Culture
Chris Paul said he isn't retiring, but is there any future with the Warriors?
SACRAMENTO, Calif. — Chris Paul is 11 hours from his 19th NBA season ending. He’s less than a month from turning 39. He takes a seat in the third row of Golden 1 Center after the Golden State Warriors’ morning shootaround in Sacramento. Later that night, the Sacramento Kings blow them out 118-94, an elimination that also throws into question Paul’s immediate future.
But this much is clear: Paul is not retiring. He will play a 20th NBA season somewhere.
“I’ll talk to my wife and my kids, my family, my support system, see what it looks like,” Paul told The Athletic. “But this isn’t (the end of my career). I know it for sure.”
Paul remains under contract for the Warriors next season, but there’s a necessary caveat. All $30 million of his deal is non-guaranteed. Part of the Warriors’ reasoning behind the Jordan Poole for Paul trade last offseason was the financial flexibility it would provide this summer. The Warriors can use it as a trade vehicle or wipe all $30 million off the books before it guarantees on June 28.
Those options and decisions will be explored in the coming weeks. But Joe Lacob and the Warriors’ ownership group have already indicated a desire to avoid the second apron and even duck the luxury tax entirely, resetting the repeater clock. Salary slashing is needed for that goal. Tuesday’s elimination — capping a turbulent 46-win season that finished with the 10th seed and zero playoff home dates — would only seem to accelerate that desire for a financial pullback.
So Paul’s future with the Warriors is as uncertain (and perhaps more unlikely) than any other player who left the locker room late Tuesday night.
“I haven’t thought about it,” Paul said. “I’m too in it. I was in the gym at 8 a.m. this morning, lifting and getting ready for this game. When it’s time for that, Mike (Dunleavy) and Steve (Kerr), we’ll have a conversation and see what it looks like. But I loved it. It’s honestly — this is my fifth year living without my family — I probably saw them more than any other year.”
That’s because of the proximity to Los Angeles, but also because of Kerr’s open culture. Families are welcomed into the interior of the Warriors’ building and around the team more than is typical in the NBA.
“That’s probably what I appreciated the most out of everything is just the communication of letting me know when days are going to be off,” Paul said. “Then your family can fly on the team plane like, I ain’t seen that. I’m grateful to Steve for that.”
When Paul went searching for a temporary place to stay in San Francisco after the trade, his wife helped him find a high-rise. Soon after moving into it, he discovered another notable tenant lived a floor below. He had moved into Draymond Green’s building.
“Luckily it’s nice enough that you can’t hear the person below,” Paul said.
Paul’s inner circle showed varying forms of shock and apprehension after he joined the Warriors, his heated conference rival the previous decade. There’d been so many competitive dust-ups and heated playoff nights between the sides. But Paul embraced it quickly, believing in the shared traits between the sides.
“I didn’t expect it to be bad,” Paul said. “When the trade happened, I was excited, I was energized. It’s been really cool to see all the basketball knowledge, the way different guys approach every day. When people ask about my experience here, I tell them I sort of got a chance to peek behind the curtain.”
The Warriors faced the Utah Jazz at home on a Sunday toward the end of the season. They faced the Lakers on Tuesday in Los Angeles. After the Utah game, Paul, Green and Klay Thompson — who all have homes in L.A. — chartered a plane down a day before the team. Trevor Ariza happened to be in town. Paul told Ariza to hop on their plane.
Ariza was a part of those Houston Rockets teams that the Warriors eliminated in the Western Conference finals twice. He knows how heated the rivalry became between Paul and the Warriors, how much Paul stewed over the losses, and how the Warriors taunted after the wins.
“He was sitting in the plane like, ‘Man, I would have never thought. …’” Paul said. “‘I would’ve never thought we’d all be on here together.’”
Paul and Green didn’t envision it, but they embraced it once it arrived on their doorstep. Literally. Green took the elevator a floor up and went over to Paul’s house on several occasions throughout the season, watching other NBA games, college, NFL — talking basketball schematics, life, family, kids, future.
“I’m thankful and honored, happy as hell I got the opportunity to play with him this year,” Green said. “It’s not something in a million years we ever imagined. Other than winning, it couldn’t have gone better. Built a relationship that’ll go beyond whether he’s here next year or not and whether I’m here next year or not. I haven’t come across many, if any, guys like him.”
Paul and Green built a connection off the court as well. (D. Ross Cameron / USA Today)
Paul also built a relationship with Thompson. Paul accepted a reserve role in the third game of the season, coming off the bench for the first time in his 19-year career, a move that Kerr said sent a message to the rest of the roster about sacrifice. Thompson accepted a bench role in February for the first time in more than a decade. The two then connected a second-unit duo. Kerr tied their minutes together.
