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The Hall of Fame isn't calling, but 'Bad Moon' Rison left a different kind of legacy

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The Hall of Fame isn't calling, but 'Bad Moon' Rison left a different kind of legacy

Every year the call didn’t come, the tears would.

So would the disbelief. The anger. The nights of lost sleep.

For Andre Rison it was like a knife in the side, his annual rejection from the Pro Football Hall of Fame. Hadn’t he done enough? Wasn’t he one of the best of his era? He came to dwell on the disrespect, convinced he belonged, convinced there had to be some reason why he wasn’t getting in.

“There’s nothing Jerry Rice could do that I couldn’t,” Rison has said more than once over the years.

Deep down, he believes that.

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But Rice has the records, the gold jacket resting on his shoulders, the GOAT chain dangling from his neck. Rison has the notoriety that lingers after a chaotic career, then fades. Maybe this was payback, he figured. Maybe it was punishment. He played loud. He lived loud. Andre “Bad Moon” Rison was the NFL’s most outspoken receiver before the NFL was awash in outspoken receivers.

That’s gotta be it, he kept telling himself as the years passed and the call from Canton never came. It wasn’t football — it couldn’t just be football. It was everything else.

It had to be.

Still, the man wasn’t about to apologize. Not for the climb and not for the fall. Not for lashing out at coaches, quarterbacks, even an entire city. Not for brawling with Deion Sanders at the 20-yard line of the Georgia Dome. Not for the touchdown dances that earned him racist letters from fans. Not for dating the pop star who burned down his mansion. Not for partying with Tupac.

Not for any of the baggage that trailed him for most of his seven-city, 11-year NFL odyssey.

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This man was never going to fit neatly into a box.

“When I played,” Rison says now, “the thinking was, if you was African-American, then you could only be great at one thing: football. That was it.

“I said, leave that lane for somebody else.”

His ambitions ran deeper. He was one of the first pro athletes to fuse sports and hip-hop — “I changed the culture,” Rison boasts. He started record labels. He opened businesses. He carried his community with him.

The ride was rocky, littered with mistakes. The arrests. The drama. The millions he burned through — Rison once bought a Ferrari Testarossa without knowing the sticker price and admits to owning 34 different Mercedes-Benzes over the years. A night out in his younger days set him back $15,000.

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He courted the spotlight even when it was the last thing he needed. When a reporter once asked if he was the Dennis Rodman of the NFL, Rison nodded, taking it as a compliment.

In some ways, he was ahead of his time. Before Keyshawn Johnson was screaming “Give me the damn ball!” and Terrell Owens was doing crunches in his driveway for the TV cameras and Chad Johnson was slipping on a homemade Hall of Fame jacket on the sideline, Rison was blowing up the tired old narrative that said receivers need only run their routes, catch the ball and keep quiet.

Three decades later, the 57-year-old is asked if the tumult that often trailed him ever got in the way of football. Rison scoffs. He’s offended. This is a man who once bought a T-shirt that read, “When God made me, he was just showing off.”

“You remember when Michael Jordan went gambling the night before a playoff game and everyone killed him for it, and the next night he lit their ass up?” Rison asks. “Ain’t no distractions when you different. Mike’s different. I’m different. I been different.

“This is Bad Moon we’re talking about.”

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Andre Rison finished second in Rookie of the Year voting with the Colts. Soon, he was gone. (Getty, Allsport)

It was ESPN’s Chris Berman who tapped him with the nickname, inspired by the Creedence Clearwater Revival hit. In 1989, at the tail end of Rison’s rookie year with the Colts, he was pulled over for driving 128 miles per hour in a 55-mph zone. He told the cops he was only going 95.

I see the bad moon a-rising

I see trouble on the way

“The nickname changed my life forever,” Rison wrote in his book, “Wide Open.” For better or worse, he came to embrace it, getting “Bad Moon Rison” tattooed on his bicep.

The song was right: trouble followed. But so did a scintillating career.

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Rison played with a fire first lit on the hardscrabble streets of Flint, Mich., where, as a high school star, a local mobster — Rison calls him Mafia Sal — would slip him wads of cash from time to time, urging him to pick a particular college and sign with a particular agent. Rison says he ignored him. He was going to make it his way.

