Culture
Vince Carter reaches the Hall of Fame, with grace alongside his jaw-dropping verticality
“‘Zo? Yeah, I got him. (Dikembe) Mutombo? Got him twice. Got the big dude in Indiana, (Rik) Smits. Got Dale Davis, too. Haven’t gotten (Patrick) Ewing yet.” Then, he paused and smiled.
“We play them on Tuesday.”
— Vince Carter, “Fresh Vince,” Sports Illustrated, Feb. 28, 2000
Even watching it live, with his own eyes, in person, it took Shareef Abdur-Rahim a minute to comprehend what he’d just witnessed.
“The thing is, you think of any, just, miraculous play, where you’ve never seen someone do that, make a play like that,” Abdur-Rahim said, 24 years later. “(Derek) Jeter diving. It was like one of those plays. I was on the bench, and it was so quick. He just did it, and you were like, ‘Man, did he really do that?’
“And then looking around, and seeing it again. Even when we went to the locker room, you didn’t get replays that fast. There wasn’t cell phones. It took time to see that again. You’ve never seen anyone do that, do that in a game, this quick, that fast, that reactive. You almost weren’t sure what you’d seen.”
This is what Vince Carter did, in a basketball game, where they kept score and called fouls and everything, to a man who played basketball for France named Frédéric Weis.
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And that was the miracle of Vince Carter, through two-plus decades on the stage. His level of explosive greatness was so unapproachable that it made otherwise sane men question what they’d just seen, for what they’d just seen was impossible. It is why, though his teams rarely were serious contenders for championships during his NBA-record 22 seasons, Carter was an easy selection to this year’s incoming class for the Naismith Memorial Basketball Hall of Fame, and will be inducted in Springfield, Mass., tonight.
Carter, though, often seemed uninterested in the machismo aspect of dunking that was so intoxicating to so many others in the game. (Famously, he liked being in his high school band, where he played saxophone and was a drum major.) The trappings of superstardom didn’t seem to appeal much to him, either. Part of that was just his demeanor; he rarely raised his voice on the court or called attention to himself off it.
“My junior year in high school, I averaged 25, 26 points a game, whatever it was,” Carter said Saturday, when I asked him about his career-long demeanor of not seeking the spotlight, despite his expansive physical gifts.
“We lost in the state finals,” he continued. “My senior year, I make the McDonald’s (All-American) Game, I averaged three to four points less. (People asked), ‘What’s wrong with Vince?’ My scoring went down, but my rebounding went up, my assists when up. My other teammates’ scoring went up. And we won the state championship.
“So I understood at a young age how important your guys you have on your team (are), and how important it is to empower them. As a superstar, and becoming a role player, I understood my role as a superstar: yes, they need me to score. But I need them. I could score 50 points, and we could lose by 30. So what?”
Still, few did big moments like Carter.
Abdur-Rahim, like Carter, was an Olympian in 2000, part of the prohibitively favored U.S. men’s team, which was playing a preliminary game against France in Sydney. Weis, France’s center, stood 7-foot-2. Carter, 6-6, didn’t seem to take that into account when he jumped over Weis, and dunked on his bean.
France went on to win the silver medal, while the U.S. team won gold. No matter. The French media dubbed Carter’s leap over Weis Le Dunk De La Mort — The Dunk of Death.
“I’d seen him since he was 15, 16 years old,” Abdur-Rahim said. “I thought, I’ve seen him do everything. In our McDonald’s All-American dunk contest, he did every single dunk that had been done in an NBA dunk contest — from the free throw line, between the legs. Seventeen years old. He did every single one of them. The part that amazed me was I thought I’d seen him do everything in a game where I’m like, oh, my goodness. It was so fast and it was something you’d never seen before.”
Carter always had those kinds of moves in his bag.
“We were in practice one day,” recalled Sam Mitchell, whose first head-coaching job in the NBA came in 2004, in Toronto.
“We were scrimmaging. Vince gets the rebound and takes off. He gets to half court and throws the ball up ahead. I said, ‘What the hell?’ The ball hits off of the backboard. He catches it and dunks it. I told everybody, go home. It was my second practice. What the f— did I just see? He throws it underhand. Next thing, I see the m—–f—– catch the ball and dunk. I said to everybody, ‘Get the f— out. I gotta go home and have a drink and process this s—.’”
