Culture
Five stars, seven figures, zero eligibility: Why are the Bewley twins still paying?
DAYTONA BEACH, Fla. — It’s a scene inside the Lemerand Center on an unfairly cold Wednesday night in early January.
A junior college men’s basketball game is happening in a 1,000-seat gym. Everyone is here for that, including two players who were never supposed to be. But play has been paused. Security is defusing an altercation between the Daytona State College and Santa Fe College women’s hoops teams, who faced off earlier and are now pointing and yelling at each other across the bleachers. One of the Santa Fe players holds back a teammate by yanking on her shirt.
Some of this owes to Daytona State’s baseball squad raising the temperature by sitting behind the visitors bench and trolling them ruthlessly. And now, here come the Santa Fe women, who have been relocated to a section right next to them. The baseball dudes knowingly simmer down. “We don’t want no trouble, guys,” one of them concedes.
But if there’s a trigger to all of it, it’s a tie-up during the first half. A missed shot, some wrestling for the rebound, some choice words and Daytona State’s Ryan Bewley shoving a guy who got in the face of his brother, Matt. That’s when the mercury really jumped. And it brings us to the pertinent question.
What in the world are Matt and Ryan Bewley doing here?
Once upon a time, the 6-foot-9 Bewley twins were the first to hit a new switch on the traditional track for elite basketball talent: Top 15 phenoms who signed with a then-nascent operation called Overtime Elite, exchanging their last two years of high school for training, exposure to scouts and millions of internet eyeballs plus compensation. This was May 2021, one month before a Supreme Court ruling tore down barriers to college athletes profiting off their name, image and likeness (NIL). At the end of two years with Overtime, the Bewleys weren’t ready for the NBA nor eligible to play in the NCAA, fishhooked by the fine print of their choice.
The timing was excruciating.
Why it matters anymore is the issue.
Matt and Ryan Bewley, now 21, started by awing grassroots crowds across Florida. They then went from a throbbing 100,000-square-foot training facility in Atlanta to the far South Side of Chicago and court-ordered basketball purgatory to, on this night, a junior college with 16 women’s golf banners hanging in its gym. They are playing again. There is a joy in that. It helps wash down the thought that NCAA programs blithely use NIL money to make millionaires every year, and it’s completely fine. And they’re the ones paying, still.
“People think me and him just fell off the face of the earth,” Matt Bewley says. “It low-key feels like we’re the only people in the world that are going through what we’re going through.”
If the Bewley boys from Fort Lauderdale were not a figurative tag team, born a minute apart and bonded at every step in their basketball lives, they might have been an actual tag team. They were professional wrestling fans growing up, and that might be underselling it. “Bro,” Matt says, “that’s all we did.” They each can recite their top five all-time grapplers (the Undertaker and “Stone Cold” Steve Austin make both lists), and their enthusiasm occasionally broke the barrier to reality, among other things. Neither is sure who tried to powerbomb whom. They do remember the smashed window, their father asking what happened, and both of them shrugging and saying they didn’t know.
“We got in trouble so many times,” Ryan says. “Broke the bed. Broke the window. Couple of walls have holes in them.”
Given that, and given that they were both 6 feet tall by age 10, it is no shock their mother, Marlene, decided to funnel her kids’ energy into something constructive. They started organized basketball at age 11 in a rec league at the city of Tamarac Community Center. Within a couple years, the Bewleys caught the eye of a local trainer who started working with them daily. By eighth grade, they’d joined Team Breakdown, a prominent Florida grassroots program.
During the summer before their ninth-grade year, they played up against 17U competition at AAU events, leading the world in double-takes induced and creating their own mythology. The Bewleys received power-conference scholarship offers from Iowa State, Florida and South Florida before they attended their first high school class. “They were like grown men playing against little kids,” says Eddie Placer, a guard from Orlando who is now a teammate at Daytona State. “That’s what it looked like out there.”
“We always compared them to the X-Men,” says Gerald Gillion, who has known the Bewleys since they were 13 and who served as Chicago State’s head coach for their one year on campus. “Really powerful mutants that, in the right situation, can do some very, very good things.”