He did. At Michigan State, he played basketball, made All-Big Ten in track and field and was an All-American wide receiver. “Could’ve made $3 million a year in NIL deals today,” Rison says. A first-round pick of the Colts in 1989, he finished second in Offensive Rookie of the Year voting to Barry Sanders. The Colts missed the playoffs by a game. The future felt bright, and Rison was one of the biggest reasons why.

He was gone a few months later, shipped to Atlanta in a trade that gave the Colts the chance to draft quarterback Jeff George first overall. Rison was crushed. His teammates were, too.

“Heartbroken,” says former Colts linebacker Jeff Herrod. “He had some Marvin Harrison in him. Without Rison, our team went in the craps.”

In Atlanta, Rison grew into one of the best wideouts in the game, earning four straight trips to the Pro Bowl. At 6-feet, 188 pounds, he was undersized but unafraid, lethal between the numbers, quick as a cat. “Nobody could separate like he could,” says his coach with the Falcons, Jerry Glanville. “He had the best change-of-direction I’ve ever seen.”

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There wasn’t a cornerback in football who scared him, and after every catch, Rison welcomed the contact that came his way. He was once walloped so hard in a game that Glanville wondered for a solid minute if he’d ever get up. “I thought he could be dead,” the coach remembers. But Rison always came back for more.

“I’d like to think I was one of the greatest to go over the middle,” he says. “If not the greatest.”

There was a swagger to his game, a style that fit the Falcons and a city coming into its own. Atlanta was becoming a hotbed of hip-hop, and Rison — along with Deion Sanders, his teammate and the league’s best defensive back — were two of the biggest catalysts. The pair became the faces of the hungry upstart.

And they did it different.

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“We football players were told we couldn’t get no endorsements, those were for the basketball and baseball players,” Rison says. “They said we couldn’t get commercials, we couldn’t get involved with music. Deion and I didn’t listen.”

They signed with Nike. They starred in commercials. They popped up in MC Hammer’s music videos. They spoke their minds to the media, consequences be damned.

And they backed it up on Sundays.

go-deeper

GO DEEPER

Is the Deion Sanders way working at Colorado? It depends which way you look at it

By 1993, Rison had more catches in his first five seasons than any receiver in history. Glanville’s rule was simple: Whenever the Falcons advanced inside the red zone, get the ball to No. 80. Period. “I’d tell my QBs, ‘I don’t care if he busts a route and you don’t know where the hell he’s going, just find Rison,’” the coach says. “He’d run over the entire defense to get in the end zone.”

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The numbers piled up. The wins didn’t. Sanders bolted for San Francisco before the 1994 season and put on a show a few months later in his return to the Georgia Dome, throwing punches at Rison — punches Rison returned — before taking an interception back 93 yards and high-stepping into the end zone.

Rison was gone a year later, signing a five-year $17 million deal with the Browns, at the time the richest ever for a wide receiver. But he never lived up to it. He showed up to training camp out of shape, grew frustrated with the scheme and clashed with coach Bill Belichick.

Late that year, while rumors of the Browns’ move to Baltimore swirled, Rison lashed out at the fans after a loss to Green Bay in which he was repeatedly booed. “Baltimore here we come,” were his infamous words in front of the TV cameras. Rison says in the weeks that followed, he received death threats. Most in Cleveland never forgave him.

Rison flamed out in Jacksonville after failing to mesh with quarterback Mark Brunell, whom Rison took shots at in the media after his exit. A few months later, he was helping the Packers win Super Bowl XXXI, snagging a 54-yard touchdown from Brett Favre on the team’s second offensive snap. It was so loud in the New Orleans Superdome that night that Rison couldn’t even hear Favre’s audible at the line of scrimmage. No matter. He snuck behind the defense and went untouched for the score.

He was a world champion.

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Andre Rison takes a reception in for a score during the Packers’ Super Bowl XXXI victory at the Superdome. (Brian Bahr, Peter Brouillet / Getty Images)

In the days leading up to the game, he ran into Belichick before practice. “Hey pipsqueak,” the coach blurted out, “why didn’t you play like this for me?” Rison’s response: “Because you didn’t have an offensive coordinator.” Both laughed.

In Kansas City, Rison earned a fifth Pro Bowl nod and a new nickname, “Spiderman,” for his acrobatic catches in the end zone. But his time in the league was winding down, and after spending the 2000 season with the Raiders, Rison was out. One last triumph came in 2004 when he helped the Toronto Argonauts to a CFL Grey Cup.

Football was finished. Nothing in Rison’s life was about to get any easier.