There was, of course, Carter’s bravura performance at the 2000 NBA Dunk Contest, when he overpowered a weekend-long deluge in the Bay Area to electrify the crowd at Oracle Arena with a series of dunks that may have — may have — only been topped by Michael Jordan’s battle in Chicago with Dominique Wilkins in 1987. There was a 50-burger against the 76ers in Game 3 of the Eastern Conference semifinals. There was, much later in his career, a signature game-winning shot when he played for the Mavericks, in their first-round series against San Antonio in 2014.
“The best moment was when he was with the Suns” the year before, recalled former Mavericks majority governor Mark Cuban.
“We were playing them, I think it might have been our outdoors (preseason) game. He gave me the ‘come get me’ look. That summer I called his agent, and we made it happen. Vince is a legend. I’m proud of him.”
During the 1999 lockout, recalled Jerome Williams, a teammate of Carter’s in Toronto for three-plus seasons, the two played in New York City with future Raptor teammate Mark Jackson in a charity game, the Wheelchair Classic.
“It was crazy,” Williams said. “Seeing VC jump out the gym with power and grace on his dunks was mesmerizing. I truly believed he had Jesus Christ himself touch his legs to generate that much power. I knew he was destined for the Hall of Fame from that moment.”
Carter even held everyone’s attention when he wasn’t playing at all, setting off a firestorm when that Raptors-76ers series went to a Game 7. The game was scheduled for late Sunday afternoon. But Carter was determined to attend his graduation from North Carolina in Chapel Hill Sunday morning, when he received the degree in African-American Studies he’d earned the fall before. He got the degree, got on then-owner Larry Tanenbaum’s plane, and got to Wells Fargo Center five hours before tipoff. But Carter only shot 6 of 18 from the floor, missing the potential series-winner at the buzzer, setting off frenzied debate about whether he’d made the right decision.
Carter told me that summer that he’d do it all over again, the exact same way.
“And when I do think about it, I’m proud,” he said. “Proud of the way I was able to fight through it and just handle myself in the manner that some people wouldn’t. It was a special time for me, and I wasn’t gonna let anybody spoil it. And yes, it was spoiled by a missed shot. But you miss shots all the time. There’s gonna be times in your career when you’re gonna miss those shots again and again, and there’s gonna be times when you’re gonna make them, and you’re gonna be a hero. And nobody says nothing but ‘Hey, it was a great day.’”
There are many people who were responsible for basketball succeeding in Toronto after the birth of the expansion Raptors in 1995. There were those directly linked to the team, such as Isiah Thomas, Damon Stoudamire, Chris Bosh — and Carter’s cousin, Tracy McGrady, drafted by Toronto out of high school in 1997.
There were players from Toronto and from the nearby suburbs who helped the game gain traction in a city besotted by its beloved Maple Leafs, players such as Jamaal Magloire and Rick Fox and Leo Rautins. Steve Nash, who grew up in Victoria, British Columbia, had enormous influence nationwide, too, as he won back-to-back league MVP awards.
But Carter’s six-plus seasons in Toronto, after a draft-night trade with Golden State in 1998, made the Raptors appointment viewing. There would be quarters, sometimes halves, where Carter did more to fit in, to be a good teammate, than put his eye-popping skills on display. And then …Vinsanity would happen.
When the Grizzlies left Vancouver for Memphis in 2001, Carter and the Raptors had Canada all to themselves.
“When Charles Oakley joined the team (in 1998), there was one game,” recalled Walker Russell, an assistant coach for the Raptors early in Carter’s career. “He (Carter) was shooting jumpers, wasn’t hitting them, Finally, they called timeout. Oak said, ‘Man, ‘Take one more m—-f—– jump shot. One more. You take one more m—–f—— jump shot!’ Vince walked to the bench, didn’t know what to do.
“After the timeout, he went back in, they went back to playing. He went to the hole, dunked on two dudes. Came back, got another one. Boom. Dunk. Then, came back, got fouled, tried to do this other dunk. Turned the whole game around. The other team called timeout. Oak grabbed him and said, ‘See? Can’t nobody can guard your m—–f—— ass if you go to the hole!’ That’s when ‘Half Man, Half Amazing’ came into effect, that day.”