Following two dunk-filled seasons at two different Florida high schools, the road forked. A new venture built by the media company Overtime, one that counted Amazon founder Jeff Bezos and more than 25 NBA players among its initial investors, made its pitch: Complete a high school education while training and playing at an academy in Atlanta, receiving exposure from a brand with a combined social media audience of more than 50 million people. Overtime Elite offered a minimum $100,000 salary plus bonuses and company stock to any player willing to take the leap. The aggressively untraditional terms were no secret. System disruption was the entire point.
Ryan Bewley was on board, primed for something more than Florida high school competition. “Iron sharpens iron,” he says now.
Matt Bewley was not, struggling with the idea of leaving home and friends behind. “I just felt like I was growing up too fast,” he says.
A visit to Overtime Elite’s facilities and reconsidering how reported seven-figure contracts would impact, well, everything in life recalibrated his thinking. The family likewise took into account the uncertainty of post-pandemic basketball in Florida and weighed it against predictable high-end training — “A path to getting to the league,” their father, Prince, says — combined with a centralized education structure and small class sizes. “It encompassed everything we needed,” Marlene says.
2023 Matt Bewley ranked top 25 in the country regardless of class (2021-2024) in ESPN latest rankings pic.twitter.com/rQ1ZB0EB3D
— Team Breakdown (@TeamBreakdown) August 21, 2020
On May 21, 2021, the news release dropped: Five-Star Prospects Matt and Ryan Bewley Make History as First Signings for Overtime Elite. “Signing these two great pillars for our program is an exciting beginning,” Brandon Williams, the organization’s head of basketball operations, said in the statement. Every report about the deal included a note that the Bewleys were forfeiting high school and NCAA eligibility. (In the very next recruiting cycle, Overtime Elite offered prospects a plan for joining while also maintaining an ability to play Division I basketball.)
It can be true that teenagers may not be altogether concerned with details — “I don’t think anybody at that age can understand the repercussions of anything,” Matt says — and also that obliviousness is not an out. “Going into it, the eligibility part of it, maybe at that particular time, I didn’t completely understand,” Marlene says.
Says Prince Bewley: “What sold me was, every day, the training, the facility, the coaches, the environment was to train these guys like an NBA-type thing. But they’re high school players. That’s it.”
Exactly one month later, the Supreme Court upheld a lower court’s ruling in NCAA v. Alston that cleared the way for college athletes to profit off NIL. It might’ve been a footnote in the Bewleys’ story had their chosen route worked out. It didn’t. Overtime Elite fulfilled its promise of development and exposure; 20 of the original 26 players to sign have spent time on professional rosters somewhere worldwide. (And one is a football player at Georgia.) The Bewleys simply did not rise to that level. They scored and rebounded but also averaged less than an assist per game and didn’t make a single 3-pointer between them in the 2022-23 campaign. They were not pro prospects. Not yet. They were, in fact, provided the option to spend a third year with Overtime Elite. Instead, they decided to make a run at Division I college basketball, against the headwinds of their choices, insisting that they do not regret them.
“Obviously, there are situations you go through in life where you’re like, damn, I should have made a different decision,” Matt Bewley says. “But nah, I feel like it’s just part of the story. That’s all it is. Wherever else we go, wherever this takes us, it’s just part of the story.”
They turned the corner and ran over traffic spikes. The Bewleys signed with Chicago State, a Division I program with a sympathetic coach in Gillion and zero winning seasons since 1986. They were heralded as “once-in-a-generation-type talents” who would have an “immediate impact.” The Bewleys applied for amateur certification in June 2023 and, later that month, the NCAA informed the school they were unlikely to get it. On Oct. 31 — one week before the first regular-season game — the NCAA made it official: non-certified. In short, the NCAA ruled the Bewleys had made too much money, beyond its acceptable limits for amateurs.
