Culture
At a ‘crisis moment,’ women’s college basketball officiating needs a way forward
After the first quarter, both SMU and Memphis assumed everything would calm down. Nine fouls in 10 minutes was a lot. But everyone, officials included, regroups after each quarter. Surely, someone in the three-member officiating squad would say: Let’s let them play.
In the second quarter, the teams made it 90 seconds before the next whistle. The next one came 21 seconds later. And another 29 seconds after that.
“It was so hard to just play basketball, to just play free, without a ref blowing a whistle,” said Ki’Ari Cain, the only Memphis starter not to foul out of that January 2024 game.
“It just felt like — don’t touch anybody,” said former SMU guard Reagan Bradley.
From the radio booth, Tyler Springs, the voice of Memphis women’s hoops, painted the picture: Players stunned and staring off into space; others approaching the referees with varying degrees of animosity.
“At a certain point, I felt resigned to the rhythm of the night, rather than being incensed about it,” Springs said. “It just kept going and going.”
By the end of 50 minutes of play — including two overtimes — 75 fouls had been called in a game that was not unusually physical. The game took three hours and 40 minutes (typical game time: two hours). Ten players fouled out. There were 98 free throws. SMU’s bench was so depleted that it finished with just four players on the floor (and still won, 91-86).
Bradley made it to the second overtime. Then she became the fourth player on SMU to foul out.
“I’m walking down the bench, high-fiving my teammates, and as I’m passing each one, I’m like, ‘You already fouled out. You already fouled out. You already fouled out,’” Bradley said. “It was crazy.”
Five days later, on a video call with officials from across the country, Debbie Williamson — the person responsible for assigning, evaluating and developing officials in several conferences across the country, including SMU’s and Memphis’ league (the American Athletic Conference) — said she oversaw a game that week with “a lot of fouls” … but that the crew was 90 percent correct.
“It was such a proud moment for us,” Williamson said.
Though Williamson didn’t mention SMU-Memphis explicitly, multiple officials who viewed the call, who requested anonymity because they weren’t authorized to discuss it publicly, agreed she couldn’t mean any other game.
“Our expectation for you all, night to night … is that you guys (call) all the rules, all the time,” Williamson said on that call, a recording of which was viewed by The Athletic.
Williamson and the ACC, the power conference she supervises, had not commented at the time of publication. The officials who called the SMU-Memphis game declined to comment or did not respond to a request for comment.
The Memphis-SMU game drew some public criticism, but didn’t garner widespread attention like other recent high-profile officiating fracases have. Those include:
• The 2023 NCAA title game, which was so egregious it caused the NCAA to fast-track an officiating review that was meant for the following year
• A 2024 NCAA Sweet 16 game in which Notre Dame star Hannah Hidalgo was ordered mid-game to remove her nose ring (which she had worn during every game that season, including two NCAA Tournament games)
• Louisville losing a game after a foul meant to stop the clock was ruled as an intentional foul, awarding two free throws to the opposing team
• An official being pulled midgame during the NCAA Tournament’s first round last year because she held an advanced degree from one of the two schools playing. (Throughout this story, “official” is used to refer to a referee.)
“As we’ve continued to see the game grow, officiating is one of those areas that we have to continue to be very attentive to,” said NCAA VP of women’s basketball Lynn Holzman, “and make sure that, within the system that exists, we are providing the opportunities for the officials to grow and develop and get direct feedback, and then there’s accountability for that through the levers that exist for the NCAA. But it is a collaborative effort with us and the conferences.”
Officials getting ripped by coaches and fans is nothing new. But with women’s college basketball exponentially more visible and popular than it’s ever been, the issue is reaching a tipping point. With the NCAA Tournament starting this week, could we see another high-profile mess? As one longtime official said, the sport’s officiating is at a “crisis moment.”
“It was exposed,” one Division I commissioner said.
The Athletic conducted more than 50 interviews with NCAA sources, administrators, coaches, players, commissioners and more than a dozen Division I current and former women’s basketball officials, many of whom requested anonymity to speak freely. Stakeholders within the sport painted a bleak picture: Currently, three people control more than 75 percent of the regular season officiating jobs; officiating styles are inconsistent across conferences; the system lacks a formal developmental framework and security for officials; and there has been limited transparency on almost every level.
“This is a five-to-10-year fix,” said one high-ranking administrator. “And we’re nowhere close to starting that.”