During his time with the Raptors, Carter won Rookie of the Year in 1999, made six of his eight All-Star teams, averaging 23.4 points and 5.2 rebounds.
“He had a six- or seven-year run in Toronto where, ultimately, Kobe became the guy” in the league, Abdur-Rahim said. “But he was right there as far as the best perimeter player in the league.”
But Carter wanted to make the game easier for others as much as he sought the spotlight.
Part of it was playing for Dean Smith at North Carolina. But, Michael Jordan played at Chapel Hill, and for Smith, too. Both had sick hops; both were grounded in Smith’s fundamentals. But where Jordan embraced the Alpha Male aspect of dominating through verticality, Carter seemed more reluctant to stand out, buying fully into the Carolina Way.
“It was one way,” Carter said on the “Knuckleheads” podcast in 2022 with Quentin Richardson and Darius Miles.
“We’re playing for the regular-season championship, ACC championship, deep in the (NCAA) tournament,” Carter said. “That’s just what it was. It was bigger than you, the individual, (was) what you had to understand. They always talk about the Carolina system, but you learn how to play the game. That’s what kept me around for 20-some years, honestly, learning how to play the game.”
With an assist from Tracy McGrady on one attempt, Carter put on one of the greatest dunk contest performances in the event’s history at the 2000 All-Star Game. (Andrew D. Bernstein / NBAE via Getty Images)
That would help explain why Carter does not dominate the NBA’s all-time leaders’ lists. Some of his highest marks in the stats reflect … attendance.
He’s third all-time in games played, at 1,541, trailing only Robert Parish (1,611) and Kareem Abdul-Jabbar (1,560). He’s 15th all-time in minutes played (46,367). But he’s just 21st all-time in points scored, at 25,728. He only had five career triple-doubles, though he was a willing and quite good passer.
He was a very good shooter from deep during his career, but his best days as an offensive force were well before the NBA’s 3-point revolution, so he was far from a volume shooter; he took more than five per game in only three of his 22 seasons. His career PER of 18.63, according to basketball-reference.com, is only 136th-best in NBA history.
But, here’s the rub. Carter’s 18.63 is the same as Scottie Pippen’s. And no one would question Pippen’s place in the Hall.
Why? Because Pippen has six rings.
“A lot of people think he didn’t work because he was so gifted,” Russell said. “What they don’t know is that every night during the season, we’d be in the gym about 11:30 at night until about 1, 1:15. Every night. And he worked on everything: post ups, running hooks, right hand, left hand. That’s why he could do everything. I think the last part of his career, the last six years, he depended strictly on the fundamentals. Because he had all of that. Didn’t nobody know that. He’d be at the gym. And he liked to come at night, him and his little security guard, Peanut.”
Sean Marks, now the Brooklyn Nets’ general manager, had played against Carter in college, at Cal-Berkeley, in 1998. Taken in the second round of the ’98 draft by the Knicks, Marks went to Toronto along with Oakley in the trade with Toronto for Marcus Camby.
“He did stuff in practice that would be incredible,” Marks said. “It wasn’t just the dunks. It was how fluid he moved, how easily the game came to him. I mean, he worked at it. But the God-given talent. To this day, I don’t think I’ve seen anything like it. The stuff we were privy to in practice, games would stop, because it was so awe-inspiring.
“One practice, he and Tracy gave us a little demonstration of what they were going to do in the dunk contest. And we’d seen some things. And then, when these two (started), they were like kids in a candy store. What were they, 20 years old? You’d finish a two-hour practice, and these guys would put on a dunk show for the next 45 minutes. … It was like me playing on a Nerf hoop at home with my 5-year-old.”
Carter seemed to like the challenge of testing his limits, to see what was physically possible, as much as the games themselves.
“One time we were playing and I drew up a play for him at the end of a game,” Mitchell said. “And Vince did some crazy, stepback fadeaway shot, instead of just a 1-2, pullup jumper, go straight up. And afterward, I said, ‘Vince, what the hell? Why’d you take that shot?’ He said, ‘Coach, the 1-2 was too easy.’ The game was too easy for him.
“I think he got bored sometimes. I think by the time he got to his sixth year in the league, he knew that.”