After his girlfriend burned down his house, Rison hopped on his motorcycle, sped out of his subdivision and considered killing himself.

“I can’t take it!” he screamed.

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The rain poured.

“All I had to do was wiggle the bike, just one good time, and I was headed straight into the median,” he wrote in “Wide Open.” “It would all be over in an instant.”

The relationship was volatile, the drama unending. Lisa “Left Eye” Lopes — one-third of the Grammy-winning group TLC — had returned to Rison’s Atlanta home one night in June 1994 and found him with another woman. She collected dozens of pairs of his shoes, piled them up in the bathtub, then lit them on fire.

His $2 million mansion was torched. The incident made national news. Lopes was charged with first-degree arson.

The scene Rison has never been able to push from his mind: seeing Lopes climb into a car and drive off with Tupac Shakur, a close friend of his at the time — Shakur actually filmed his music video with MC Breed, “Gotta get mine,” at one of Rison’s homes.

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A week later, Rison was holding Lopes’ hand during her court hearing. They planned to marry until she was killed in a car accident in Honduras in 2002.

By then Rison’s NFL career was over. He stumbled trying to find what was next. His estimated $19 million in career earnings? Mostly gone. “Some guys had a gambling problem,” Rison said in the ESPN 30 for 30 documentary, “Broke.” “Well, I had a spending problem.” Over the years, in addition to the 34 Benzes, he bought 14 BMWs, several Ferraris and too many trucks to count. He claims to have spent over $1 million on jewelry. He once lent a friend $30,000 to open a frozen drink café, then never saw a penny of profit.

The partying caught up to him. Rison’s inner circle ballooned to 20, 30, even 40 people. He paid for everything. He remembers lying in bed after a night out with $10,000 in cash sprawled out on the floor, $5,000 tucked in his pocket and $7,500 more stashed in his coat. He spread himself too thin. Eventually, the money ran out.

“Everybody used to say, and still does, that all Dre ever did away from the game was give, give, give,” Rison says. He says he picked it up from his grandmother back in Flint, who’d welcome strangers into her house on Christmas just so she could cook them a warm meal.

A coach left him with a warning early in his career, words Rison never forgot: “You keep messing up, and one day I’m gonna pull up in my shiny white Cadillac and ask, ‘Hey Dre, how about a wash?’”

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Rison pledged he wouldn’t let that happen.

It never did. But his finances were a mess. His legal issues piled up — over the years, he’s been arrested for felony theft and disorderly conduct, and in 2022 he was charged with failing to pay child support. (Rison has four sons.) He avoided jail time by pleading down. Finally, he filed for bankruptcy.

He started coaching. He opened a business training young athletes. Then he met the woman who would offer him the type of stability he’d always needed. He helped her beat breast cancer, and together, they’re raising four daughters in his home state of Michigan.

Her name? Lisa Lopez.


He feels the remnants of all those trips over the middle every morning when he wakes up.

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Rison says he has Arthritis in 18 different places. He has bone spurs in his neck. He’s had his jaw dislocated, his teeth knocked out, all 10 of his fingers broken at one point or another.

“You have to learn how to deal with depression,” Rison says, “and how to fight it.”

And he had to learn to move on, to stop obsessing over the Hall of Fame. He’s been a finalist several times, and for years, the rejection ate at him. He’d watch cornerbacks he used to embarrass make it in, and he’d steam. He’d tell a reporter he was “the best receiver to ever play the game” and vow to start his own Hall of Fame, Canton be damned. He’d belittle Rice’s gaudy numbers, claiming they were merely a product of him playing with Joe Montana and Steve Young.

What would he have done, Rison asked, if he’d played with one of those QBs instead of Chris Miller and Bobby Hebert?

Rison’s old teammate, Herrod, has wondered the same thing. “Put Andre Rison on the Cowboys or 49ers back in the day and it would’ve been a whole different story,” he says.

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Rison believes that to his core. When he grabbed a photo with Randy Moss a few years back, this was the caption he wrote: “THE TWO GREATEST OF ALL TIME IN MY EYES.” When he was inducted into Michigan State’s Hall of Fame in 2022, Rison began his speech with this: “I never dreamed of being in the MSU Hall of Fame, but I always dreamed of being in the damn NFL Hall of Fame.”

It’s tormented him for years. It probably always will.

The numbers aren’t there, not after the offensive eruption of the 2000s, when 1,200-yard receiving seasons became routine. Rison currently sits 22nd all-time in touchdowns (84), tied for 48th in career catches (743) and 52nd in yards (10,205).