Iowa’s Caitlin Clark argues after receiving a technical foul during the 2023 NCAA championship game against LSU. (Maddie Meyer / Getty Images)
A concentration of power and lack of transparency at the top
While the NCAA oversees postseason tournament officiating, every conference is responsible for its own officiating during the regular season. Each has a supervisor — an independent contractor — who hires, assigns games, and evaluates and determines officials’ pay. Conference supervisors alone decide who should be considered for the NCAA Tournament.
That makes conference supervisors arguably the most powerful people in college basketball officiating. In women’s basketball, there are three main players: Williamson, Patty Broderick and Lisa Mattingly. Mattingly and Broderick had long officiating careers, while Williamson worked in college coaching and education before becoming a supervisor. All have been widely recognized for their contributions to the women’s game.
Combined, working with their teams, they lead 22 of the 31 conferences, including all power conferences. On the men’s side, only one supervisor controls more than four conferences, and 10 supervisors oversee no more than two; no supervisor handles more than one power conference.
One longtime women’s basketball coach said of the trio: “It’s such a monopoly — on controlling the entire spectrum of officiating.”
A Division I commissioner added: “They each control their own little fiefdoms.”
Concentrated power isn’t inherently concerning, but when coupled with the lack of transparency in officiating, it has led to mistrust of the system by some within the sport.
Advancing to the NCAA Tournament is seen as a career pinnacle for officials. It can also push them into higher tiers, where they earn more money. Officials who’ve advanced well into the tournament can earn roughly $4,000 per regular-season power conference game, while mid-major top tiers make around $2,000 per game. But getting to the NCAA Tournament depends on a process that happens behind closed doors.
Conference supervisors send watchlists (20 names per conference) three times during the regular season to Penny Davis, the NCAA national coordinator of officiating, and four regional advisors. The lists are private — even officials don’t know if they’re on them until they’re evaluated — and the NCAA can only evaluate officials included on them.
Multiple officials and coaches said the secrecy in this process has allowed for favoritism in the regular season — or at least the perception of it. Without a regulated and transparent system that shows why someone is receiving a certain schedule, or why an official is qualified for the postseason (or not), speculation has run rampant.
“There’s got to be more oversight of how the officiating is assigned,” said one longtime coach.
This lack of transparency in scheduling can cause particular frustration when conference supervisors select an official who is a family member, romantic partner or close friend. In the SEC, Mattingly oversees and assigns her longtime partner. The conference told The Athletic it believed those assignments were consistent with the officials’ credentials and reputation. Mattingly declined to comment.
From 2018-24 (excluding the shortened 2020-21 season), Broderick’s daughter was the only official who averaged at least 80 games a year, a lucrative schedule, a number of them in conferences ultimately run by her mother — according to PhillyRef.com, an independent website that tracks officials’ assignments — but never officiated an NCAA Tournament game, a decision made separately from her mother.
A Big Ten spokesperson and Big 12 spokesperson told The Athletic that Broderick doesn’t oversee, assign or evaluate her daughter, who instead reports to her assistant coordinator. The Big Ten lauded Broderick’s “remarkable character and leadership.” The Big 12 said, “While we are consistently working to evolve our women’s basketball officiating and ensure it is best in class, we have been pleased with the evaluation structure and assignment processes Patty Broderick and her consortium utilize.” Broderick declined to comment.
Another issue raised by officials and coaches is that coordinators’ philosophies seem to be at odds.
Mattingly is quoted in the Women’s Basketball Hall of Fame as saying: “It is a fine balance between art and science in officiating. We don’t want a game where officials call everything they see.” But Williamson said last season that officials should call “all the rules all the time.”
So, which is it?
“Some supervisors want to call it a certain way. Other supervisors don’t want you to call what you just worked the night before for another supervisor,” said one official. “It is challenging at times to adjust.”
Inconsistencies — from game-to-game, conference-to-conference and regular-season-to-postseason — were the biggest frustration for coaches interviewed by The Athletic.
That can become particularly evident in the postseason, when officials from different conferences are on the floor together.
What might you get in that scenario?
Something like a national title game between LSU and Iowa in which Caitlin Clark was called for a technical foul for delay of game while rolling the ball away on a dead ball situation and Kim Mulkey, who made contact with an official, was not.
