recognizable human occasions, and it isn’t always all about him.
“The More Loving One” might not be something you’d quote at a funeral or on a date, but it is almost effortlessly quotable — the perfect expression of a thought you never knew you had:
Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.
Ken Burns, filmmaker
The word “I” occurs five times in this stanza, but we don’t know much about the person speaking. His personality is camouflaged and revealed by craft.
Auden, born in the northern English cathedral city of York, began practicing that craft as a schoolboy, and honed it at Oxford. Not long after graduating in 1928, he was anointed by critics and readers as the great hope of modern English poetry. A charismatic, divisive figure, he gathered acolytes, imitators and haters.
He swam in the intellectual and ideological crosscurrents of the 1930s, drawing Marxism, psychoanalysis and mystical nationalism into his writing. Assimilating a daunting array of literary influences — Old English and Ancient Greek, French chansons and Icelandic sagas — he forged a poetic personality that was bold, confiding and seductive.
His love poems of that era were candid, discreet dispatches from a calendar of feverish entanglements, wrenching breakups and one-night stands, usually with other men. He also wrote about the feverish politics of the time — class conflict; the rise of fascism; the Spanish Civil War — in ringing rhetoric he later disavowed.
In 1939 Auden moved to America, acquiring U.S. citizenship after World War II. In New York he fell in love with Chester Kallman, a young American writer who became his life partner.
It was a complicated relationship, starting as a passionate affair and enduring through decades of domestic companionship and creative collaboration. Kallman’s refusal to be sexually exclusive wounded Auden, a dynamic that poignantly shades this poem’s most memorable couplet:
If equal affection cannot be,
Let the more loving one be me.
Yiyun Li, writer
In America, Auden distanced himself from the radical politics of his earlier career and embraced Anglican Christianity. His intellectual preoccupations shifted toward religion and existentialism — to the kinds of big questions we think about late at night, or when we look to the sky.
Making the leap from wunderkind to grand old man without seeming to stop in middle age, he became a mentor for several generations of younger poets. He was a prolific and punctual contributor of reviews and essays to various publications, including this one, for which he wrote a rave of J.R.R. Tolkien’s “The Fellowship of the Ring” in 1954.
Through it all, Auden devoted fanatical attention to the finer points of poetic technique. His notebooks are full of numbers, word lists and markings that show just how deep this commitment went. He counted every syllable, measured every stress.
He gathered rhymes and other words with a lexicographer’s zeal and a crossword puzzler’s precision.
The third stanza of “The More Loving One” is a miniature showcase of Auden’s skill. Of the four epigrams arrayed before us, it may be the most technically perfect.
Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.
W.H. Auden, poet
The rhythm is flawless, without an extra syllable or an accent out of place. The grammar is also fastidious. Here is a single sentence, springloaded with equivocation, beginning with one idea and sliding toward its opposite.
This quatrain is the poem’s ideal formal representation of itself, a kind of proof of concept: four lines of impeccable iambic tetrameter in an AABB rhyme scheme. The by-the-book regularity of this stanza should give you a leg up in memorizing it, and you can test yourself below!
But the rest of the poem is an argument against perfection, just as it is a celebration of uncertainty and humility — as we’ll see tomorrow.
Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.
Question 1/6
Admirer as I think I am
Of stars that do not give a damn,
Tap a word above to fill in the highlighted blank.Your first task: Learn the first two lines!
Let’s start with the first couplet in this stanza. Fill in the rhyming words.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.
Illustrations by Daniel Barreto.
Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.
PERMANENCE, by Sophie Mackintosh
Sophie Mackintosh’s novels are always speculative in some way, with either the author or her characters forging a world governed by its own logic and rules. In their boldness and their ability to convey the violence of patriarchy, they recall the work of Jacqueline Harpman — not only the cherished “I Who Have Never Known Men,” but also “Orlanda,” her wild riff on Virginia Woolf’s “Orlando.”
