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Mark Gastineau doesn't need your attention anymore

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Mark Gastineau doesn't need your attention anymore

LEBANON, Pa. — Narrow evergreens tower over the split-level house, lining the long driveway. Arborvitae, they are called. There are 145 of them, and not one has a branch out of place.

When Mark Gastineau and his wife came to see this property for the first time a few years ago, he stopped at the trees that are the color of the uniform he once wore. The realtor told them to come inside and look around, but Gastineau didn’t need to go inside. All he needed to see were the trees.

“They’re the most beautiful trees in the world,” he says. “I love them.”

Gastineau was one of the most accomplished pass rushers in NFL history. But more than that, he was a star. After games ended and his teammates left, he sometimes stayed on the Shea Stadium field so he could feel the crowd’s roar in his chest. He sat on talk show couches for David Letterman, Oprah and Dick Cavett. He won the 1985 “Superstars” competition in Miami and was featured in a six-page spread for “Playgirl” magazine titled, “Mark Gastineau: Out of Uniform.”

Gastineau still is the kind of person who turns heads at the grocery store, with thick black hair slicked back into a mullet that would stick out from the back of a helmet if he still wore one. But he’s 67 now, living with the reverberations of the life he led.

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Like many of yesterday’s football heroes, Gastineau has cognitive issues. Headaches come and go, and he tires more quickly than before. At one point he thought he had Parkinson’s, but he says two neurologists have ruled that out.

Gastineau survived Stage 3 colon cancer in 2019 — he wore a colostomy bag for a year — but the chemo left him with neuropathy. If offered, he’ll take a hand when getting out of a chair.

As he gazes out at his Arborvitae, what’s certain is Mark Gastineau isn’t Mark Gastineau anymore.


In his dreams, he was a rodeo cowboy, but as a child growing up on his family’s ranch in the White Mountains of Arizona, Gastineau lacked confidence. Other kids bullied him.

In 2019, Gastineau told the New York Post he had been repeatedly raped as a child, starting when he was 11, by a worker on the ranch. Terrified for his family’s safety, he explained to the Post, he had repressed the memories for more than four decades.

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Gastineau repressed nothing else. Everything was a plea for acknowledgment. He was labeled an attention seeker. Really, he was an attention needer.

He performed his first sack dance at Round Valley High School in Arizona, then began a college experience that settled at East Central Oklahoma, an NAIA school. He had 27 sacks there and danced plenty.

Speed was his gift, so he worked to enhance it by running downhill in his driveway over and over in an early adaptation of overspeed training. When an NFL scout timed him in the 40-yard dash, Gastineau ran 4.6 seconds at 265 pounds. In disbelief, the scout told him to do it again. After another 4.6, the scout said his watch must have been off. He tried another, and Gastineau ran a 4.59.

Jets coaches were in charge of the North team at the 1979 Senior Bowl and needed a last-minute replacement player. New York’s Connie Carberg, the NFL’s first female scout, researched the possibilities. She phoned Gastineau to feel him out and was impressed by his determination and enthusiasm, so she recommended him.

His performance was so impressive that he was voted the most outstanding defensive lineman on the North team, and the Jets drafted him in the second round.

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Mark Gastineau was a pioneer of both the quarterback sack and the post-sack celebration. (Tom Berg / Getty Images)

Gastineau rushed the passer like fire on a trail of gasoline.

“Dominant is the first word that comes to your mind,” fellow Jets defensive lineman Joe Klecko says. “In his best days as a pass rusher, I don’t think there was any better.”

Weighing as much as 290 pounds, Gastineau bench-pressed 400 and squatted 600. With the hunting instincts of a big cat — and an edge from the steroids he admits to taking — Gastineau went after quarterbacks with bloodlust.

“If the quarterback got up, I didn’t do my job,” Gastineau says.

