Culture
Breanna Stewart, Liberty even WNBA Finals series with Game 2 win over Lynx
NEW YORK — There was no singular way for members of the New York Liberty to turn the page after their historic Game 1 collapse to the Minnesota Lynx.
Star guard Sabrina Ionescu said she couldn’t just “flush” the result. Forward Leonie Fiebich watched the contest three full times in the 36 hours immediately after the overtime loss. Veteran guard Courtney Vandersloot described moving forward “as a process.”
Liberty coach Sandy Brondello was glad two days separated Game 1 and Game 2 so she had more time to watch film and reflect. But just after 3 p.m. Sunday, a new game began. And with it, a new chapter in the series was written.
Though there were moments that felt eerily similar — New York, for instance, saw a 17-point lead shrink to only two with 3:21 remaining in the game — Sunday’s sequel featured a player who had a relatively minimal impact in the opener: Liberty wing Betnijah Laney-Hamilton.
Laney-Hamilton played the fewest minutes (26) of any New York starter in Game 1. In the Liberty’s 80-66 Game 2 victory, she scored 20 points, tying her season high. Laney-Hamilton nailed a 3-pointer with 3:20 remaining, the biggest shot of the contest, which stretched the lead back to five.
Then, she grabbed a rebound on the ensuing possession as the Barclays Center-record 18,040 fans in attendance rejoiced.
That Laney-Hamilton emerged as Sunday’s star is especially impressive considering Brondello’s prognosis of the wing Saturday. She played in only 28 games during the regular season, missing time from July 6 to Aug. 26 because of a knee procedure.
“She’s giving whatever she can,” Brondello said Saturday. “I think everyone sees that she’s trying. It’s not the same B that we’ve seen all season long, but it is what it is.”
She did more than just try. In addition to her offensive contributions, she spent time guarding Courtney Williams (who finished with only 15 points Sunday compared to 23 in Game 1) and Kayla McBride (who had a mere eight points after tallying 22 on Thursday).
And yet, despite Laney-Hamilton’s boost, plus bounce-back games from Stewart (21 points, eight rebounds, and five assists) and Ionescu (15 points), there were still moments in which the two games seemed the same. New York jumped out to a 10-point first quarter lead, but by the 6:52 mark of the period, it led by just six.
The Liberty led by 10 heading to halftime, but that was slashed to four points with just 90 seconds remaining in the frame. In the fourth quarter, New York’s lead grew as large as 11, but it shrunk, too. With just under four minutes left, the Liberty led by only two and those in attendance felt tension similar to the waning moments of Game 1.
This time, however, there would be no collapse.
Stewart had three, of her finals-record seven, steals in the final five minutes. Jonquel Jones hit a timely layup with 3:57 left. Fiebich paused, took a deep breath and nailed a wide-open 3-pointer with 90 seconds left to extend New York’s cushion to nine points.
After doing so, with Minnesota having taken a timeout, Laney-Hamilton pumped her fist. So, too, did Ionescu.
Collier had a modest game by her standards (16 points and eight rebounds), while a late 3-point attempt by Williams that rolled off the rim was a sign that Sunday afternoon would be different than Thursday night.
Game 3 of the 1-1 series is Wednesday night. Tipoff is set for 8 p.m. ET.
Laney-Hamilton becomes X-factor
Laney-Hamilton is less than three months removed from a procedure to remove two loose bodies from her right knee. She came off the bench during her ramp up to a full return and is still playing limited shifts in the postseason, with everyone acknowledging Laney-Hamilton isn’t going to be at 100 percent in this series.
But even at less than her best, the 2021 All-Star was still capable of being better. Laney-Hamilton had scored in double digits once in New York’s seven postseason games entering Sunday, and she was shooting 29.1 percent from the floor.
The Liberty needed more offense in Game 2 with Minnesota covering Fiebich more tightly after her five 3-pointers Thursday, and Laney-Hamilton came through. She was aggressive pulling up off of screens and made strong drives to the basket.
When New York’s movement on offense stalled, she took advantage of switches by posting up smaller defenders in the post.
Laney-Hamilton hit one of the biggest shots of the night, a corner 3-pointer off of a no-look, kick out pass from Ionescu to extend the Liberty’s lead to five points, 71-66, with 3:21 left in the game. Minnesota would never get within one possession after that.
Her 20 points tied a season-high; the last time she reached that total came before the Olympic break, and before her surgery.
In Game 1, Brondello couldn’t get Laney-Hamilton on the court down the stretch because of the way she was moving. On Sunday, it would have been impossible to justify keeping Laney-Hamilton off the floor. — Sabreena Merchant, women’s basketball staff writer
Minnesota remains resilient in defeat
The Lynx once again found themselves trailing early against the Liberty, this time facing down a 17-point deficit in the second quarter (compared to 18 in Game 1).
But Minnesota steadfastly sticks to its system of ball movement, trusting that the defense will eventually break and that its pressure defense will cause the opposing offense to stagnate. It looked like the formula might work again, as the Lynx nearly erased the deficit yet again, pulling within two in the fourth quarter.
Although they weren’t able to break through, to have come so close to potentially taking a decisive 2-0 series lead bodes well for when the series switches to Minnesota.