Said Marks: “He genuinely loved being a showman. I think sometimes he enjoyed surprising himself. He was that good. He told us (before a game), ‘Today, I’m going to catch Dikembe.’ And he did it, it wasn’t in an arrogant sort of way. It was like, I want to see if I can do this. Like, let’s go to the park and see if I can pull off this move. But he was doing it in front of 20,000 people.”
“What ifs” followed Carter throughout his Toronto tenure. What if McGrady had stayed with his cousin, rather than going to Orlando to team with Grant Hill in 2000? What if Carter hadn’t become disillusioned with the Raptors’ ownership and front office by the time Toronto took Bosh in the ’03 draft? Who knows what could have been? Infamously, of course, Carter forced his way out of town in 2004 via a trade to the Nets that led to a decade of recriminations and hurt feelings, with Carter getting lustily booed every time he returned to Air Canada Centre.
“That was my first year being a head coach, being a young coach,” Mitchell recalled. “The team flew me down to Florida to see him. He said, ‘Coach, I hate this is happening to you. I have no issue with you. I’ll give you the opportunity. But my unhappiness is with the organization, and they know what it is.’
“He hated that I was getting caught in the middle of it. He said, ‘I will never ask you to compromise your beliefs for me.’ And he didn’t. He wasn’t a distraction. He didn’t disrespect me. He didn’t do anything. I hated it was like that, because one of the things that you loved about the job was you were getting to coach Vince Carter.”
Carter had occasional big moments in Jersey, and in Dallas. As ever, given his personal equilibrium, he willingly became a sixth man for the Mavericks and Grizzlies later in his career. He kept feeling good, so he kept playing, year after year, for Orlando and Phoenix and Sacramento and Atlanta. He only retired after the 2019-20 season because COVID-19 shut down the league’s non-playoff teams for nine months, including Carter’s Hawks, something from which a 43-year-old couldn’t bounce back.
But the body of work, and the work of Carter’s body, had already made his Springfield case open and shut. The bad times in Toronto have been overcome; the Raptors announced last month that they’ll be retiring Carter’s number 15 on Nov. 2.
“I loved playing the game,” Carter said Saturday. “It wasn’t about the numbers. I read all the time, ‘If he had just …’ I can’t imagine not playing 22 years, and looking at Year 17, and how miserable I probably would have been (not playing). Because I still had the love for the game. And it wasn’t about numbers. If they called me to come play for a team and sit for a championship, I’d chase one now. But it wasn’t about that. Because I still felt that I was going to put the work in at 42, 43 years old to go play. And it felt good to go on the court, and a 19- 21-, 25-year-old comes in there. And they’re like, ‘he’s old.’
“And I’d be like, let’s line it up. Let’s see if I still have it.”
(Illustration: Meech Robinson / The Athletic; Photos: Carmen Mandato / Getty; Sam Forencich / NBAE; Ned Dishman / NBAE via Getty Images)
Culture
Poetry Challenge: Memorize “The More Loving One” by W.H. Auden
Let’s memorize a poem! Not because it’s good for us or because we think we should, but because it’s fun, a mental challenge with a solid aesthetic reward. You can amuse yourself, impress your friends and maybe discover that your way of thinking about the world — or even, as you’ll see, the universe — has shifted a bit.
Over the next five days, we’ll look closely at a great poem by one of our favorite poets, and we’ll have games, readings and lots of encouragement to help you learn it by heart. Some of you know how this works: Last year more Times readers than we could count memorized a jaunty 18-line recap of an all-night ferry ride. (If you missed that adventure, it’s not too late to embark. The ticket is still valid.)
This time, we’re training our telescopes on W.H. Auden’s “The More Loving One” — a clever, compact meditation on love, disappointment and the night sky.
Here’s the first of its four stanzas, read for us by Matthew McConaughey:
The More Loving One
Looking up at the stars, I know quite well
That, for all they care, I can go to hell,
But on earth indifference is the least
We have to dread from man or beast.
Matthew McConaughey, actor and poet
In four short lines we get a brisk, cynical tour of the universe: hell and the heavens, people and animals, coldness and cruelty. Commonplace observations — that the stars are distant; that life can be dangerous — are wound into a charming, provocative insight. The tone is conversational, mixing decorum and mild profanity in a manner that makes it a pleasure to keep reading.