In his third season in 1981, he had 20 sacks, one-half less than the league-leading Klecko. When the NFL made sacks an official statistic two years later, Gastineau’s 19 topped the league. Fans started calling the Jets’ D-line of Gastineau, Klecko, Marty Lyons and Abdul Salaam “The New York Sack Exchange.” Team publicist Frank Ramos used it in press releases.

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After sacks, Gastineau celebrated by pumping his arms, jumping and punching a fist to the sky. “I’d just go nuts,” he says.

“He was like a young colt, full of energy, enthusiasm and passion,” Carberg says.

“I’d have to believe that Mark singlehandedly made the sack a glamorous play and made the NFL start keeping the sack as a meaningful statistic,” Jets coach Joe Walton once said. “He brought attention to it like no one before.”

The look-at-me wasn’t always well received, however. In 1983, Rams offensive tackle Jackie Slater took offense and went after Gastineau, precipitating a melee that saw 37 players fined.

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It was the first of two brawls that week for Gastineau. Early one morning at Studio 54, the New York nightclub where celebrities and trouble always could be found, noses were broken and arrests made. Gastineau was convicted of misdemeanor assault and sentenced to 90 days of community service.

Klecko, the throwback, and Gastineau, the throwforward, were a fierce tandem on the field but an uncomfortable one away from it. “I didn’t like what he was doing at all,” says Klecko, the leader of the defense. “But he liked that spotlight.”

At one point, Klecko led Gastineau into trainer Bob Reese’s office. He closed the door and locked it. Then he pounded his thick index finger into Gastineau’s shaved chest.

“Your sack dance is killing us,” he told him. “You have to cut this s— out.”

The point was made.

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“I was definitely afraid of Klecko,” he says. “He was two years above me, strong as an ox and knew how to intimidate.”

It wasn’t just the sack celebrations that created rifts. The reviews on Gastineau’s run defense were mixed. His relentlessness and ability to penetrate often resulted in running backs being dropped in the backfield, but on other plays, his gap assignment looked like a wide-open highway.

“Mark worried about the statistics more than I or anybody else did,” Klecko says. “He always wanted to get to the quarterback right away, so we used to have to make coverups on the run.”

An opportunity arose for a New York Sack Exchange poster, but Gastineau’s agent tried to make it a Gastineau poster. Eventually, after hard feelings, he was talked into posing with the others.

When teammates took issue with how he drew attention to himself, Gastineau purposely drew more, wearing a mink coat and driving a Rolls-Royce, a Ferrari and a Lamborghini. “Just to get back at them and piss them off,” he says.

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Walton, however, told Klecko to go easy on Gastineau. The coach acknowledged having two sets of rules — one for the rest of the players and one for Gastineau. He was the only one allowed to use the telephone in the trainer’s room. If he was late for meetings — and he often was — no one was to say anything. Gastineau’s father, Ernie, ran the 40-yard dash with players.

“That team was full of cliques and petty jealousies,” says then-Jets wide receiver Wesley Walker, who recalls one teammate spitting a wad of chewing tobacco in Gastineau’s soda cup when he wasn’t looking.

Walker didn’t have a problem with the sack dances — “Those are things I enjoyed,” he said. “He didn’t do it in a malicious way. He created something. A lot of guys do that now.” But before the 1984 season, the NFL passed a rule that said players who participated in prolonged, excessive or premeditated celebrations would be penalized 15 yards. It was referred to as “The Gastineau Rule.”


Despite his production, Gastineau’s New York Sack Exchange teammates Joe Klecko (center) and Marty Lyons (right) had little love for him while he was playing. (Focus on Sport / Getty Images)

With 22 sacks that year, Gastineau set a record that stood for 17 seasons. “I just remember him bringing it every play,” says Hall of Fame Houston Oilers offensive lineman Bruce Matthews, whom Gastineau beat for one of those sacks.

The sacks won him fans but not friends. Teammates voted running back Freeman McNeil most valuable player on the Jets after he rushed for 1,070 yards — 13th-most in the NFL. At the Pro Bowl that season, one of five he played in, Gastineau had four sacks and two forced fumbles on the way to being named MVP. Then Klecko swiped Gastineau’s helmet and gave it to Raiders Pro Bowler Howie Long as a souvenir.