Like Harpman, Mackintosh has a spare and confident hand. Her work is sometimes described as dreamlike; certainly, its contours are sketched with rapidity and confidence and relatively little detail. Her prose operates according to the same principle, at once lyrical and precise, like this from her second novel, “Blue Ticket”: “On the ground was a dead rabbit, disemboweled. Still fresh, the dark loops of its insides glistening like jam.”
When Mackintosh writes about masculine power, she does so in a way that articulates both its seductions and its terrors. Her newest novel, “Permanence,” is less explicitly concerned with the structure of patriarchy, but it has the same erotic charge as her earlier work, the same preoccupation with social prohibitions and the thrill that comes from breaking them.
Like “Blue Ticket,” “Permanence” turns on a highly pronounced binary. In “Blue Ticket,” adolescent girls are issued either a blue or white ticket on the day of their first period. A white ticket denotes a future of marriage and children, a blue ticket one of work — even, it seems, a career. The divide is stark and self-evidently faulty, its coarseness an expression of the brutalizing regime the characters are trapped in.
“Permanence” features a similar opposition, neatly delineated. Clara and Francis are conducting an illicit affair. One morning, they wake up in an alternate reality where they are openly living together. The novel shuttles between these two worlds, one ordinary and familiar, the other a curdled paradise for adulterers.
The thinness of this “city of impermanence” — “fluid, cohesive and yet disparate” — emerges at once. The sky is “uncannily blue,” the newspaper bears no date, the edge of the city is marked by “a slick ring of water, as far as the eye could see.”
Still, a boundary cannot keep the other world from seeping in. Initially, elegantly, this is a problem in the structure of desire. Having been provided the life they dreamed of, in which their longing for each other is fully met, Clara and Francis begin to experience, to their uneasy surprise, boredom and discontent.
Without absence, the intensity of their desire for each other wanes. They even begin, or at least Francis does, to long for the relief of their ordinary life: “Another day ahead of them of petting, giggling, lying around. It seemed insubstantial suddenly, though only the day before he had felt he could do it forever.”
Soon enough, it becomes clear that the problem between Francis and Clara doesn’t lie in the outside impediments of the world they live in, but in their relationship itself. Francis remains troublingly himself — a married father of a small child, reluctant to leave his family, however much he is in love with Clara: “He did love her, and he did want to be with her. … But he already had reality elsewhere, reality which he sometimes felt trapped by, he would admit, but which he could not truly imagine cutting loose.”
“Permanence” might seem like an outlier in the current array of articles and books about open marriages and polyamory, and at first glance the line of distinction between the two worlds, much like the division between blue and white tickets, seems almost old-fashioned. But as Mackintosh persuasively illustrates, the familiar emotions of jealousy, infatuation and eventually indifference — these persist and can flourish in any relationship, however free of prohibition.
“You want this,” Clara tells herself, and then, “You no longer want this,” as it occurs to her that “maybe it was in absence that they loved each other best, and most honestly.”
In her work, Mackintosh devises scenarios that are bold and almost aggressively simplified. But her terrain is complexity and contradiction, and in her hands these oppositions twist and turn in on themselves.
It’s hardly a surprise when the central character in “Blue Ticket” decides to eschew her designation and have a child, declaring, “True and false were no longer opposing binaries. My body was speaking to me in a language I had not heard before.” Nor is it especially startling when discontent chases Clara and Francis from one world to the other, unraveling their relationship.
What is more disquieting is the surreptitious ease with which Mackintosh’s speculative worlds start to align with our own, allowing the reader to see how so many of the old prohibitions and conventions — around choice, around marriage — remain, somehow, firmly in place.
That moment of recognition, in a landscape that is startlingly alien, is the source of Mackintosh’s power as a writer.
PERMANENCE | By Sophie Mackintosh | Avid Reader Press | 240 pp. | $28
Maybe you woke up this morning haunted by the first four lines of W.H. Auden’s “The More Loving One” — or tickled by its tongue-in-cheek handling of existential dread. (Not ringing any bells? Click here to begin the Poetry Challenge).