His chance at Canton came and went. He says he’s let it go. He says the bitterness is gone. He says he’s done losing sleep over it. He knows what he did on the field.

And if the way he did it — the hip-hop connections and the partying, the rapper girlfriend and the off-the-field headlines — cost him in the voters’ eyes, fine. Rison paved a path, he says, that athletes have been following ever since. That’s a different kind of legacy.

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“I opened doors,” Rison says. “Everybody wasn’t willing to indulge in entertainment and hip-hop back then. When my teammates were on the golf course, I was meeting with Sony Records.”

These days, he pours himself into his passions. He wrote “Wide Open” and produced a movie about his life by the same name. He was recently promoted to interim head coach at University Liggett, a high school outside of Detroit. He shuttles his daughters to school and practices. He popped up on “Celebrity Family Feud” and announced the Falcons’ second-round pick at the draft in April.

“I’m living an even better life off the field than when I played,” Rison says. “I’d always prefer the way it went. And I damn sure wouldn’t change anything about where I’m at right now.”

Rison claims — along with Sanders, his close friend and the coach at Colorado — that both “are just as relevant as we were when we played.” Sanders, perhaps the most controversial figure in college football, might even be more relevant. Bad Moon Rison sees himself in the same vein, even if he’s the only one who still does.

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(Illustration: Dan Goldfarb / The Athletic. Photos: Al Bello / Allsport, Otto Greule / Allsport, Robert Seale / Sporting News/Icon SMI)

Culture

Poetry Challenge Day 3: W.H. Auden, The Poet and His Technique

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Poetry Challenge Day 3: W.H. Auden, The Poet and His Technique

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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).

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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.”

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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.

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“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 

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Of stars that do not give a damn, 

I cannot, now I see them, say 

I missed one terribly all day. 

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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.

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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.

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W.H. Auden (left) and Chester Kallman in Venice, in 1949. Stephen Spender, via Bridgeman Images

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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, 

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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.

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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.

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Scansion marks from one of Auden’s notebooks, dated 1955-65. Copyright by The Estate of W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. W.H. Auden papers, Berg Collection, The New York Public Library. Photograph by Angelina Katsanis for The New York Times.

He gathered rhymes and other words with a lexicographer’s zeal and a crossword puzzler’s precision.

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Lists of rhyming words from another of Auden’s notebooks, dated 1957-59. Copyright by The Estate of W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. W.H. Auden papers, Berg Collection, The New York Public Library. Photograph by Angelina Katsanis for The New York Times.

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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 

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Of stars that do not give a damn, 

I cannot, now I see them, say 

I missed one terribly all day. 

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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!

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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.

Your first task: Learn the first two 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 in this stanza. Fill in the rhyming words.

Admirer as I think I am 

Of stars that do not give a damn, 

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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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Book Review: ‘Permanence,’ by Sophie Mackintosh

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Book Review: ‘Permanence,’ by Sophie Mackintosh

PERMANENCE, by Sophie Mackintosh


Sophie Mackintosh’s novels are always speculative in some way, with either the author or her characters forging a world governed by its own logic and rules. In their boldness and their ability to convey the violence of patriarchy, they recall the work of Jacqueline Harpman — not only the cherished “I Who Have Never Known Men,” but also “Orlanda,” her wild riff on Virginia Woolf’s “Orlando.”

Like Harpman, Mackintosh has a spare and confident hand. Her work is sometimes described as dreamlike; certainly, its contours are sketched with rapidity and confidence and relatively little detail. Her prose operates according to the same principle, at once lyrical and precise, like this from her second novel, “Blue Ticket”: “On the ground was a dead rabbit, disemboweled. Still fresh, the dark loops of its insides glistening like jam.”

When Mackintosh writes about masculine power, she does so in a way that articulates both its seductions and its terrors. Her newest novel, “Permanence,” is less explicitly concerned with the structure of patriarchy, but it has the same erotic charge as her earlier work, the same preoccupation with social prohibitions and the thrill that comes from breaking them.

Like “Blue Ticket,” “Permanence” turns on a highly pronounced binary. In “Blue Ticket,” adolescent girls are issued either a blue or white ticket on the day of their first period. A white ticket denotes a future of marriage and children, a blue ticket one of work — even, it seems, a career. The divide is stark and self-evidently faulty, its coarseness an expression of the brutalizing regime the characters are trapped in.