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In a 1986 divisional-round playoff against the Browns, Gastineau was determined to knock quarterback Bernie Kosar out of the game. In the fourth quarter, Gastineau hit him with such fury and force that he popped three teeth from his mouth.

The hit was gratifying but only momentarily. It was third-and-24, and Gastineau was assessed a roughing-the-passer penalty that kept alive a touchdown drive that enabled Kosar and the Browns to win in double overtime. Gastineau’s teammates refused to speak to him afterward.

When players went on strike the following summer, Gastineau crossed the picket line, saying he needed the money to pay his estranged wife. As he was entering the Jets facility, teammates spit on his car. He got out of the car swinging.

While he was still married to his first wife, Gastineau began seeing Brigitte Nielsen, the 6-foot-1 Danish model known for her roles in “Red Sonja” and “Rocky IV” fresh off relationships with Sylvester Stallone and Arnold Schwarzenegger.

Nielsen had her people get in touch with his people after she saw him in a televised interview wearing nothing but a towel. They became the Taylor and Travis of their day. “People” magazine featured them on the cover, calling them “a pair of humongous lovebirds … unable to keep their hands or lips off each other.”

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Through the first seven games of the 1988 season, Gastineau seemed revitalized. He was selected to serve as a game captain for the first time in his career, drew praise from teammates and was leading the AFC in sacks. He attributed his success to his happiness with Nielsen. But the relationship eventually became a wedge between him and the Jets.

Walker walked into an elevator at the team hotel and saw the two of them, expecting an introduction, but Gastineau never looked up, never said a word.

“I loved Mark and all my teammates,” Walker says. “But I think he did things that didn’t give a good indication of the type of person he really was. He got to be such a superstar that he kind of elevated himself over everybody.”

On Oct. 21, 18 days after Gastineau had three sacks in a game against the Chiefs, the 31-year-old stunned his team by announcing his retirement, citing Nielsen’s ovarian cancer diagnosis that was later discovered to be a precancerous condition.

After quitting football, Gastineau and Nielsen had each other’s names tattooed on their derrieres and partied from New York to Denmark to Scottsdale to Los Angeles. They broke up. She accused him of hitting her. They got back together. She got pregnant. Wherever they went, they saw spots from photo flashes. Gastineau says his drinking became a demon. It would be evident many times in the next dozen years or so.

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After a tumultuous couple of years, Gastineau and Nielsen split for good in 1990. There was a comeback attempt in the Canadian Football League that lasted just four games, then a short-lived reincarnation as a boxer, where some of Gastineau’s opponents admitted throwing fights. He faced drug charges in 1993 after being arrested with 200 amphetamine pills at Sky Harbor International Airport in Phoenix and was eventually sentenced to three years of probation.

Multiple women accused Gastineau of domestic abuse, including Nielsen and his second wife. He denies those allegations. In 1998, he was charged with misdemeanor assault, menacing and criminal possession of a weapon against his then-girlfriend, who became his second wife shortly thereafter (a year later, he was arrested for violating a protection order she obtained against him).

Gastineau pled guilty and was sentenced to undergo counseling. He failed to show up and was sentenced to serve weekends in jail. When he skipped a weekend, he was ordered to spend one year at a residential treatment center in the Bronx. He says his attorney wrongly advised him that he could leave the state. When he did, he was arrested and sentenced to 18 months in prison.

At Rikers Island, the Bronx jail known for violence, abuse and squalor, he says inmates tried to intimidate him and shake him down for money. “Sometimes it was really, really, really scary,” he says. One day a Jets game came on the prison television. And he saw a player wearing No. 99 — his number. “How did I get here?” he asked himself.

This was the bottom. Right where he was supposed to be.

