Culture
Remembering ESPN's Chris Mortensen, who changed how the NFL is covered
The phone call Adam Schefter always feared came on his first Sunday at home in five months. It was early March, and ESPN’s senior NFL reporter had recently flown back from Indianapolis after a week at the scouting combine. He was about to sit down for breakfast with his family when his cell buzzed.
It was his boss, Seth Markman.
“We lost him,” was all Markman could muster.
For years, Schefter had known the call might come — when your close friend and colleague is diagnosed with Stage 4 throat cancer at age 64, you prepare for the worst. There were a few times in 2020, and a few more in 2022, when Schefter thought to himself, This might be it. But Chris Mortensen always pulled though.
“A tough son of a bitch,” Markman said.
“He fought for every single day he got,” adds Daniel Jeremiah of NFL Network.
When Mort first revealed his diagnosis to Schefter, over email in 2016, he begged his pal to keep it quiet for a few days — Mort’s son, Alex, was about to coach in college football’s national championship game, and he didn’t want to spoil his moment. Mort was always more worried about what this would do to his wife, Micki, than the grueling treatment ahead. “Micki is really struggling,” he closed the email. “I’m still going to be a jackass.”
He never let on how draining it was: the chemo, the radiation that left burns all over his neck, the IV regimen that sapped his strength but not his spirit. He dropped weight. He lost hair. His voice faded. When friends would ask how he was doing, he’d shrug them off. “I’m fine, I’m good,” Mort would tell them. “I’m dealing with it.”
He worked about as long as he could. At the 2023 draft, Mort’s last at ESPN, he had to use a spray bottle to wet his mouth between segments. His saliva glands had stopped working.
He retired. He spent last fall watching Alex call plays as UAB’s offensive coordinator. His friends thought he was doing fine, all things considered. Schefter called him from the combine this year after finding out one of Schefter’s five dogs, Benny, had been diagnosed with lung cancer. Mort consoled him, never mentioning how he was feeling. It was the last time the two spoke.
“He sounded better, like things were going the right way,” Schefter says.
Adds ESPN colleague Mel Kiper, Jr., “Nobody was prepared for it to happen now.”
Mort spent the night before he died at home on his horse farm in Arkansas watching football drills and TV coverage of the combine, cracking jokes on text threads.
Jeremiah got the news during a commercial break the next day, then broke down when Rich Eisen asked him about it on the air. The man who’d jumpstarted his career — “None of it happens without him,” he says — was gone. With tears in his eyes, Jeremiah tried to settle himself.
“Mort would’ve punched me in the face if I didn’t finish that broadcast right,” he says.
A few hours later, Schefter’s phone buzzed again. It was John Walsh, a longtime ESPN executive. “I want you to know how much Mort pushed you for this job,” Walsh told him.
“I know, John, I know,” Schefter said.
“No, I don’t think you really do,” Walsh followed. “You wouldn’t be at ESPN if not for Mort.”
Two months later, Schefter is in his office, staring at a picture of him and Mort from a Super Bowl a few years back.
“I miss him making me laugh,” Schefter says. “I don’t laugh as much without him.
“I just …”
He pauses. He sighs.
“I just cannot believe he’s not here.”
Adam Schefter (left) was hired at ESPN in large part because of Chris Mortensen, and the two grew close over the years. (Courtesy of ESPN)
They didn’t come for the reporter. They came for the man.
Former head coaches. Current general managers. Hundreds of ESPN colleagues who overlapped with Mortensen during his 32-year run at the network — Adrian Wojnarowski even flew in during the NBA playoffs — descended on a small Arkansas town last week to remember one of the most influential reporters in NFL history.
But they didn’t tell stories about what he did. They told stories about who he was.
Mort was a prankster, the coworker who always made the room feel lighter. In all his years at ESPN, nobody gave Chris Berman more grief. Once, when the network’s new fantasy football expert, Matthew Berry, walked into the room to watch his first Sunday slate of games with the group, Mort piped up. “Why don’t you sit here, Matthew?” he said, guiding Berry to a spot in the front row. What Berry didn’t know: The seat belonged to Berman, every Sunday, no questions asked. And Berman hated fantasy football. “Still does,” Schefter says.
A minute later, Berman entered, looked around the room and saw the fantasy football guy parked in his seat.
“You’re in the wrong chair,” he bellowed.
Mort and the rest of the room burst into laughter.
(For years, Berry named his fantasy team “The Wrong Chair.”)
After Berman’s daughter, Meredith, was diagnosed with tongue cancer a few years back, Mort became her sounding board. A rapport developed, two patients slogging through treatment, venting for hours on the phone. One would make it. One wouldn’t. “He was a rock for her,” Berman says, “and probably on some days when he was suffering terribly.”