The Bewleys filed a federal antitrust lawsuit the next day, seeking a temporary restraining order and injunction against the NCAA. A judge in the U.S. District Court of Chicago denied them on Nov. 14. After a December hearing, the judge then denied the Bewleys’ request for reconsideration and a preliminary injunction on Jan. 14, 2024, concluding that they “have not established a likelihood of success on their claims that (the NCAA’s) bylaws are unreasonably anticompetitive or restrictive.”
The door wasn’t dead-bolted shut. It was removed and replaced with a concrete wall. The Bewleys were seemingly the only people to sue the NCAA and lose.
“You know how you have that passion for something?” Ryan Bewley says now. “And that love for something? And it just gets taken away from you? … And you keep trying and trying and trying, and people are in your ear saying, it’s going to get better, it’s going to get better — and it doesn’t get better. It’s like, aw, man, your hopes are too high.”
They now couldn’t play competitive basketball while marooned on a campus a good 30-minute drive away from anything interesting. “Some days, I cried,” Ryan says. The judge’s initial ruling bruised them so badly, they declined to accompany Chicago State to the Cancun Challenge in November; by 2024, they couldn’t travel with the team even if they wanted to. “Me and him were legit depressed,” Matt Bewley says. When they did join everyone in the gym, the Bewleys served as high-end scout-teamers. “Practice dummies,” as Ryan puts it, and they admit their personal investment levels dropped accordingly.
“It was so bad I used to be scared to even go to the park and play a pickup game,” Matt says. “Because I’m just like, yo, I haven’t done anything.”
At the end of the school year, the Bewleys returned to Florida and entered the NCAA’s transfer portal. Maybe they could join Gillion at Long Island University, where he’d taken an associate head coach spot. High-major coaches called, Marlene says, trying to sort out the twins’ status. But weeks went by. Nothing changed, and no one wanted to risk another year of idle exile. Matt considered quitting basketball. He figured he’d find something, he says now, that tall people could do.
It was mid-summer when Joey Cantens, the head coach at Daytona State College, logged into a database that ranks the available players in the portal. He noticed two familiar names near the top of the list.
On a whim, Cantens called Gillion, whom he’d known for almost two decades.
“Hey,” Cantens asked, “what are the twins doing?”
A few weeks after competing in a U20 European championship tournament in July as Great Britain’s point guard, and a few days after settling in for a year of junior college basketball in the United States, Tyrese Lacey arrived at the doors of the Lemerand Center to let his coach in the building. The sight of two extremely large humans flanking Cantens staggered him. On the elevator ride to the second floor, Lacey confirmed that, yes, in fact, these extremely large humans were related.
The elevator doors opened. The tour continued. You know they’re the Bewley twins, the Birmingham, England, native was told, expectantly.
“I’m like, ‘Who the hell are the Bewley twins?’” Lacey says now.
That was the question, wasn’t it?
In August 2024, two former five-star prospects were at the doorstep of an 11,000-student commuter school with a $3,100 tuition for Florida residents. Three years removed from famously upending an ecosystem. A year and a half removed from competitive basketball. Walking existential crises. When the Bewleys first entered the transfer portal in the spring of ’24, junior colleges across the country reached out to gauge their interest. The brothers didn’t reply. “I’m like, obviously me and him are never going to juco,” Matt says.
But eligibility in this realm works differently. The Bewleys could play. Immediately. Unless they intended to spend another season in suspended animation, they were out of alternatives.
“This is literally the purpose of community college,” Cantens says, “is to serve kids like them.”
Daytona State offered a soft landing to boot. Cantens was an energetic 38-year-old with experience as a Division I staffer at both Florida Gulf Coast and USC, whose Daytona State teams had won 55 of 63 games the previous two years while deploying a high-tempo, 3-pointer-heavy modern offense. Most critically? The Miami native played for the same AAU program as the Bewleys. He knew the people they knew. “That’s just family,” is how Matt puts it. As for the infrastructure, the twins could do far worse. A $16 million residence hall, opened in 2022 and steps away from the gym entrance, housed athletes. The cafeteria, not much farther away, served three meals a day. There was a stash of nutritional snacks available every day and an athletic trainer who whipped up post-workout smoothies. No strength coach or video coordinator. No zero-gravity treadmills or charter flights. But hardly a basketball skid row.