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Gastineau has found peace at home with Jo Ann and Gracie. (Dan Pompei / The Athletic)

After 11 months, Gastineau was released from Rikers. When he had been in the residential drug treatment program, he met congregants of Times Square Church who invited him to attend a service there.

Whenever Gastineau met people at the church, he introduced himself by saying, “Mark Gastineau, New York Jets.” He saw himself as who he had been, not who he could be, and this made him wonder if God — or anyone else — could love him. He met with Pastor David Wilkerson, who founded the nondenominational church. “You are not Mark Gastineau anymore,” Wilkerson told him. “You are now a child of God.”

In 2005, he met a realtor who didn’t know anything about him. “Wait until you read about me,” he told her. “I’m not in the Hall of Fame. I’m in the hall of shame.”

She read about him and then came to believe he wasn’t Mark Gastineau anymore. “I went by how he treated me,” says Jo Ann Gastineau, who became his third wife in 2007.

Mark led Jo Ann to Times Square Church, which was just what she needed. And she was just what he needed. They volunteered to scrub the church’s public toilets and joined the choir. For a weekly rehearsal, they drove from New Jersey, which sometimes took hours. They took the drive again on Sundays to perform at three services — 10 a.m., 3 p.m. and 6 p.m.

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“He couldn’t sing that well, so we put him in the top row,” pastor Carter Conlon says. “He said he thought it was because he was tall. But it was because the top row was the farthest from the microphone.

“I didn’t know anything about sports, but the sports fans couldn’t believe the same Mark Gastineau who played for the New York Jets was wearing a robe, clapping his hands, crying and singing.”

But Gastineau was still struggling with something — he couldn’t forgive Klecko. Conlon told him unforgiveness would hurt him more than Klecko and implored him to let it go. The former teammates were together for an appearance in 2020 in New Jersey, shortly after Klecko had shoulder surgery. Gastineau suggested they pray for healing. Klecko was deeply appreciative.

“I was a young kid,” Klecko says now. “If I could go back, I probably would have been more accepting of his way and tried to talk to him more about it. Once the game is set aside, you have a different life. There is no confrontation between us anymore. I wish him all the best.”

These days, whenever they see each other, Gastineau asks about Klecko’s family, and that means everything to Klecko.

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“I shouldn’t have done the things that I did,” Gastineau says. “The playboy attitude I had basically brought me into an atmosphere that was really wrong.”

He was once the highest-paid defensive lineman in the NFL, and players around the league envied “Gastineau money.” But during his cancer ordeal, money was tight. A GoFundMe effort helped. His old teammate Lyons organized a fundraiser, and some powerful people stepped up anonymously.

Gastineau gets by now. Paychecks from appearances help. He established a scholarship fund through Times Square Church that benefits at-risk youth with “passionate desire to serve Jesus through sports or music-related ministries.”

Gastineau finished his career with 107 1/2 sacks — 0.78 sacks per game played. The only players with a better sacks-per-game rate in history are T.J. Watt, Deacon Jones, Myles Garrett and Reggie White. Sports Illustrated’s Paul Zimmerman once ranked him history’s seventh-greatest pass rusher. Yet with his complicated legacy, Gastineau has never been a semifinalist for the Pro Football Hall of Fame.

“To me, he is equally deserving as Joe Klecko for the Hall of Fame,” Matthews says. “When you were preparing to play the Jets, you highlighted him, and he still produced. I think that’s the epitome of a Hall of Fame player.”

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When Klecko was inducted into the Hall of Fame last year, Gastineau attended. Klecko once said it would be an injustice if Gastineau was inducted. He thinks differently now, saying he would vote for him.

Being a Hall of Famer would be nice. But Gastineau doesn’t need a gold jacket. He doesn’t need to be noticed anymore.

“I have a wonderful life, a wonderful wife and this little dog,” he says, looking down at Gracie, their Golden Retriever who won’t stop giving affection. “They both love me, and that’s everything I need, you know?”

