Connect with us

Culture

The Cubs are one of MLB’s top revenue machines. So why aren’t they paying for more players?

Published

on

The Cubs are one of MLB’s top revenue machines. So why aren’t they paying for more players?

By Patrick Mooney, Ken Rosenthal and Sahadev Sharma

CHICAGO —  At first glance, the post from an X user named @Brooks_Gate seemed like something a multibillion-dollar company would ignore.

It consisted of a chart that used estimated data to illustrate the percentage of revenue spent on player payroll. Rather than sitting at the top with heavyweights like the Los Angeles Dodgers and New York Mets, the Chicago Cubs were lumped in near the bottom alongside the crosstown White Sox as well as the Pittsburgh Pirates, Tampa Bay Rays and Miami Marlins — the lightweight class.

The Wrigley Field money-making machine drove the Cubs to the third-highest revenue in Major League Baseball last year, according to sources briefed on the club’s finances. Yet even as one of the world’s most beloved ballparks hums along, a single post on social media struck a nerve with fans — and inside the executive offices.

When fans stream into Wrigley Field for Friday’s 1:20 p.m. home opener, unmistakable signs of the disparity between revenue and payroll will be visible. It’s seen in making Craig Counsell the highest-paid manager in the game and then handing him almost the same roster that got David Ross fired after the 2023 season. It’s seen in trading for Kyle Tucker after back-to-back years with 83 wins, but not going all-out to maximize his final season before becoming a free agent. It’s seen in handing the third-base job to an unproven rookie at the start of a playoffs-or-bust season, after budgetary restrictions effectively took them out of the running for Matt Chapman and Alex Bregman.

Advertisement

The graphic that perturbed Cubs executives was just one of many floating around in the vast expanse of social media. But it captured the growing belief that the Cubs no longer seem quite as singularly focused on winning the World Series, at least compared to the way that 1908 once hung over prior regimes.

One reason is the payroll parameters set by the Ricketts family ownership group and Crane Kenney’s business operations department. Another is the rising cost of doing business in the hypercompetitive National League. Taken together, those factors have left the club in a somewhat nebulous state, as legitimate contenders but with a margin for error that is arguably thinner than it should be.

The organization’s decision-makers dispute that notion. They believe the graphic is misleading and that they are making forward-looking financial choices, from hiring Counsell to building a scouting presence in Japan to enhancing player development.

“Talking about team revenue and payroll without including the other investments in baseball and business operations, as well as the impact of revenue sharing, does not show the whole picture,” said Kenney, a reference to the capital expenditures to maintain a team-owned ballpark that opened in 1914, and operating costs to run a popular tourist attraction.

Advertisement

Still, one league source referred to “the handcuffs” that Cubs president of baseball operations Jed Hoyer has dealt with while trying to build a playoff contender. A competing view, however, is that the Cubs spent roughly $100 million more than the Milwaukee Brewers last year and still finished 10 games behind that small-market team.

“The focus should not be on payroll,” Hoyer said. “Last season we went over the luxury tax and we ultimately didn’t win. That’s on me. I think we’ve built a better team this year and I’m excited for the season.”

On paper, the club remains a favorite to win the NL Central with a solid pitching staff, first-round picks all over the field and the ability to upgrade at the trade deadline. This new Cubs Way could work. But success would come despite the discrepancy highlighted by the graphic on social media. The Cubs’ spending on payroll does not appear to match their revenues.


Budget restrictions kept the Cubs from making a more competitive bid for free-agent third baseman Alex Bregman, who wound up with the Red Sox. (Maddie Malhotra / Boston Red Sox/Getty Images)

Imagine what Chicago’s lineup would look like with Chapman or Bregman hitting in the middle of the order and playing Gold Glove defense at third base. Within the past two offseasons, the Cubs had their chances to sign those All-Stars, who lingered on the free-agent market longer than expected.

Hoyer’s baseball operations department viewed each player as a sound investment and lasted into the final rounds with Scott Boras, the high-powered agent who represents both Chapman and Bregman. Those negotiations, however, went down as missed opportunities.

Advertisement

Matt Shaw, the unproven player tapped to play third base, might wind up being the NL’s Rookie of the Year. But the Cubs also could have bought more time for Shaw, the No. 13 pick in the 2023 draft, or upgraded in other areas to lower some of the team’s overall unpredictability.

Shaw started spring training this year understanding that Bregman was a possibility for a front office that often stays engaged on free agents deep into February or even March.