Paul told Thompson several times throughout the season that he’d get on his boat for a ride across the San Francisco Bay. They had to cancel once because of bad weather. This past week, before the last game of the regular season, Paul and Moses Moody rode across the water with Thompson to the game.
“Really cool,” Paul said. “It’s always going to be a little choppy when you get to the deep water, but…”
Then Paul went bigger picture.
“I got so many (former teammates) in my career that, like, I have no relationship with,” Paul said. “Don’t really care to or anything like that. Or people who don’t like me or whatever. That don’t keep me up at night. But I’m grateful that I got a chance to be here with these guys. Me and Steph were already connected. Me and Dray definitely, you know, got a real connection now. And somebody I’m grateful that I really got a chance to know is Klay.”
Paul understands the business better than just about any other current player. He knows his contract setup, the Warriors’ tax crunch and will be in on the conversations that dictate his 2024-25 NBA home. Some paths could theoretically bring him back on a cheaper deal. He says he loved his time with the Warriors on a personal level.
But there’s the basketball side that also complicates the equation. Paul isn’t necessarily ready to just accept a lower-usage backup point guard role for the final seasons of his career. He remains of the belief that he can still run a team on a high-minute basis. Paul averaged 26.4 minutes per game this season. He’d been at 32 the last couple of seasons and averaged 34.6 for his career, never dipping below 31. All his counting stats were career-lows.
“I try to do the most with the opportunity that was given,” Paul said. “For me, it’s always been about winning, whatever that looks like. But I know I got a lot more to give to the game. The situation is what it is. But I’ve loved every bit about (this season). I’ve loved every bit of it. Getting a chance to compete with these guys.”
As the Warriors shifted around the rotation repeatedly this season, Paul fit perfectly as Stephen Curry’s backup point guard. They performed better as a team without Curry than they had in several seasons. But Kerr struggled to find usable lineups with both Curry and Paul on the floor because of the size disadvantage, especially with Thompson also out there.
“It’s a difficult situation for him that he handled beautifully,” Kerr said. “He’s always been the starting point guard for his team. But you look at our team and we’re pretty small. Even though he’s one of our best players, if we want to throw our best players out there — and he’s one of them — you start adding up Chris, Steph, Klay, it’s not the ideal roster for him.
“But he was fantastic for us because he became our backup point guard. As I’ve said many times, our non-Steph minutes were the best they’ve ever been because of Chris’ leadership.”
Not the ideal roster for him. That’s the subsection of that Kerr quote that probably hits the hardest. Paul, on a reasonable deal, still makes plenty of sense for the Warriors as a backup point guard to stabilize them with Curry out. But he still desires more and his on-court impact and production and market could justify that, making a reunion unlikely.
“You saw tonight, (the Kings’) size and physicality overwhelmed us,” Kerr said. “When you look at the combinations that we have out there, it usually kind of separates Steph and Chris and Klay. So there’s not as many minutes as Chris would like.
“But the way he handled it this season was incredible. He’s so professional. Such a great mentor for the younger guys. One of the great pros I’ve ever been around. I love coaching Chris and I really hope we bring him back.”
(Top photo: Sean M. Haffey / NBAE via Getty Images)
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.
Literature
Oedipa Maas from ‘The Crying of Lot 49’ (1966) by Thomas Pynchon
“The unforgettable, cartoonish protagonist of this unusually short novel is a California housewife accidentally turned private investigator and literary interpreter, and the mystery she’s attempting to solve — or, more specifically, the conspiracy she stumbles upon — is nothing less than capitalism itself,” says Ngai, 54. “As Oedipa traces connections between various crackpots, the novel highlights the peculiarly asocial sociality of postwar U.S. society, which gets figured as a network of alienations.”
Sula Peace from ‘Sula’ (1973) by Toni Morrison
“Sula arguably begins to disappear as soon as she’s introduced — despite the fact that the novel bears her name. Other characters die quickly, or are noticeably flat. This raises the politically charged question of who gets to ‘develop’ or be a protagonist in American novels and who doesn’t. The novel’s unusual character system is part of its meditation on anti-Black racism and historical violence.”
The speaker of ‘Lunch Poems’ (1964) by Frank O’Hara
“Lyric poems are fundamentally different from narrative fiction in part because they have speakers as opposed to narrators. Perhaps it’s a stretch to nominate the speaker of ‘Lunch Poems’ as a main character, but this book changed things by highlighting the centrality of queer counterpublics to U.S. culture as a whole, and by exploring the joys and risks of everyday intimacy with strangers therein.”