(Illustration: Sean Reilly / The Athletic; photos: Focus on Sport, Rick Stewart /Getty Images, Dan Pompei / The Athletic)

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Culture

Poetry Challenge: Memorize “The More Loving One” by W.H. Auden

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Poetry Challenge: Memorize “The More Loving One” by W.H. Auden

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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.

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Here’s the first of its four stanzas, read for us by Matthew McConaughey:

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The More Loving One by W.H. Auden 

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 

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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.

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Here’s Tracy K. Smith, a former U.S. poet laureate, with the second stanza:

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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. 

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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.

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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:

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Admirer as I think I am 

Of stars that do not give a damn, 

I cannot, now I see them, say 

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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.

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The fourth and final stanza, read by Yiyun Li, takes this disenchantment even further:

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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. 

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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.

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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.

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W.H. Auden in 1962. Sam Falk/The New York Times

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.

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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.

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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!

Your first task: Learn the first four lines!

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

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Let’s start with the first couplet. Fill in the rhyming words.

Looking up at the stars, I know quite well 

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That, for all they care, I can go to hell, 

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Tap a word above to fill in the highlighted blank.

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Ready for another round? Try your hand at the 2025 Poetry Challenge.

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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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Culture

Famous Authors’ Less Famous Books

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Famous Authors’ Less Famous Books

Literature

‘Romola’ (1863) by George Eliot

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Karl Leitz for Anthony Cotsifas Studio

Who knew that there’s a major George Eliot novel that neither I nor any of my friends had ever heard of?

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“Romola” was Eliot’s fourth novel, published between “The Mill on the Floss” (1860) and “Middlemarch” (1870-71). If my friends and I didn’t get this particular memo, and “Romola” is familiar to every Eliot fan but us, please skip the following.

“Romola” isn’t some fluky misfire better left unmentioned in light of Eliot’s greater work. It’s her only historical novel, set in Florence during the Italian Renaissance. It embraces big subjects like power, religion, art and social upheaval, but it’s not dry or overly intellectual. Its central character is a gifted, freethinking young woman named Romola, who enters a marriage so disastrous as to make Anna Karenina’s look relatively good.

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It probably matters that many of Eliot’s other books have been adapted into movies or TV series, with actors like Hugh Dancy, Ben Kingsley, Emily Watson and Rufus Sewell. The BBC may be doing even more than we thought to keep classic literature alive. (In 1924, “Romola” was made into a silent movie starring Lillian Gish. It doesn’t seem to have made much difference.)

Anthony Trollope, among others, loved “Romola.” He did, however, warn Eliot against aiming over her readers’ heads, which may help explain its obscurity.

All I can say, really, is that it’s a mystery why some great books stay with us and others don’t.

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‘Quiet Dell’ (2013) by Jayne Anne Phillips

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Karl Leitz for Anthony Cotsifas Studio

This was an Oprah Book of the Week, which probably disqualifies it from B-side status, but it’s not nearly as well known as Phillips’s debut story collection, “Black Tickets” (1979), or her most recent novel, “Night Watch” (2023), which won her a long-overdue Pulitzer Prize.

Phillips has no parallel in her use of potent, stylized language to shine a light into the darkest of corners. In “Quiet Dell,” her only true-crime novel, she’s at the height of her powers, which are particularly apparent when she aims her language laser at horrific events that actually occurred. Her gift for transforming skeevy little lives into what I can only call “Blade Runner” mythology is consistently stunning.

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Consider this passage from the opening chapter of “Quiet Dell”:

“Up high the bells are ringing for everyone alive. There are silver and gold and glass bells you can see through, and sleigh bells a hundred years old. My grandmother said there was a whisper for each one dead that year, and a feather drifting for each one waiting to be born.”

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The book is full of language like that — and of complex, often chillingly perverse characters. It’s a dark, underrecognized beauty.

‘Solaris’ (1961) by Stanislaw Lem

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Karl Leitz for Anthony Cotsifas Studio

You could argue that, in America, at least, the Polish writer Stanislaw Lem didn’t produce any A-side novels. You could just as easily argue that that makes all his novels both A-side and B-side.