He was selfless. When Markman was recruiting Schefter to ESPN in 2009, his bosses were on board — as long as Mort was on board. At the time, Mort was ESPN’s chief NFL reporter, the face of the network’s coverage for two decades running.
One Sunday morning, Markman nervously made his way to the green room, worried that Mort might squash the idea entirely. “He had that kind of power,” Markman remembers.
“I’m gonna be honest,” he told Mort, “it’s gonna cut into your screen time quite a bit.”
Mort didn’t hesitate.
“Seth, if we can get Adam Schefter, you get him,” he said. “Less of me on TV is a good thing.”
Markman laughs, reliving the story 15 years later.
“Are you kidding me?” he says. “Less of me is a good thing? Nobody in this industry says that.”
Mort and Schefter grew incredibly tight. And as Mort’s health deteriorated following his diagnosis, and as Schefter climbed into the top chair, Mort coached him behind the scenes.
“That sort of thing never happens,” says Bryan Curtis, who writes about sports media for The Ringer. “People who get to that level are very, very competitive, and in almost every instance, it doesn’t work. This did. And it allowed ESPN to own NFL scoops for 10 years.”
Mort was the best kind of mentor. When Jeremiah was still in college, he walked into his parents’ living room one afternoon and wondered why the guy from ESPN was sitting on the couch. It was January 1998, a week before the Broncos played the Packers in the Super Bowl in San Diego, and Mort was in town to cover the game. He’d attended a church service hosted by Jeremiah’s father, David, and stopped by for lunch afterward.
Daniel was a 21-year-old quarterback at Appalachian State with dreams of getting into broadcasting.
“Well, I’ve got an interview with Reggie White tomorrow, would you wanna come with me?” Mort asked him.
“This was literally the first time I met him,” Jeremiah remembers. “I was like, ‘Reggie White! Are you kidding me?’”
After that interview wrapped, Mort urged him to tag along at media day later in the week. A year later, he was sitting next to Mort at the NFL Draft in New York City, answering his phones and jotting down notes from GMs. A year later, Mort introduced him to Jay Rothman, who produced “Sunday Night Football.” Jeremiah had his first full-time job.
“All because of Mort,” he says.
A few years later, after Jeremiah spent time scouting for the Ravens and Browns, it was Mort who pushed him to jump on this new social media platform called Twitter and dissect draft prospects. Mort would routinely urge his followers to check out @MoveTheSticks, and each time he did Jeremiah would pick up thousands of new followers.
Jeremiah just wrapped his sixth draft as NFL Network’s lead analyst, and his first without a tradition he’d come to cherish: a meeting with Mort the morning before the first round. They’d done it every year dating to 2000, when he was just a grunt answering phones and scribbling down notes.
“It was so weird not having him there,” Jeremiah says. “That man is literally the reason I’m in the seat I am in.”
Mortensen was a prankster, a coworker who always lightened the mood of a room. (Courtesy of ESPN)
Chris Mortensen wasn’t the first football scribe to make the jump to TV full-time — that distinction belongs to Will McDonough — but, after joining ESPN in 1991, he became the most prominent, a pioneer of what’s become ubiquitous today: the insider.
“If Will McDonough created the role of NFL insider,” Curtis says, “then Mort refined it, sped it up and brought it into the era of cable TV.”
Still, back then some saw it as a risky move. ESPN wasn’t yet a sports media juggernaut, and newspaper beat writers still carried considerable weight. So did Sports Illustrated.
“The other writers used to make fun of their brethren when they moved to TV,” says Chip Namias, a former PR director for the Dolphins, Oilers and Bucs. “They’d say, ‘Oh, you’re a pretty boy now? Being a newspaper guy isn’t good enough for you?’ When Mort made that jump, it was a gamble.”
It paid off — for him and ESPN. Mort brought with him the reporting chops he’d honed at The Atlanta Journal-Constitution, The Sporting News and The National. Suddenly, he was everywhere: on “NFL Game Day,” which became “NFL Countdown,” which became “Sunday NFL Countdown.” As the league’s popularity boomed, Mort became one of the faces of the network.
More than that, he became the pulse of the NFL.
Peyton Manning used to carve out a few minutes on Sunday mornings before kickoff, hoping to catch “The Mort Report” in the locker room, Mortensen’s weekly segment in which he’d dish all the morsels of info he’d gathered during the week. “QBs watched, GMs watched, coaches watched,” Manning says. “You had to watch. Mort knew who was getting fired before the people who were actually getting fired knew.”