In a lower corner of the whiteboard in Cantens’ office, there’s a program mantra scribbled in black ink: This is a transient program for future pros. Not a dead end program for losers. “We start practice and if you’re not here an hour and a half early, doing your lift routine, your stretch routine, your shooting routine, if you’re not getting protein after practice — I have a problem with you,” Cantens says. “Because you’re not setting yourself up for success.”
The Bewleys signed on. How it would go was a cliffhanger for everyone.
Weary after the previous three years and wary of more disappointment, the twins kept to themselves in the early days. “You could tell there was still a dark spot there,” Lacey says. They’d sat on the couch in Cantens’ office and insisted that all they wanted was to be part of a team and chase a championship. Cantens didn’t totally buy it, suspicious the Bewleys were parroting some well-rehearsed lines from Overtime Elite media training. Someone like Isaiah Dorceus, a guard who didn’t have gaudy rankings and who isn’t 6-9 and who had one year left to prove worthy of a Division I roster spot, simply didn’t want anyone to wreck the good vibes.
Pickup games riddled with trash talk chipped away at the twins’ shells. So did team trips to the beach. Two players who admittedly don’t get up early for much of anything submitted to 5 a.m. workouts. They also forged ahead when it became clear their conditioning levels were not 5 a.m. workout-ready. (“I think the first workout, I made Matt throw up,” Cantens says.) It wasn’t long before the Bewleys were just two more players at Daytona State with bendy-straw career paths.
“They live in the dorms like everybody else, they eat in the cafeteria like everybody else, they get yelled at by me like everybody else,” Cantens says. “And they do a good job of cheering their teammates. And when you see that, you realize, OK, this is real. They really just want to be part of something that they missed.”
As Ryan Bewley puts it, simply: “I’m having that joy again, you know?”
To be clear: They absolutely want something more. They believe they are future NBA players.
But functional jump shots and defensive awareness, not pro roster spots, are the next rungs on the ladder. Seeing the Bewleys play is seeing the possibilities everyone sees. Matt’s end-to-end speed and chin-at-the-iron vertical on lobs. Ryan’s raw feel that, if honed properly, could make him an enviable offensive facilitator at his size. It is the stuff that draws coaches from Illinois, LSU, Penn State, St. Bonaventure, James Madison, Vermont and more to this outpost on the Florida coast, just in case.
It’s also seeing the hitch at the top of Matt’s jumper and realizing he hasn’t attempted a 3-pointer all season for a reason. It’s seeing Ryan hoist shots from the side of his head, almost like a catapult, casting at least a little doubt on the translatability of his 35.7 percent 3-point shooting. The numbers — 10 points and six rebounds in 18 minutes per game for Ryan, 9.5 points and five rebounds in 12.8 per game for Matt — are fine. They don’t obscure the truth.
“If you don’t allow them to play at a four-year school, their only chance to get developed is at a juco, for two years,” Cantens says. “At that point you better be ready to play for money overseas, somewhere. Unfair to them. Everybody else gets four or five years. (They) only get two to figure it out.”
Matt and Ryan Bewley can’t play major college basketball.
And they probably need to.
In a second-floor conference room that’s also used for film study and reheating leftovers, at a junior college occupying a few acres between a spring break mecca and the world’s most famous speedway, a modern college basketball conundrum is relitigated.
The Bewleys believe what they received for what they did at Overtime Elite — playing basketball that a media entity turned into content, signing Topps cards via Overtime’s licensing agreement with that company, doing photo shoots for other sponsors, and more — is equivalent to NIL compensation. The courts didn’t buy it. The Bewleys voluntarily dismissed their lawsuit in April 2024 but plan to refile based on the upcoming House v. NCAA settlement, after which schools effectively will pay student-athletes via revenue sharing. “That wedge the NCAA wants to put between Matt and Ryan and other athletes is getting smaller and smaller as the NIL world continues to develop,” says Dominique Price, the twins’ Chicago-based attorney. The Bewleys likely have exhausted the NCAA’s traditional paths to eligibility reinstatement already. (An NCAA spokesperson says the organization cannot comment on individual student-athletes.)