“You (had) three officials on two different pages,” said one official with 25 years of college officiating experience, adding: “Because we’re not trained the same … you’re going to get a different game when you have referees from different areas.”
When asked about whether officials from different conferences appear to officiate differently in the NCAA Tournament, Davis said she thought “that narrative or that line exists probably in all sports,” and that her emphasis is that officials should “enforce the rules as written.”
Notre Dame’s Hannah Hidalgo (with head coach Niele Ivey) missed more than four minutes of a 2024 Sweet 16 game when officials forced her to remove her nose ring, which she had worn without issue throughout the season. (Sarah Stier/ Getty Images)
No true development or feedback system
Officiating in that 2023 LSU-Iowa national title game didn’t just draw outrage from fans and media critiques; it also prompted the NCAA to fast-track an NCAA Tournament officiating review, known as the Pictor Report, that had been scheduled for the following year. For the report, the Pictor Group reviewed documents and conducted interviews that included Davis, conference supervisors and regional advisors, but did not interview any officials or coaches.
The Athletic viewed a copy of this six-page report, which said that the NCAA’s officiating program was “run with integrity.” The report offered six observations and identified areas to improve, including increased communication, tightening the watchlists (and urging the NCAA to “articulate clearer expectations for placing an official on the list”) and adjusting how the officiating crews were selected. Holzman said the NCAA has acted on the group’s recommendations.
In the ensuing months, the NCAA oversight committee, WBCA stewardship committee and a small group at the 2024 Final Four received briefings on the report. However, the full report was never made public or broadly shown to coaches and other key stakeholders. None of the coaches The Athletic interviewed for this story had seen a full copy of the report.
“It’s disconcerting to know that whatever information was gleaned from that (report) has been kept out of the hands of coaches, athletic directors and anyone else,” UConn coach Geno Auriemma said. “I’d be curious as to why.”
When asked why the Pictor Report was never published publicly in full, like some previous NCAA reports (including the Kaplan report and a 2020 Pictor officiating report), Holzman said, “This was something that I asked to be done for the benefit of myself as I lead and direct in these areas.”
Officials hear frustrations from coaches, fans and players. Many say they need to be provided with better tools to do their job well. Namely: More feedback and a developmental system.
“I had no idea where I stood in any of this,” said one official with NCAA Tournament experience. “Tell me where I stand, so that I can make a change. … You don’t get that.”
Currently, there is no standardized on-court training for officials, nor do they get thorough and personalized reviews of their work. Even when Davis and regional advisors return comprehensive evaluations for NCAA Tournament inclusion, officials generally do not get to see them (with the exception of those in the MEAC, run by longtime NBA official Tony Brothers). Holzman said the NCAA is seeking “greater assurances that those evaluation reports are getting into the hands of the officials themselves.” Additionally, feedback given by coaches to conference supervisors after each game doesn’t get returned to officials.
None of the officials interviewed by The Athletic had received play-call percentages from their conference or the NCAA. In-season, feedback mostly consists of time-stamped game clips, but whether or when officials receive those varies. Officials working for Williamson said they often receive clips several weeks after a game has passed.
The officials who spoke to The Athletic largely found the trainings and evaluations that are available to be insufficient, especially for mid-career officials, including a general, numbered feedback form from Broderick; crew-chief training from Mattingly (which needs to be attended only once); occasional video calls during the season with the NCAA and conference officials; and open-book quizzes during the season. To officiate in the NCAA Tournament, officials must attend a five-hour NCAA clinic (with no on-court training) and pass a 100-question, untimed, open book exam ahead of the season. In recent years, the NCAA has hosted a free clinic at the Final Four, geared toward early-career and lower-division officials, as well as an event for 100 officials at the college basketball academies.
Conference supervisors host summer camps for officials, and often market these as developmental opportunities. However, multiple officials said the feedback isn’t consistent across camps, and for many early- and mid-level officials, the camps can be barriers to advancement because of the cost (generally between $350 and $525). They fear that choosing not to go could result in a loss of assigned games and wages.
“If you don’t go to camp,” said one veteran official, “you set yourself back two years. … It’s pay to play.”
Most officials said the only way to know how they’ve performed in one season is to wait until they receive their schedule for the next season.
“Are you getting more conference games? Are you getting better matchups?” said one official with more than 20 years of college experience. “If you lose a bunch, if you’re down 10 to 15 to 20 games, you need to figure out what you’re doing wrong. Unfortunately, that’s on us to figure out. We’re not told.”