Back when he was a Broncos beat writer for The Rocky Mountain News and later The Denver Post, Schefter would make sure he was in his hotel room, or next to a TV at the stadium, whenever Mort was on the air.
Curtis says during his AJ-C days, Mort began every conversation with a source the same way: “Tell me something I don’t know.” But more than merely breaking news, he loved to uncover the why behind a firing or the release of a player or a trade. That took time. And trust.
“He never blindsided you with anything,” says a longtime NFL PR director, Dan Edwards, who worked for the Steelers and Jaguars. “Mort was like a boy scout.”
He was also ahead of his time. Mort was working even when he wasn’t. An example: in the early 2000s, he grew close with Archie Manning, patriarch of the most famous family in football. That led to trips down to Louisiana for the Manning Passing Academy each summer, where Mort befriended Peyton and Eli and also dozens of the top quarterback prospects in the country. “Mort was always five steps ahead of everyone else,” longtime NFL writer Peter King says. “By the time those kids got to the NFL, Mort had known them for 10 years.”
One year at camp, after a few coaches flew home early, Mort volunteered to run some drills. It was the last practice of the week, the one all the parents watch before picking up their sons. “My dad pulls up in the golf cart and sees Mort teaching these kids the three-step drop,” Peyton says, trying not to laugh. “Then he sees all the parents watching. Dad goes, ‘Well, this is it. This is officially the end of the Manning Passing Academy.’”
Peyton Manning (right), like many QBs, coaches and executives around the NFL, regularly watched “The Mort Report.” (Courtesy of the Manning Passing Academy).
Of all the star players Mort covered, he grew closest with Peyton Manning. In the winter of 2012, it was Mort who first warned the quarterback, coming off a fourth neck surgery: “Be ready, the Colts might be moving on.” They were words that might’ve seemed obvious to everyone else at the time but stung Manning nonetheless.
“Oh, wow,” the QB responded.
The two traded emails during Manning’s free agency tour a few months later. “He’d give me the lay of the land with each team, an unbiased opinion I needed,” Manning says. “I could confide in Mort. Mort could confide in me.”
Four years later, after Manning helped the Broncos win Super Bowl 50, Mort broke the news of the QB’s retirement from a hospital in Atlanta. Manning had told him the day before, asking for one last night as an NFL quarterback. Mort vowed to hold the story until morning. Markman was up all night, fearing they’d get scooped.
“We won’t get beat,” Mort kept telling him.
“He wouldn’t break his word,” Markman says now. “And of course, he was right.”
Today, Manning keeps a folder in his email of all the notes Mort sent him over the years.
One came after his first preseason game as a Bronco. Manning had sent a select few — family, friends, Mort, that’s it — a clip of him hitting a receiver on an out route, then taking a nasty hit in the pocket. It was the sequence that told him he could still play in the NFL.
“Super proud to see this,” Mort wrote back. “Enjoy this. You deserve it.”
On the job, Mort was a disciplined reporter — “the last of the old school guys,” Schefter calls him. He’d bicker with Markman, agitated over some of the segments they’d run on ESPN. Mort loathed hot takes. He’d grumble each time one of the NFL shows ran its “Safe or Out” segment, a debate about which NFL coaches were about to get fired. “These are human beings,” Mort argued. “We’re talking about people’s lives here.”
Kiper says whenever he’d get some shaky intel from a source, Mort would reach out. “We should talk,” he’d warn. “That was code for, ‘I’m hearing different,’” Kiper says.
Andrea Kremer remembers the way Mort welcomed her when she became ESPN’s first female reporter in the early 1990s. “It was always support, courtesy and respect,” she says. “This was a different time for women in the business, and when a coach or a GM sees Chris Mortensen treat you that way — as an equal — that gives you instant credibility.”
Mort’s influence was so immense, his Rolodex so envied, that at one point an NFL team actually hired him.
In 1994, the expansion Jacksonville Jaguars lured Mortensen away from ESPN for a role as vice president on the personnel side. They wanted him to help build their football team. Mort accepted the gig, only to emotionally back out a few days later, mainly because Micki didn’t want to move to Jacksonville.
“When you think about it on the surface, the job made no sense,” says Pete Prisco, a longtime NFL writer who was then covering the Jags for The Florida Times-Union. “They thought because Mort had access to all this information around the league, they could use that. But the reality was nobody was going to tell him anything now that he worked for a team.”
Plus, Kremer points out, “Mort was always a reporter at heart.”
The lone stain on Mort’s Hall of Fame résumé — he received the Dick McCann award in Canton in 2016 — arrived a few years later, after his initial report of the Patriots’ use of underinflated footballs during the early days of the Deflategate scandal later proved inaccurate. The ire of New England’s fan base trailed him for years, and Mort, by then undergoing treatment for cancer, said he received death threats. He later acknowledged errors in his reporting.