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It’s science fiction. All right?

I love science and speculative fiction, but I know a lot of literary types who take pride in their utter lack of interest in it. I always urge those people to read “Solaris,” which might change their opinions about a vast number of popular books they dismiss as trivial. As far as I know, no one has yet taken me up on that.

“Solaris” involves the crew of a space station continuing the study of an aquatic planet that has long defied analysis by the astrophysicists of Earth. Part of what sets the book apart from a lot of other science-fiction novels is Lem’s respect for enigma. He doesn’t offer contrived explanations in an attempt to seduce readers into suspending disbelief. The crew members start to experience … manifestations? … drawn from their lives and memories. If the planet has any intentions, however, they remain mysterious. All anyone can tell is that their desires and their fears, some of which are summoned from their subconsciousness, are being received and reflected back to them so vividly that it becomes difficult to tell the real from the projected. “Solaris” has the peculiar distinction of having been made into not one but two bad movies. Read the book instead.

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‘Fox 8’ (2013) by George Saunders

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Karl Leitz for Anthony Cotsifas Studio

If one of the most significant living American writers had become hypervisible with his 2017 novel, “Lincoln in the Bardo,” we’d go back and read his earlier work, wouldn’t we? Yes, and we may very well have already done so with the story collections “Tenth of December” (2013) and “Pastoralia” (2000). But what if we hadn’t yet read Saunders’s 2013 novella, “Fox 8,” about an unusually intelligent fox who, by listening to a family from outside their windows at night, has learned to understand, and write, in fox-English?: “One day, walking neer one of your Yuman houses, smelling all the interest with snout, I herd, from inside, the most amazing sound. Turns out, what that sound is, was: the Yuman voice, making werds. They sounded grate! They sounded like prety music! I listened to those music werds until the sun went down.”

Once Saunders became more visible to more of us, we’d want to read a book that ventures into the consciousness of a different species (novels tend to be about human beings), that maps the differences and the overlaps in human and animal consciousness, explores the effects of language on consciousness and is great fun.

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We’d all have read it by now — right?

‘Between the Acts’ (1941) by Virginia Woolf

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Karl Leitz for Anthony Cotsifas Studio

You could argue that Woolf didn’t have any B-sides, and yet it’s hard to deny that more people have read “Mrs. Dalloway” (1925) and “To the Lighthouse” (1927) than have read “The Voyage Out” (1915) or “Monday or Tuesday” (1921). Those, along with “Orlando” (1928) and “The Waves” (1931), are Woolf’s most prominent novels.

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Four momentous novels is a considerable number for any writer, even a great one. That said, “Between the Acts,” her last novel, really should be considered the fifth of her significant books. The phrase “embarrassment of riches” comes to mind.

Five great novels by the same author is a lot for any reader to take on. Our reading time is finite. We won’t live long enough to read all the important books, no matter how old we get to be. I don’t expect many readers to be as devoted to Woolf as are the cohort of us who consider her to have been some sort of dark saint of literature and will snatch up any relic we can find. Fanatics like me will have read “Between the Acts” as well as “The Voyage Out,” “Monday or Tuesday” and “Flush” (1933), the story of Elizabeth Barrett Browning’s cocker spaniel. Speaking for myself, I don’t blame anyone who hasn’t gotten to those.

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I merely want to add “Between the Acts” to the A-side, lest anyone who’s either new to Woolf or a tourist in Woolf-landia fail to rank it along with the other four contenders.

As briefly as possible: It focuses on an annual village pageant that attempts to convey all of English history in a single evening. The pageant itself interweaves subtly, brilliantly, with the lives of the villagers playing the parts.

It’s one of Woolf’s most lusciously lyrical novels. And it’s a crash course, of sorts, in her genius for conjuring worlds in which the molehill matters as much as the mountain, never mind their differences in size.