The year before, with a hole at third base, league sources said the Cubs kept Chapman on their radar but never made a formal offer due to budgetary constraints.

Chapman eventually signed a three-year, $54 million contract with the San Francisco Giants. While the Cubs started seven different players at third base last year — all no longer in the organization — Chapman posted 7.1 wins above replacement, per Baseball Reference.

“The Cubs had a lot of interest in me,” Chapman told The Athletic. “They were willing to do a one-year deal with me.

Advertisement

“There was just no way I could take the Cubs’ one-year deal, just for protection purposes. I was definitely considering it. I thought it would have been a good place to play. I thought they were a good team.

“Even if it was two with an opt-out after the first year, I would have really had to take a look at it. But they said with the way their money was, they could only do a one-year. I was just like, ‘That’s just too risky.’”

Boras first placed another client, Cody Bellinger, back with the Cubs before securing Chapman’s deal with the Giants. Chapman played so well in the Bay Area that he wound up signing a six-year, $151 million contract extension last September.


Matt Chapman would have made sense for the Cubs, who couldn’t make him more than a one-year offer because of budget limitations. (Ross D. Franklin / Associated Press)

Bellinger, meanwhile, had a good-but-not-great season with the Cubs, which convinced him to opt in for another year on his current deal. Rather than retain the former MVP, the Cubs traded Bellinger to the New York Yankees last December, a move that lined up with their blockbuster deal to acquire Tucker from the Houston Astros.

In a salary dump, the Cubs gave up Bellinger for Cody Poteet, a 30-year-old pitcher who got designated for assignment last week and was then traded to the Baltimore Orioles for cash considerations.

Advertisement

Internal frustrations resurfaced in February once the Cubs missed on another third baseman. Bregman picked the Red Sox, signing a three-year, $120 million contract that includes a substantial amount of deferred money that lowered the present-day value.

Hoyer was authorized to present Bregman and Boras a four-year deal worth $115 million, according to league sources, which paled in comparison to offers made by the Astros (six years, $156 million) and Detroit Tigers (six years, $171.5 million) as well as the opportunity in Boston.

While thanking the Ricketts family for the freedom to pursue Bregman, Hoyer also made it clear to reporters that this was deemed an exceptional case. The money earmarked for Bregman would not be automatically transferred into this year’s budget for baseball operations.

Hoyer also revealed that the Cubs were around their budget limits last year when ownership gave the approval to sign Bellinger. Their final 2024 payroll wound up ninth in the majors, according to The Associated Press, at almost $240 million, or just slightly over MLB’s luxury-tax threshold.

If Hoyer had to make a special request for Bellinger, then signing another All-Star shortly thereafter would have been out of the question. This was not lost on one of the sport’s most influential agents.

Advertisement

“The winning commitment barometer of a major-league team is the percentage of revenues invested in talent,” Boras said.


Ten years ago, Cubs executives were highlighted in a glowing Bloomberg Businessweek cover story that declared “a sports empire is in bloom.” The major-league club had finished in fifth place five years running, and the franchise had not captured a World Series title since Theodore Roosevelt’s presidential administration. Still, the roaring optimism proved to be accurate.

Theo Epstein, the curse-buster from Boston, had recruited Hoyer to serve as his general manager in a growing front office, and later hired star manager Joe Maddon. Big-name free agents flocked to Chicago for the money and the chance to make history.

Just as the baseball side of the organization had modernized scouting and player development systems to support an elite farm system, Cubs chairman Tom Ricketts and Kenney’s group realized the synergy of a renovated Wrigley Field, which suddenly became the new avatar for a franchise long known as the Lovable Losers.

Kenney delivered the money quote in that Bloomberg Businessweek story: “Basically, my job is fill a wheelbarrow with money, take it to Theo’s office, and dump it.”

Advertisement

The wheelbarrow was big enough to win the 2016 World Series and carry the NL’s highest payroll in 2019, a disappointing season that was the lone playoff miss amid five postseason appearances between 2015 and 2020. But since the fall of what they hoped would be a dynasty, the Cubs have taken a conservative approach while certain NL clubs continue to operate aggressively.

The financials for almost every MLB franchise are opaque, but The Associated Press gave a snapshot on Opening Day 2025 that ranked the Cubs 12th out of 30 clubs with a major-league payroll nearing $193 million, which put them lower than the Arizona Diamondbacks.

That total does not reflect the organization’s entire spend on baseball operations. A team source indicated the Cubs were fifth in that category last year, though the NL is becoming a different kind of arms race.