“Nothing really got to him, but when you hear vicious things about your family, things that got overtly personal, anybody would be bothered by that,” Markman says. “It got pretty bad.”
The tributes poured in after Mort passed away on March 3 at 72.
On his show, Dan Patrick told a story from his “SportsCenter” days. Mort had a scoop, and before running the story, the bosses wanted confirmation from another source. “We don’t need another source,” Patrick told them. “It’s Mort.”
“A GOAT,” Eisen called him on his show. “A trailblazer.”
Like Jeremiah, it hit Schefter hardest on draft weekend. For 15 years, they’d covered the event side-by-side. Now Mort wasn’t there.
“It was my honor,” Schefter says, “to sit next to one of the legendary figures in sports journalism for as long as I did.”
ESPN paid tribute. Booger McFarland remembered the nerves that accompanied one of his early appearances on TV and the encouraging words that came from Mort after he finished. “You don’t know how much that meant to a guy just starting in this business,” McFarland said. Louis Riddick remembered all the meetings they sat in together. “If you were talking football, and Mort was nodding his head, that was affirmation you knew what you were talking about,” he said.
On his way into Detroit for this year’s draft, Schefter was talking with his driver, Sean Malone, about how weird it would be covering the event without Mort.
“God, I loved that guy,” Malone told him.
“We all did,” Schefter replied.
Then Malone shared his own Mort story. He’d driven him to and from the airport dozens of times, mostly for the draft. And each year, after it was finished, Mort would hand him a $100 bill and tell him and the other drivers to go out and enjoy a few beers on him.
“No, no, no, I can’t take this,” Malone told him at first.
Mort wouldn’t hear it.
“Take it,” he said. “And send me a picture in a few hours so I know you guys are having a good time.”
So they did, year after year. It became a tradition.
Schefter heard that story and took the lesson to heart, one more assist from his mentor and friend. When Malone dropped Schefter off at the airport after the draft finished, Schefter handed Malone a $100 bill.
“This is from Mort,” Schefter told him.
(Photo illustration: Dan Goldfarb / The Athletic; top photo courtesy of ESPN)
Culture
Poetry Challenge Day 4: What The Stars Can Teach Us About Love
Here we are on Day 4 of the Poetry Challenge, looking up, again, at the sky. (If you’ve just arrived, click here to catch up.)
We’ve considered “The More Loving One” as a witty, teasing love poem, and also peeked into the life of its author, W.H. Auden, to see what it might have meant to him. But maybe it’s time to take this poem at face value, as a meditation on our place in the universe.
You can read the whole poem here, but to recap: We start by admiring the stars even though they don’t feel the same way (or any way, really) about us. Then we wonder … do we care about them all that much? At last, we imagine them extinguished, leaving an emptiness that we tell ourselves would be just fine. Eventually.
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.
Tracy K. Smith, poet
The poem resolves with a sigh that seems to linger, as if the poem didn’t quite want to end. Unlike the concluding lines of the previous stanzas, all of which clocked in at precisely eight syllables, the last line of the last one extends to nine. That may sound trivial, but we know that Auden counted his syllables carefully.
And it isn’t hard to identify the extra particle, the one tweezed in among the others. Auden could just as well have written, “Though this might take a little time.”
That would have maintained the pattern without altering the meaning. The “me” is implied. Adding it might seem redundant. Which is exactly why Auden does it.
Though this might take me a little time.
W.H. Auden, poet
That scant word makes the poem last a little longer. It also emphasizes the human presence of the speaker, a person whose perceptions and feelings are what this is finally all about. He is asking for patience, for grace, as he adjusts his eyes and heart to a stark new situation.
But how much time is “a little”? The split second it takes to utter that extra, unstressed “me”? However much is needed to heal all proverbial wounds? Or are we thinking in astronomical measures, as those stars invite us to suppose? In that case, it might take our poor stargazer more time than he has. Millions of years. Hundreds of millions!
What does it mean to exist as a solitary being in such a vast, incomprehensible cosmos? This may have been an especially timely question when this poem was written; early versions date from 1957, the year the Soviet Union launched Sputnik, marking the beginning of the space age. But poets have been looking at the sky for a very long time.
Some find comforting news of heaven, like William Wordsworth:
The stars are mansions built by Nature’s hand,
And, haply, there the spirits of the blest
Dwell, clothed in radiance, their immortal vest’
Others, like Ada Limón, see the projection of our own curiosity:
Arching under the night sky inky
with black expansiveness, we point
to the planets we know, we
pin quick wishes on stars.