In the meantime, the No. 1 recruit in the Class of 2025, forward AJ Dybantsa, will play for BYU next season after receiving an NIL package reported to be worth at least $5 million.
“I don’t think it’s fair at all,” Matt says. “I never said this out loud, but I’m going to say this: It feels like everybody is living their life because of me and Ryan. You see NIL. You see all this other stuff. I think the reason why there even is an NIL is because of me and Ryan.”
“They’re getting paid to play,” Ryan says. “It doesn’t make any sense.”
The saga isn’t a regular conversation topic among their teammates. But there are thoughts on it at Daytona State, where the idea of opportunity is a little deeper and a little more desperate.
“It’s messed up that they’re going through this,” Placer says.
“Nothing should be stopping players from being able to play at the next level, in something they love to do,” Dorceus says.
“They’ve made money. But (other) people are making money as well,” Lacey says. “So what’s the issue now? What’s the difference? Because they signed it a bit earlier? They did their punishment. They did a year off. They didn’t play that year, and people were getting money that year. What is the difference now? Let the boys play.”
The next night, after all the hostilities end against Santa Fe College, Matt and Ryan Bewley walk past a locker room whiteboard framed by motivational placards — “WHAT DOES IT TAKE TO BREAK YOU” is a little on the nose — and inspect the box score. Once Cantens finishes his postgame remarks, the twins bring some concerns to assistant coach David Watkins.
Ryan is confused about having zero blocked shots. Matt insists his rebound count is too low. Watkins laughs. He promises he’ll check the film, but it doesn’t appear the Bewleys will let this go. All they have is what they do here.
Maybe something changes. Maybe all the gray burns off and lets some light in. “I’m spiritual anyways,” Prince Bewley says. “I’m hoping for a miracle.” Failing that or a favorable judge’s ruling, they’ll reassess and consider testing the NBA Draft waters for feedback or exploring overseas options or just staying put. For now, though? There is nothing else but what happens in a place they never expected to be.
“Hey,” Matt Bewley says, “we’re all trying to claw to the top together.”
(Illustration: Demetrius Robinson / The Athletic; photos: Courtesy of Daytona State College; Michael Conley / Associated Press)
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.
More in Literature
See the rest of the issue
Culture
Classic and Contemporary Literature From France, Japan, India, the U.K. and Brazil
Literature
FRANCE
According to the writer Leïla Slimani, 44, the author of ‘The Country of Others’ (2020).
Classic
‘Essais de Montaigne’ (‘Essays of Montaigne,’ 1580)
“France is a country of nuance with a love of conversation and freedom and an aversion to fanaticism. It’s also a country built on reflexive subjectivity. Montaigne reveals all that, writing, ‘I am myself the matter of my book.’”
Contemporary
‘La Carte et le Territoire’ (‘The Map and the Territory,’ 2010) by Michel Houellebecq
“Houellebecq describes France as a museum, where landscape turns into décor and where rural areas are emptying out. He shows the gap between the Parisian elite and the rest of the population, which he paints as aging and disoriented by modernity. It’s a melancholic and yet ironic novel about a disenchanted nation.”
JAPAN
According to the writer Yoko Ogawa, 64, the author of ‘The Memory Police’ (1994).
Classic
‘Man’yoshu’ (late eighth century)
“‘Man’yoshu,’ the oldest extant collection of Japanese poetry, reflects a diversity of voices — from emperors to commoners. They bow their heads to the majesty of nature, weep at the loss of loved ones and find pathos in death. The pages pulse with the vitality of successive generations.”