The Mets, pushed by owner Steve Cohen, and Dodgers, taking advantage of an exceptional TV deal, are both carrying major-league payrolls north of $300 million. The Philadelphia Phillies, led by managing partner John Middleton, have added more investors in recent years as the club pushed its payroll toward the $300 million level.

The Atlanta Braves followed a Wrigleyville blueprint, building The Battery Atlanta around Truist Park, and business is booming. The San Diego Padres just signed Jackson Merrill, a dynamic young center fielder, to a nine-year, $135 million contract extension, which now gives the club six players on nine-figure deals.

Advertisement

“Deficit spending in the National League has definitely accelerated in the past five years,” Kenney said. “This has added pressure to grow revenue in new ways and innovate beyond our comfort zone.”


Fans cheer on Shota Imanaga. Wrigley Field continues to help fuel the Cubs’ robust revenue. (Michael Reaves / Getty Images)

Forbes recently assessed the Cubs at $4.6 billion, the fourth-most valuable franchise in baseball, an astronomical increase from the $845 million purchase price of the team, Wrigley Field and a piece of a regional sports network in 2009. The Ricketts family subsequently sold equity shares to help finance the stadium renovations, but they do not view that as a sustainable strategy for signing free agents and propping up payroll.

Even as valuations soar — the Boston Celtics, an iconic NBA team, recently sold for $6.1 billion — industry sources said the franchise remains a generational asset for the Ricketts family. Navigating this next phase will be a challenge.

“The business model in baseball, it’s worked pretty well for a long time, but there’s a few things right now that are just a little out of kilter,” Ricketts said on 670 The Score during the team’s winter fan festival. “The Dodgers have a lot more resources, naturally, from smart business moves they made years ago. I don’t begrudge them any of that.

“I understand when fans say, ‘How come you don’t spend like that?’ Because they think somehow we have all these dollars that the Dodgers have or the Mets have or the Yankees have and we just keep it. Which isn’t true at all. What happens is we try to break even every year.”

Advertisement

Ricketts clarified his Cubs Convention comments during a recent sit-down interview with CNBC.

“Maybe using the word ‘break even’ wasn’t the way I wanted to say that,” Ricketts told CNBC. “I just want people to know that every dollar that’s spent at the ballpark goes back into putting a more competitive team on the field. Away from that, everyone knows — every Cub fan knows — that we’ve invested roughly a billion dollars into Wrigley Field itself and the neighborhood around, so it’s not a matter of us not investing. We are putting the best team on the field that we can every year.

“Fortunately, for baseball, player development is as important as how much you’re spending on free agents, so we just keep grinding and doing the blocking and tackling that build the organization from the bottom up.”


In 2020, when Hoyer took over for Epstein, the Cubs refused to label it as a rebuild. But they made no secret that there would be changes.

Hoyer dealt with the COVID-19-related budget cuts that forced his group to non-tender Kyle Schwarber and trade Yu Darvish in the middle of a pandemic. When the Cubs began to collapse months later, Hoyer made the bold move to unload Anthony Rizzo, Kris Bryant and Javier Báez in a flurry of deals at the 2021 trade deadline.

Advertisement

All those unpopular and unsentimental decisions eventually left the Cubs without any players remaining from their 2016 World Series team.

But what has surprised some players, agents and rivals is the cautiousness that has followed that period of transition.

“They announced what they were going to do when Jed took over,” said one executive who was granted anonymity to candidly discuss another club. “They were going to take a step back and they have. There was the assumption that once they got to a particular point they would start investing very heavily again. And they’ve probably been a little bit more methodical about it than a lot of people in the industry thought they would.”

The expectation was that Kenney’s wheelbarrow of money would come in once the front office reconstructed a stable foundation. While that has not yet happened in full force, the rival exec said, “They’re arguably the favorites in that division now. They’re still in pretty decent shape even with somewhat more modest spending.”

But big spending is the competitive advantage in a division where every other club routinely collects competitive balance draft picks to stack up more prospects. And if deficit spending, equity sales and deferred money are becoming common practices for the sport’s top teams, then the Cubs’ seeming reluctance to more assertively wield those financial tools becomes noticeable.

Advertisement

Jed Hoyer has yet to lead the Cubs to the postseason. In the final year of his contract, he faces pressure. (Griffin Quinn / Getty Images)

The Cubs’ pursuit of Bregman indicated that the bigger wheelbarrow has yet to arrive. Bregman passed the scouting eye test and the club’s projection model. Third base represented the only spot on the field where the Cubs did not have an established position player. Bregman’s championship experience and baseball IQ could have provided intangible benefits, and he’s close with Tucker after their time together in Houston.