Here’s Tracy K. Smith, a former U.S. poet laureate, with the second stanza:
How should we like it were stars to burn
With a passion for us we could not return?
If equal affection cannot be,
Let the more loving one be me.
Tracy K. Smith, poet
These lines abruptly shift the focus from astronomy to love, from the universal to the personal. Imagine how it would feel if the stars had massive, unrequited crushes on us! The speaker, couching his skepticism in a coy, hypothetical question, seems certain that we wouldn’t like this at all.
This certainty leads him to a remarkable confession, a moment of startling vulnerability. The poem’s title, “The More Loving One,” is restated with sweet, disarming frankness. Our friend is wearing his heart on his well-tailored sleeve.
The poem could end right there: two stanzas, point and counterpoint, about how we appreciate the stars in spite of their indifference because we would rather love than be loved.
But the third stanza takes it all back. Here’s Alison Bechdel reading it:
Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.
Alison Bechdel, graphic novelist
The speaker downgrades his foolish devotion to qualified admiration. No sooner has he established himself as “the more loving one” than he gives us — and perhaps himself — reason to doubt his ardor. He likes the stars fine, he guesses, but not so much as to think about them when they aren’t around.
The fourth and final stanza, read by Yiyun Li, takes this disenchantment even further:
Were all stars to disappear or die,
I should learn to look at an empty sky
And feel its total dark sublime,
Though this might take me a little time.
Yiyun Li, author
Wounded defiance gives way to a more rueful, resigned state of mind. If the universe were to snuff out its lights entirely, the speaker reckons he would find beauty in the void. A starless sky would make him just as happy.
Though perhaps, like so many spurned lovers before and after, he protests a little too much. Every fan of popular music knows that a song about how you don’t care that your baby left you is usually saying the opposite.
The last line puts a brave face on heartbreak.
So there you have it. In just 16 lines, this poem manages to be somber and funny, transparent and elusive. But there’s more to it than that. There is, for one thing, a voice — a thinking, feeling person behind those lines.
When he wrote “The More Loving One,” in the 1950s, Wystan Hugh Auden was among the most beloved writers in the English-speaking world. Before this week is over there will be more to say about Auden, but like most poets he would have preferred that we give our primary attention to the poem.
Its structure is straightforward and ingenious. Each of the four stanzas is virtually a poem unto itself — a complete thought expressed in one or two sentences tied up in a neat pair of couplets. Every quatrain is a concise, witty observation: what literary scholars call an epigram.
This makes the work of memorization seem less daunting. We can take “The More Loving One” one epigram at a time, marvelling at how the four add up to something stranger, deeper and more complex than might first appear.
So let’s go back to the beginning and try to memorize that insouciant, knowing first stanza. Below you’ll find a game we made to get you started. Give it a shot, and come back tomorrow for more!
Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.
Question 1/6
Looking up at the stars, I know quite well That, for all they care, I can go to hell,
Tap a word above to fill in the highlighted blank.
Your first task: Learn the first four lines!
Let’s start with the first couplet. Fill in the rhyming words.
Monday
Love, the cosmos and everything in between, all in 16 lines.
Tuesday (Available tomorrow)
What’s love got to do with it?
Wednesday (Available April 22)
How to write about love? Be a little heartsick (and the best poet of your time).
Thursday (Available April 23)
Are we alone in the universe? Does it matter?
Friday (Available April 24)
You did it! You’re a star.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.
Illustrations by Daniel Barreto.
Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.
Culture
Famous Authors’ Less Famous Books
Literature
‘Romola’ (1863) by George Eliot
Who knew that there’s a major George Eliot novel that neither I nor any of my friends had ever heard of?
“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.
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.
‘Quiet Dell’ (2013) by Jayne Anne Phillips
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.
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.”
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
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.
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.
‘Fox 8’ (2013) by George Saunders
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.
We’d all have read it by now — right?
‘Between the Acts’ (1941) by Virginia Woolf
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.
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.
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.
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.
More in Literature
See the rest of the issue
Culture
6 Poems You Should Know by Heart
Literature
‘Prayer’ (1985) by Galway Kinnell
Whatever happens. Whatever
what is is is what
I want. Only that. But that.
“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.”
“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?’”
‘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.
“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.
These interviews have been edited and condensed.
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