This interview has been edited and condensed.
More in Literature
See the rest of the issue
Let’s memorize a poem! Not because it’s good for us or because we think we should, but because it’s fun, a mental challenge with a solid aesthetic reward. You can amuse yourself, impress your friends and maybe discover that your way of thinking about the world — or even, as you’ll see, the universe — has shifted a bit.
Over the next five days, we’ll look closely at a great poem by one of our favorite poets, and we’ll have games, readings and lots of encouragement to help you learn it by heart. Some of you know how this works: Last year more Times readers than we could count memorized a jaunty 18-line recap of an all-night ferry ride. (If you missed that adventure, it’s not too late to embark. The ticket is still valid.)
This time, we’re training our telescopes on W.H. Auden’s “The More Loving One” — a clever, compact meditation on love, disappointment and the night sky.
Here’s the first of its four stanzas, read for us by Matthew McConaughey:
The More Loving One
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.
Matthew McConaughey, actor and poet
In four short lines we get a brisk, cynical tour of the universe: hell and the heavens, people and animals, coldness and cruelty. Commonplace observations — that the stars are distant; that life can be dangerous — are wound into a charming, provocative insight. The tone is conversational, mixing decorum and mild profanity in a manner that makes it a pleasure to keep reading.
Here’s Tracy K. Smith, a former U.S. poet laureate, with the second stanza:
How should we like it were stars to burn
With a passion for us we could not return?
If equal affection cannot be,
Let the more loving one be me.
Tracy K. Smith, poet
These lines abruptly shift the focus from astronomy to love, from the universal to the personal. Imagine how it would feel if the stars had massive, unrequited crushes on us! The speaker, couching his skepticism in a coy, hypothetical question, seems certain that we wouldn’t like this at all.
This certainty leads him to a remarkable confession, a moment of startling vulnerability. The poem’s title, “The More Loving One,” is restated with sweet, disarming frankness. Our friend is wearing his heart on his well-tailored sleeve.
The poem could end right there: two stanzas, point and counterpoint, about how we appreciate the stars in spite of their indifference because we would rather love than be loved.
But the third stanza takes it all back. Here’s Alison Bechdel reading it:
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.
Alison Bechdel, graphic novelist
The speaker downgrades his foolish devotion to qualified admiration. No sooner has he established himself as “the more loving one” than he gives us — and perhaps himself — reason to doubt his ardor. He likes the stars fine, he guesses, but not so much as to think about them when they aren’t around.
The fourth and final stanza, read by Yiyun Li, takes this disenchantment even further:
Were all stars to disappear or die,
I should learn to look at an empty sky
And feel its total dark sublime,
Though this might take me a little time.
Yiyun Li, author
Wounded defiance gives way to a more rueful, resigned state of mind. If the universe were to snuff out its lights entirely, the speaker reckons he would find beauty in the void. A starless sky would make him just as happy.
Though perhaps, like so many spurned lovers before and after, he protests a little too much. Every fan of popular music knows that a song about how you don’t care that your baby left you is usually saying the opposite.
The last line puts a brave face on heartbreak.
So there you have it. In just 16 lines, this poem manages to be somber and funny, transparent and elusive. But there’s more to it than that. There is, for one thing, a voice — a thinking, feeling person behind those lines.
When he wrote “The More Loving One,” in the 1950s, Wystan Hugh Auden was among the most beloved writers in the English-speaking world. Before this week is over there will be more to say about Auden, but like most poets he would have preferred that we give our primary attention to the poem.
Its structure is straightforward and ingenious. Each of the four stanzas is virtually a poem unto itself — a complete thought expressed in one or two sentences tied up in a neat pair of couplets. Every quatrain is a concise, witty observation: what literary scholars call an epigram.
This makes the work of memorization seem less daunting. We can take “The More Loving One” one epigram at a time, marvelling at how the four add up to something stranger, deeper and more complex than might first appear.
So let’s go back to the beginning and try to memorize that insouciant, knowing first stanza. Below you’ll find a game we made to get you started. Give it a shot, and come back tomorrow for more!
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
Looking up at the stars, I know quite well That, for all they care, I can go to hell,
Tap a word above to fill in the highlighted blank.
Your first task: Learn the first four lines!
Let’s start with the first couplet. Fill in the rhyming words.
Monday
Love, the cosmos and everything in between, all in 16 lines.
Tuesday (Available tomorrow)
What’s love got to do with it?
Wednesday (Available April 22)
How to write about love? Be a little heartsick (and the best poet of your time).
Thursday (Available April 23)
Are we alone in the universe? Does it matter?
Friday (Available April 24)
You did it! You’re a star.
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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