Contemporary
‘Tenohira no Shosetsu’ (‘Palm-of-the-Hand Stories,’ 1923-72) by Yasunari Kawabata
“The essence of Japanese literature might lie in brevity: waka [a classical 31-syllable poetry form], haiku and short stories. There’s a tradition of cherishing words that seem to well up from the depths of the heart, imbued with warmth. Kawabata, too, exudes more charm in his short stories — especially these very short ‘palm-of-the-hand’ stories — than in his full-length novels. Good and evil, beauty and ugliness, love and hate — everything is contained in these modest worlds.”
INDIA
According to Aatish Taseer, 45, a T contributing writer and the author of ‘Stranger to History: A Son’s Journey Through Islamic Lands’ (2009).
Classic
‘The Kumarasambhava’ (‘The Birth of Kumara,’ circa fifth century) by Kalidasa
“This is an epic poem by the greatest of the classical Sanskrit poets and dramatists. The gods are in a pickle. They’re being tormented by a monster, but Shiva, their natural protector, is deep in meditation and cannot be disturbed. Kama, the god of love, armed with his flower bow, is sent down from the heavens to waken Shiva. Never a wise idea! The great god, in his fury, opens his third eye and incinerates Kama. But then, paradoxically, the death of the god of love engenders one of the greatest love stories ever told. In the final canto, Shiva and his wife, the goddess Parvati, have the most electrifying sex for days on end — and, 15 centuries on, in our now censorious time, it still leaves one agog at the sensual wonder that was India.”
Contemporary
‘The Complex’ (2026) by Karan Mahajan
“This state-of-the-nation novel, which was published just last month, captures the squalor and malice of Indian family life. Delhi is both my and Mahajan’s hometown and, in this sprawling homage to India’s capital, we see it on the eve of the economic liberalization of the 1990s, as the old socialist city gives way to a megalopolis of ambition, greed and political cynicism.”
THE UNITED KINGDOM
According to the writer Tessa Hadley, 70, the author of ‘The London Train’ (2011).
Classic
‘Jane Eyre’ (1847) by Charlotte Brontë
“Written almost 200 years ago, it remains an insight into our collective soul — or at least its female part. Somewhere at the heart of us there’s a small girl in a wintry room, curled up in the window seat with a book, watching the lashing rain on the window glass: ‘There was no possibility of taking a walk that day. …’ Jane’s solemnity, her outraged sense of justice, her trials to come, the wild weather outside, her longing for something better, for love in her future: All this speaks, perhaps problematically, to something buried in the foundations of our idea of ourselves.”
Contemporary
‘All That Man Is’ (2016) by David Szalay
“Though he isn’t quite completely British (he’s part Canadian, part Hungarian), Szalay is brilliant at catching certain aspects of British men — aspects that haven’t been written about for a while, now updated for a new era. Funny, exquisitely observed and terrifying, this novel reminds us, too, how absolutely our fate and our identity as a nation belong with the rest of Europe.”
BRAZIL
According to the writer and critic Noemi Jaffe, 64, the author of ‘What Are the Blind Men Dreaming?’ (2016).
Classic
‘Memórias Póstumas de Brás Cubas’ (‘The Posthumous Memoirs of Brás Cubas,’ 1881) by Machado de Assis
“Not only is it experimental in style — very short chapters mixed with long ones; different points of view; narrated by a corpse; metalinguistic — but it also introduces an extremely ironic view of the rising bourgeoisie in Rio de Janeiro at the time, revealing the hypocrisy of slave owners, the falsehood of love affairs and the only true reason for all social relationships: convenience and personal interest. After almost 150 years, it’s still modern, both formally and, unfortunately, also in content.”
Contemporary
‘Onde Pastam os Minotauros’ (‘Where Minotaurs Graze,’ 2023) by Joca Reiners Terron
“The two main characters — Cão and Crente — along with some of their colleagues, plan to escape and set fire to the slaughterhouse where they work under exploitative conditions. The men develop sympathy for the animals they kill, and one of them becomes a sort of philosopher, revealing the sheer nonsense of existence and the injustices of society in the deepest parts of Brazil.”
These interviews have been edited and condensed.
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