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“Permanence” features a similar opposition, neatly delineated. Clara and Francis are conducting an illicit affair. One morning, they wake up in an alternate reality where they are openly living together. The novel shuttles between these two worlds, one ordinary and familiar, the other a curdled paradise for adulterers.

The thinness of this “city of impermanence” — “fluid, cohesive and yet disparate” — emerges at once. The sky is “uncannily blue,” the newspaper bears no date, the edge of the city is marked by “a slick ring of water, as far as the eye could see.”

Still, a boundary cannot keep the other world from seeping in. Initially, elegantly, this is a problem in the structure of desire. Having been provided the life they dreamed of, in which their longing for each other is fully met, Clara and Francis begin to experience, to their uneasy surprise, boredom and discontent.

Without absence, the intensity of their desire for each other wanes. They even begin, or at least Francis does, to long for the relief of their ordinary life: “Another day ahead of them of petting, giggling, lying around. It seemed insubstantial suddenly, though only the day before he had felt he could do it forever.”

Soon enough, it becomes clear that the problem between Francis and Clara doesn’t lie in the outside impediments of the world they live in, but in their relationship itself. Francis remains troublingly himself — a married father of a small child, reluctant to leave his family, however much he is in love with Clara: “He did love her, and he did want to be with her. … But he already had reality elsewhere, reality which he sometimes felt trapped by, he would admit, but which he could not truly imagine cutting loose.”

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“Permanence” might seem like an outlier in the current array of articles and books about open marriages and polyamory, and at first glance the line of distinction between the two worlds, much like the division between blue and white tickets, seems almost old-fashioned. But as Mackintosh persuasively illustrates, the familiar emotions of jealousy, infatuation and eventually indifference — these persist and can flourish in any relationship, however free of prohibition.

“You want this,” Clara tells herself, and then, “You no longer want this,” as it occurs to her that “maybe it was in absence that they loved each other best, and most honestly.”

In her work, Mackintosh devises scenarios that are bold and almost aggressively simplified. But her terrain is complexity and contradiction, and in her hands these oppositions twist and turn in on themselves.

It’s hardly a surprise when the central character in “Blue Ticket” decides to eschew her designation and have a child, declaring, “True and false were no longer opposing binaries. My body was speaking to me in a language I had not heard before.” Nor is it especially startling when discontent chases Clara and Francis from one world to the other, unraveling their relationship.

What is more disquieting is the surreptitious ease with which Mackintosh’s speculative worlds start to align with our own, allowing the reader to see how so many of the old prohibitions and conventions — around choice, around marriage — remain, somehow, firmly in place.

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That moment of recognition, in a landscape that is startlingly alien, is the source of Mackintosh’s power as a writer.


PERMANENCE | By Sophie Mackintosh | Avid Reader Press | 240 pp. | $28

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Poetry Challenge Day 2: Love, How It Works and What It Means

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Poetry Challenge Day 2: Love, How It Works and What It Means

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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.

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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. 

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Ada Limón, poet

Nonetheless, the poem soon makes clear that love is very much on its mind.

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How should we like it were stars to burn 

With a passion for us we could not return? 

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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.

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If equal affection cannot be, 

Let the more loving one be me. 

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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,

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And we will all the pleasures prove,

That Valleys, groves, hills, and fields,

Woods, or steepy mountain yields.

Christopher Marlowe, “The Passionate Shepherd to His Love

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Auden’s poem, like Marlowe’s, is written in four-beat lines:

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How should we like it were stars to burn 

With a passion for us we could not return? 

Josh Radnor, actor

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And it features strong end rhymes:

If equal affection cannot be, 

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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:

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I do not like thee, Doctor Fell

The reason why I cannot tell.

But this I know and know full well

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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.

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W.H. Auden as a young man. Tom Graves, via Bridgeman Images

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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:

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As lines, so loves oblique may well

Themselves in every angle greet;

But ours so truly parallel,

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Though infinite, can never meet.

Andrew Marvell, “The Definition of Love

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.”

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The second stanza is, when you think about it, a perfect non sequitur. A hypothetical, general question is asked:

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How should we like it were stars to burn 

With a passion for us we could not return? 

Mary Roach, writer

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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, 

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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.

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Your task today: Learn the second stanza!

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

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

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How should we like it were stars to burn 

With a passion for us we could not return? 

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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.

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.

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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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