This is a love poem. Perhaps that seems like an obvious thing to say about a poem with “Loving” in its title, but there isn’t much romance in the opening stanza.
Looking up at the stars, I know quite well
That, for all they care, I can go to hell,
But on earth indifference is the least
We have to dread from man or beast.
Ada Limón, poet
Nonetheless, the poem soon makes clear that love is very much on its mind.
How should we like it were stars to burn
With a passion for us we could not return?
David Sedaris, writer
The polished informality gives the impression of a decidedly cerebral speaker — someone who’s looking at love philosophically, thinking about how it works and what it means.
If equal affection cannot be,
Let the more loving one be me.
Reginald Dwayne Betts, poet
Musing this way — arguing in this fashion — he stands in a long line of playful, thoughtful poetic lovers going back at least to the 16th century. He sounds a bit like Christopher Marlowe’s passionate shepherd:
Come live with me and be my love,
And we will all the pleasures prove,
That Valleys, groves, hills, and fields,
Woods, or steepy mountain yields.
Auden’s poem, like Marlowe’s, is written in four-beat lines:
How should we like it were stars to burn
With a passion for us we could not return?
Josh Radnor, actor
And it features strong end rhymes:
If equal affection cannot be,
Let the more loving one be me.
Samantha Harvey, writer
These tetrameter couplets represent a long-established poetic love language. Not too serious or sappy, but with room for both earnestness and whimsy. And even for professions of the opposite of love, as in this nursery rhyme, adapted from a 17th-century epigram:
I do not like thee, Doctor Fell
The reason why I cannot tell.
But this I know and know full well
I do not like thee, Doctor Fell.
There is some of this anti-love spirit in Auden’s poem too, but it mainly follows a general rule of love poetry: The person speaking is usually the more loving one.
This makes sense. To write a poem requires effort, art, inspiration. To speak in verse is to tease, to cajole, to seduce, all actions that suggest an excess of desire. That’s why it’s conventional to refer to the “I” in a poem like this as the Lover and the “you” as the Beloved. The line “Let the more loving one be me” could summarize a lot of the love poetry of the last few thousand years.
But who, in this case, is the beloved? This isn’t a poem to the stars, but about them. Or maybe a poem that uses the stars as a conceit and our complicated feelings about them as a screen for other difficult emotions.
What the stars have to do with love is a tricky question. The answer may just be that the poem assumes a relationship and then plays with the implications of its assumption.
This kind of play also has a long history. Since love is both abstract and susceptible to cliché, poets are eager to liken it to everything else under the sun: birds, bees, planets, stars, the movement of the tides and the cycle of the seasons. Andrew Marvell’s “Definition of Love,” from the 1600s, wraps its ardor in math:
As lines, so loves oblique may well
Themselves in every angle greet;
But ours so truly parallel,
Though infinite, can never meet.
The literary term for this is wit. The formidable 18th-century English wordsmith Samuel Johnson defined a type of wit as “a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike.” “The most heterogeneous ideas are yoked by violence together,” he wrote; that kind of conceptual discord defines “The More Loving One.”
The second stanza is, when you think about it, a perfect non sequitur. A hypothetical, general question is asked:
How should we like it were stars to burn
With a passion for us we could not return?
Mary Roach, writer
The answer is a personal declaration that is moving because it doesn’t seem to apply only or primarily to stars:
If equal affection cannot be,
Let the more loving one be me.
Tim Egan, writer
Does this disjunction make it easier or harder to remember? Either way, these couplets start to reveal just how curious this poem is. We might find ourselves curious about who wrote them, and whom he might have loved. Tomorrow we’ll get to know Auden and his work a little better.
Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.
Question 1/6
How should we like it were stars to burn
With a passion for us we could not return?
Tap a word above to fill in the highlighted blank.
Your task today: Learn the second stanza!
Let’s start with the first couplet in this stanza. Fill in the rhyming words.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.
Illustrations by Daniel Barreto.
Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.
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