After years of creating a solid major-league nucleus and restocking the farm system, this felt like the moment to strike. Instead, the Cubs whiffed and moved forward with Shaw, a top prospect and one of several talented young players who are being counted on to have breakthrough years.

Hoyer is now in the final year of his contract and under pressure. The rival official pointed to the Tucker trade, one that will be endlessly debated if the Cubs miss the playoffs this year and the Astros turn Cam Smith, the headlining prospect in that deal, into a superstar. The outcome may prove to be a referendum on the Cubs — and whether they’ll continue to face scrutiny for their spending.

“They’re going to have a test case with Kyle Tucker,” the rival executive said. “One extension probably puts all of that discussion to bed. And they have been active in a variety of these conversations. They just haven’t quite landed the player.”

Until they do, an undercurrent of frustration will run through Wrigleyville and social media, and the rumbling over time will only grow louder. Unless this is the year the Cubs win big.

Advertisement

(Illustration: Demetrius Robinson / The Athletic; Photo: Quinn Harris / Getty Images)

Culture

Poetry Challenge: Memorize “The More Loving One” by W.H. Auden

Published

on

Poetry Challenge: Memorize “The More Loving One” by W.H. Auden

Advertisement

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.

Advertisement

Here’s the first of its four stanzas, read for us by Matthew McConaughey:

Advertisement

The More Loving One by W.H. Auden 

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 

Advertisement

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.

Advertisement

Here’s Tracy K. Smith, a former U.S. poet laureate, with the second stanza:

Advertisement

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. 

Advertisement

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.

Advertisement

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:

Advertisement

Admirer as I think I am 

Of stars that do not give a damn, 

I cannot, now I see them, say 

Advertisement

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.

Advertisement

The fourth and final stanza, read by Yiyun Li, takes this disenchantment even further:

Advertisement

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. 

Advertisement

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.

Advertisement

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.

Advertisement

W.H. Auden in 1962. Sam Falk/The New York Times

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.

Advertisement

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.

Advertisement

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!

Your first task: Learn the first four lines!

Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.

Question 1/6

Advertisement

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

Looking up at the stars, I know quite well 

Advertisement

That, for all they care, I can go to hell, 

Advertisement

Tap a word above to fill in the highlighted blank.

Advertisement

Ready for another round? Try your hand at the 2025 Poetry Challenge.

Advertisement

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.

Advertisement

Continue Reading

Culture

Famous Authors’ Less Famous Books

Published

on

Famous Authors’ Less Famous Books

Literature

‘Romola’ (1863) by George Eliot

Advertisement

Karl Leitz for Anthony Cotsifas Studio

Who knew that there’s a major George Eliot novel that neither I nor any of my friends had ever heard of?

Advertisement

“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.

Advertisement

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.

Advertisement

‘Quiet Dell’ (2013) by Jayne Anne Phillips

Advertisement

Karl Leitz for Anthony Cotsifas Studio

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.

Advertisement

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.”

Advertisement

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

Advertisement

Karl Leitz for Anthony Cotsifas Studio

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.

Advertisement

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.

Advertisement

‘Fox 8’ (2013) by George Saunders

Advertisement

Karl Leitz for Anthony Cotsifas Studio

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.

Advertisement

We’d all have read it by now — right?

‘Between the Acts’ (1941) by Virginia Woolf

Advertisement

Karl Leitz for Anthony Cotsifas Studio

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.

Advertisement

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.

Advertisement

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.

Advertisement

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.

Advertisement

More in Literature

See the rest of the issue

Continue Reading

Culture

6 Poems You Should Know by Heart

Published

on

6 Poems You Should Know by Heart

Literature

‘Prayer’ (1985) by Galway Kinnell

Advertisement

Whatever happens. Whatever
what is is is what
I want. Only that. But that.

Galway Kinnell in 1970. Photo by LaVerne Harrell Clark, © 1970 Arizona Board of Regents. Courtesy of the University of Arizona Poetry Center

Advertisement

“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.”

Advertisement

Lucille Clifton in 1995. Afro American Newspapers/Gado/Getty Images

“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?’”

Advertisement

‘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.

Advertisement

“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.

Advertisement

These interviews have been edited and condensed.

More in Literature

See the rest of the issue

Continue Reading
Advertisement

Trending