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It’s also the most accessible of her greatest books. It could work for some as an entry point, in more or less the way William Faulkner’s “As I Lay Dying” (1930) can be the starter book before you go on to “The Sound and the Fury” (1929) or “Absalom, Absalom!” (1936).

As noted, there’s too much for us to read. We do the best we can.

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6 Poems You Should Know by Heart

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6 Poems You Should Know by Heart

Literature

‘Prayer’ (1985) by Galway Kinnell

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Whatever happens. Whatever
what is is is what
I want. Only that. But that.

Galway Kinnell in 1970. Photo by LaVerne Harrell Clark, © 1970 Arizona Board of Regents. Courtesy of the University of Arizona Poetry Center

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“I typically say Kinnell’s words at the start of my day, as I’m pedaling a traffic-laden path to my office,” says Major Jackson, 57, the author of six books of poetry, including “Razzle Dazzle” (2023). “The poem encourages a calm acceptance of the day’s events but also wants us to embrace the misapprehension and oblivion of life, to avoid probing too deeply for answers to inscrutable questions. I admire what Kinnell does with only 14 words; the repetition of ‘what,’ ‘that’ and ‘is’ would seem to limit the poem’s sentiment but, paradoxically, the poem opens widely to contain all manner of human experience. The three ‘is’es in the middle line give it a symmetry that makes its message feel part of a natural order, and even more convincing. Thanks to the skillful punctuation, pauses and staccato rhythm, a tonal quality of interior reflection emerges. Much like a haiku, it continues after its last words, lingering like the last note played on a piano that slowly fades.”

“Just as I was entering young adulthood, probably slow to claim romantic feelings, a girlfriend copied out a poem by Pablo Neruda and slipped it into an envelope with red lipstick kisses all over it. In turn, I recited this poem. It took me the remainder of that winter to memorize its lines,” says Jackson. “The poem captures the pitch of longing that defines love at its most intense. The speaker in Shakespeare’s most famous sonnet believes the poem creates the beloved, ‘So long as men can breathe or eyes can see, / So long lives this, and this gives life to thee.’ (Sonnet 18). In Rilke’s expressive declarations of yearning, the beloved remains elusive. Wherever the speaker looks or travels, she marks his world by her absence. I find this deeply moving.”

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Lucille Clifton in 1995. Afro American Newspapers/Gado/Getty Images

“Clifton faced many obstacles, including cancer, a kidney transplant and the loss of her husband and two of her children. Through it all, she crafted a long career as a pre-eminent American poet,” says Jackson. “Her poem ‘won’t you celebrate with me’ is a war cry, an invitation to share in her victories against life’s persistent challenges. The poem is meaningful to all who have had to stare down death in a hospital or had to bereave the passing of close relations. But, even for those who have yet to mourn life’s vicissitudes, the poem is instructive in cultivating resilience and a persevering attitude. I keep coming back to the image of the speaker’s hands and the spirit of steadying oneself in the face of unspeakable storms. She asks in a perfectly attuned gorgeously metrical line, ‘what did i see to be except myself?’”

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‘Sonnet 94’ (1609) by William Shakespeare

They that have power to hurt and will do none,
That do not do the thing they most do show,
Who, moving others, are themselves as stone,
Unmovèd, cold, and to temptation slow,
They rightly do inherit heaven’s graces
And husband nature’s riches from expense;
They are the lords and owners of their faces,
Others but stewards of their excellence.
The summer’s flower is to the summer sweet,
Though to itself it only live and die;
But if that flower with base infection meet,
The basest weed outbraves his dignity.
For sweetest things turn sourest by their deeds;
Lilies that fester smell far worse than weeds.

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“It’s one of the moments of Western consciousness,” says Frederick Seidel, 90, the author of more than a dozen collections of poetry, including “So What” (2024). “Shakespeare knows and says what he knows.”

“It trombones magnificent, unbearable sorrow,” says Seidel.

“It’s smartass and bitter and bright,” says Seidel.

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These interviews have been edited and condensed.

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