Kayla McBride and Napheesa Collier highlighted their team’s resilience after Game 1 even though the 45 minutes featured a series of mistakes, and that commitment shined through again Sunday, despite the result. — Merchant
Required reading
(Photo: Nathaniel S. Butler / Getty Images)
Culture
I Think This Poem Is Kind of Into You
A famous poet once observed that it is difficult to get the news from poems. The weather is a different story. April showers, summer sunshine and — maybe especially — the chill of winter provide an endless supply of moods and metaphors. Poets like to practice a double meteorology, looking out at the water and up at the sky for evidence of interior conditions of feeling.
The inner and outer forecasts don’t always match up. This short poem by Louise Glück starts out cold and stays that way for most of its 11 lines.
And then it bursts into flame.
“Early December in Croton-on-Hudson” comes from Glück’s debut collection, “Firstborn,” which was published in 1968. She wrote the poems in it between the ages of 18 and 23, but they bear many of the hallmarks of her mature style, including an approach to personal matters — sex, love, illness, family life — that is at once uncompromising and elusive. She doesn’t flinch. She also doesn’t explain.
Here, for example, Glück assembles fragments of experience that imply — but also obscure — a larger narrative. It’s almost as if a short story, or even a novel, had been smashed like a glass Christmas ornament, leaving the reader to infer the sphere from the shards.
We know there was a couple with a flat tire, and that a year later at least one of them still has feelings for the other. It’s hard not to wonder if they’re still together, or where they were going with those Christmas presents.
To some extent, those questions can be addressed with the help of biographical clues. The version of “Early December in Croton-on-Hudson” that appeared in The Atlantic in 1967 was dedicated to Charles Hertz, a Columbia University graduate student who was Glück’s first husband. They divorced a few years later. Glück, who died in 2023, was never shy about putting her life into her work.
But the poem we are reading now is not just the record of a passion that has long since cooled. More than 50 years after “Firstborn,” on the occasion of receiving the Nobel Prize for literature, Glück celebrated the “intimate, seductive, often furtive or clandestine” relations between poets and their readers. Recalling her childhood discovery of William Blake and Emily Dickinson, she declared her lifelong ardor for “poems to which the listener or reader makes an essential contribution, as recipient of a confidence or an outcry, sometimes as co-conspirator.”
That’s the kind of poem she wrote.
“Confidence” can have two meanings, both of which apply to “Early December in Croton-on-Hudson.” Reading it, you are privy to a secret, something meant for your ears only. You are also in the presence of an assertive, self-possessed voice.
Where there is power, there’s also risk. To give voice to desire — to whisper or cry “I want you” — is to issue a challenge and admit vulnerability. It’s a declaration of conquest and a promise of surrender.
What happens next? That’s up to you.
Culture
Can You Identify Where the Winter Scenes in These Novels Took Place?
Cold weather can serve as a plot point or emphasize the mood of a scene, and this week’s literary geography quiz highlights the locations of recent novels that work winter conditions right into the story. Even if you aren’t familiar with the book, the questions offer an additional hint about the setting. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the books if you’d like to do further reading.
Culture
From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel
When a writer is praised for having a sense of place, it usually means one specific place — a postage stamp of familiar ground rendered in loving, knowing detail. But Kiran Desai, in her latest novel, “The Loneliness of Sonia and Sunny,” has a sense of places.
This 670-page book, about the star-crossed lovers of the title and several dozen of their friends, relatives, exes and servants (there’s a chart in the front to help you keep track), does anything but stay put. If “The Loneliness of Sonia and Sunny” were an old-fashioned steamer trunk, it would be papered with shipping labels: from Allahabad (now known as Prayagraj), Goa and Delhi; from Queens, Kansas and Vermont; from Mexico City and, perhaps most delightfully, from Venice.
There, in Marco Polo’s hometown, the titular travelers alight for two chapters, enduring one of several crises in their passionate, complicated, on-again, off-again relationship. One of Venice’s nicknames is La Serenissima — “the most serene” — but in Desai’s hands it’s the opposite: a gloriously hectic backdrop for Sonia and Sunny’s romantic confusion.
Their first impressions fill a nearly page-long paragraph. Here’s how it begins.
Sonia is a (struggling) fiction writer. Sunny is a (struggling) journalist. It’s notable that, of the two of them, it is she who is better able to perceive the immediate reality of things, while he tends to read facts through screens of theory and ideology, finding sociological meaning in everyday occurrences. He isn’t exactly wrong, and Desai is hardly oblivious to the larger narratives that shape the fates of Sunny, Sonia and their families — including the economic and political changes affecting young Indians of their generation.
But “The Loneliness of Sonia and Sunny” is about more than that. It’s a defense of the very idea of more, and thus a rebuke to the austerity that defines so much recent literary fiction. Many of Desai’s peers favor careful, restricted third-person narration, or else a measured, low-affect “I.” The bookstores are full of skinny novels about the emotional and psychological thinness of contemporary life. This book is an antidote: thick, sloppy, fleshy, all over the place.
It also takes exception to the postmodern dogma that we only know reality through representations of it, through pre-existing concepts of the kind to which intellectuals like Sunny are attached. The point of fiction is to assert that the world is true, and to remind us that it is vast, strange and astonishing.
See the full list of the 10 Best Books of 2025 here.
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