Occasionally a poet (Stephen Crane in this case) will hear an answer that makes Auden’s silent stars seem kind:
A man said to the universe:
“Sir, I exist!”
“However,” replied the universe,
“The fact has not created in me
A sense of obligation.”
Auden himself came back to the subject a dozen years after “The More Loving One,” in a poem called “Moon Landing,” which ambivalently hailed the Apollo II mission as a “phallic triumph,” “a grand gesture” of male self-regard. And while he acknowledges the spirit of adventure behind the mission, he doesn’t admire the moon enough to want to see it up close:
Worth going to see? I can well believe it.
Worth seeing? Mneh! I once rode through a desert
and was not charmed
He’d rather contemplate the moon above him — one who “still queens the Heavens” — than tread like Neil Armstrong on its dusty, lifeless surface. The feats of NASA and its astronauts belong to a world of science, politics and media spectacle; Auden prefers the realm of mythology and aesthetics.
He’s in good poetic company. In “When I Heard the Learn’d Astronomer,” Walt Whitman, at a lecture, finds himself “tired and sick” of charts and diagrams and scientific discourse.
Till rising and gliding out I wander’d off by myself,
In the mystical moist night-air, and from time to time,
Look’d up in perfect silence at the stars.
He did not give a damn if they gave a damn.
For Auden, as for Whitman, demystifying the stars risks stripping them of their poetry. A sense of wonder flickers through “The More Loving One,” along with the wit and the romantic weariness. The poem concludes with an almost defiant commitment to awe, the search for sublimity in the heavens.
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.
Matthew McConaughey, actor and poet
Stars or no stars, what matters is the attitude of the person below: receptive, yearning, more in love than he may be willing to admit, even if — or indeed because — he doesn’t quite know what it is he’s worshiping.
As we approach the end of the poem, our own feelings might be in a bit of tangle: admiration, amusement and something else that’s harder to pin down in words or themes. A feeling that, having spent time with a poem largely about solitude, we are less alone.
Let’s nail down those tricky last lines, and come back tomorrow to talk about the whole thing.
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
Were all stars to disappear or die,
I should learn to look at an empty sky
Tap a word above to fill in the highlighted blank.
Your task today: Learn the final 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.
Culture
Book Review: ‘Israel: What Went Wrong?,’ by Omer Bartov
The result has been a terrible irony for a country that was founded as a refuge from intolerance: “How is it that the appeal to humanitarianism, tolerance, the rule of law and protection of minorities that characterized the beginning of Jewish self-emancipation gradually acquired all the traits of the relentless, remorseless and increasingly racist ethnonationalisms from which Zionism sought to liberate European Jewry?”
To answer this painful question, Bartov uses all the tools at his disposal, weaving together history, personal anecdotes, even some literary criticism, including a close reading of a poem — by Hayim Nahman Bialik and known to “every Israeli schoolchild” — about the perils of vengeance that has been misinterpreted and warped for political ends. Bartov writes unsparingly about Hamas’s murderous attacks, in which about 1,200 Israelis were killed and about 250 others taken hostage, which he calls an unequivocal “war crime and a crime against humanity.” It was a “slaughter of innocents” that “evoked collective memories of massacres and the Holocaust.”
Indeed, in a May 2024 poll of Israelis that he cites, more than half of the respondents said Oct. 7 could be compared to the Holocaust, and the Israeli media repeatedly depicted the massacre as a pogrom. Bartov understands why — for traumatized people, new traumas will revive old ones — but he maintains that the label is a category mistake. Israel is a state; it has an army, laws and government. A pogrom “is a mob attack, condoned or supported by the state authorities, against a minority lacking any attributes of a state.” (“To be sure,” he adds, “pogroms have occurred within the territories controlled by Israel, but when they take place, they were and are being carried out, with increasing frequency and ferocity, by settlers in the West Bank.”)
Israel doesn’t have a constitution. After its founding, its government was supposed to codify the protection of religious freedom and minority rights, but efforts to adopt a constitution were waylaid and arguably thwarted by political figures like David Ben-Gurion, the country’s first prime minister. Bartov believes that a constitution could have made Zionism “superfluous” after it succeeded in establishing a state that could be a refuge for Jews. Citizens could have turned toward the task of building a “just society” that aimed at “peace, truth and reconciliation with the Palestinians.”
This sounds nice, if fanciful; constitutions don’t magically prevent authoritarianism. Not to mention that attacks by surrounding Arab states did nothing to alleviate Israelis’ sense that they were constantly embattled.
Culture
Poetry Challenge Day 3: W.H. Auden, The Poet and His Technique
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.
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