UConn head coach Geno Auriemma argues a call during the 2022 NCAA Tournament. (Sean Elliot / NCAA Photos via Getty Images)
An uncertain path for officials
The NCAA has acknowledged it needs a larger pool of officials, but many officials say that uncertainty and inequities in salary and scheduling can make it a less appealing career.
In 2022, the NCAA began to pay officials the same amount for tournament games, but not all conferences pay women’s and men’s officials equally.
The Athletic asked all 31 conferences about officials’ pay equity. Nine conferences said they paid their men’s and women’s officials the same, five said they didn’t, six declined to disclose and the others didn’t respond to multiple requests. Of those offering equal pay, more than half said they had only started doing so in the past few years; the SEC, ACC, Big 12 and Big Ten pay their officials equally, but none would say how long that’s been the case.
Even with pay disparities, officiating can be a lucrative career for those with the busiest schedules. The most-used officials can earn more than $250,000 before expenses during the season, though many make significantly less (and work other jobs to supplement incomes).
But as seasonal independent contractors, officials also accept uncertainty.
In September, officials rank the conferences that have hired them in order of which they most want to work for — but without knowing how many games they might receive or how much they’ll make per game in that conference. Ultimately, they don’t know their schedules, or how much they’ll earn that season, until a few weeks before tipoff.
Officials are paid a lump sum per game — all expenses come out of that. So, if an official is assigned to games within driving distance of their home, they’ll earn more than an official who has to travel and pay for flights, hotels, rental cars and meals.
Another scheduling frustration officials raised: more assignments for younger, less experienced officials. This season, one official with no Division I basketball experience got their first two DI games in the ACC, an unusually prominent assignment for an official at that level. Another inexperienced official’s games more than doubled recently from 27 to 66, going from no power conference games to 15. One official’s games jumped from two in their first season to 38 in their third season.
“The problem now is we are advancing young officials at way too quick of a rate,” said one veteran official of regular season officiating jobs. “And it’s not their fault.”
Broderick, Mattingly and Williamson did not comment on less-experienced officials receiving heavier schedules.
In these scenarios, it’s often the more experienced officials who end up shouldering far more responsibility in games, which can tax their bandwidth and can lead to missed calls and lower morale.
“Then we start missing plays and the inconsistency begins,” said one former official. “It’s one thing to mentor officials who are moving into new levels, but mentoring is very different from teaching on the job — which is what is happening, and is very evident.”
Where does the sport go from here?
Through the embarrassments and frustrations, administrators, coaches and officials ask: Where does the buck stop?
The Pictor Report calls for greater communication and transparency in different systems, and many in the sport — coaches, officials, administrators — agree more clarity and communication is needed. The NCAA may have implemented the report’s recommendations, but that hasn’t included a consistent public response to officiating blunders the past few seasons, or ensuring that the broader basketball community is aware of steps taken to eliminate these errors.
In 2016, after an incorrect call in the Sweet 16 kept Gonzaga’s men’s team from advancing, the NCAA called coach Mark Few to apologize for the mistake. Not so on the women’s side. A source close to Iowa confirmed that Davis never reached out to discuss the officiating in the 2023 NCAA title game. Auriemma said that he had never heard from anyone at the NCAA after a tournament game, including the divisive screen call at the end of the 2024 Final Four game against Iowa.
Coaches have made suggestions for improvement. Some mentioned adopting “two-minute reports,” similar to the NBA, which releases detailed reports on every call made in the final two minutes of games that were within three points (the WNBA does not do this). Others wanted to see transparency around play-calling percentages and how that corresponds to assignments.
Officials and conference sources said they’d like to regularly see game call percentages, ensure NCAA’s officiating evaluations get to officials, have more consistency across leagues and see more transparency in scheduling.
Davis said she also has suggested that conferences provide free summer training for staff officials. “As we’re investing in the game and investing in all parts of it, officiating shouldn’t be overlooked,” she said.
At a time when the game is better than ever, with television audiences hitting record viewership and attendance up across the country, getting officiating up to speed with the game should be the NCAA’s highest priority.
“(Good reffing) is everything,” said one ACC coach. “To me, it’s the integrity of the game.”
(Illustration: Kelsea Petersen / The Athletic; Top photo: Jay LaPrete / 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
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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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