Culture
A 19-year-old Stanford phenom is blazing a new trail from Japan to the majors
STANFORD, Calif. — The dugout chatter for intrasquad games at the Sunken Diamond can be merciless.
The slings and arrows are nonstop when Stanford baseball players are pitted against one another. The guys wearing red jerseys shout streams of insults at players on the black team and vice versa. “Whoa, hey, Luke’s got a new stance,” a player wearing a black jersey yells as freshman catcher Luke Lavin stands upright in the batter’s box, perhaps imitating the Chicago Cubs’ Cody Bellinger.
Lavin pops up the next pitch. “Same swing, though!”
But the tone changes when No. 3 for the black team, a husky teenager and early enrollee who won’t begin his freshman season until next year, steps in the box. The good-natured ribbing gives way to full-throated encouragement from both sides. Let’s go Rintaro! C’mon Rintaro! Give it a ride, Rintaro!
“We still can’t believe he’s here,” infielder Jimmy Nati said. “We’re all fanboying him, for sure.”
Rintaro Sasaki is not the typical Stanford baseball recruit. Back home in Japan, he is a national celebrity, instantly recognizable almost anywhere he goes. Last year, Sasaki was the top-rated high school player in a country where high school baseball is a national obsession. The left-handed slugger was projected to be the most coveted name in last October’s Nippon Professional Baseball draft. He mashed a national record 140 home runs, with twice as many walks as strikeouts, for Hanamaki-Higashi High School in Iwate Prefecture, the same school that produced Los Angeles Dodgers superstar Shohei Ohtani and Toronto Blue Jays left-hander Yusei Kikuchi. Sasaki’s father, Hiroshi, coached all of them and is a legendary figure in his own right.
When Rintaro graduated from high school this past March, television stations dispatched more than 30 camera crews to cover the event.
It would be a last glimpse. Sasaki announced a few weeks prior to the NPB draft that he would not register for it. Instead, he would blaze a trail and play collegiate ball in the United States — a nearly unprecedented path that could fast-track him to Major League Baseball as a draft-eligible sophomore in 2026.
In February, Sasaki stunned Stanford coach David Esquer and recruiting coordinator Thomas Eager when he requested a Zoom call with them, asked a few logistical questions, then told them that he was selecting the Cardinal over Cal, UCLA, and Vanderbilt.
Sasaki arrived on campus at the beginning of April, moved into a dorm room and enrolled in three classes as a pre-freshman. He can participate in all team activities except playing in games. He practices and works out with his new teammates. On game days, he suits up, cheers them on from the dugout and eagerly takes part in all the pregame traditions. He’s gone on road trips to Utah and Oregon State. He’s surprised everyone with how much English he understands, and he’s left them slack-jawed with his batting-practice shots over the light standards. When he turned 19 on April 18, his teammates took him out to a dinner that included ice cream, candles and tables of complete strangers joining in to sing “Happy Birthday.”
He is absolutely loving all of it.
“I made the right choice,” Sasaki said through interpreter and team trainer Tomoo Yamada. “People are nice to me. Everyone is my friend. I haven’t missed Japan yet. I feel completely settled. I can’t believe it’s been only four weeks. I’m enjoying life.”
Sasaki was a national star in high school, but his first month in California has largely been filled with normal college experiences. (Courtesy of Stanford Athletics)
Beyond the right field fence at Klein Field, past the scoreboard and a stand of trees, is the Avery Aquatic Center. It’s where Olympic swimmer Katie Ledecky would lap the competition during her brief time as a Stanford student. As best as anyone can tell, that’s where a couple of Sasaki’s tape-measure home runs have splashed down.
Everything about Sasaki is broad and powerful, a body rendered in letterbox format. He stands 6 feet and 250 pounds, and his full-tilt swing puts every ounce behind the baseball. He hits line drives to left field that dismiss gravity as they streak over the fence. His pull power is pure astonishment. The ear-splitting sound off his aluminum bat exceeds OSHA safety standards.
“He looks like Barry Bonds,” Nati said. “That’s how good he’s going to be. When he runs into balls, he hits them over the light tower. It’s crazy.
“The ball comes off different. You can close your eyes, hear the sound and know it’s him.”
In a simulated game at Stanford last Wednesday, Sasaki lined a single off the fence and crushed two homers. According to Trackman, the second homer traveled 422 feet, with an exit velocity of 111 mph.
“Hey Rintaro,” Esquer called out. “You’ll need to get that one out of the swimming pool.”
“Swimming pool?” Sasaki replied, then nodded and laughed. He knew what the words meant. He just needed a second to process them.
Here’s another word to add to his growing vocabulary: Trailblazer.
“Ah, pioneer?” Sasaki said in English. “Yes, I know it.”
If Sasaki had been drafted by an NPB team, he would have been under club control for nine years. Although Japanese pro teams often gain a windfall in posting fees by making their players available to MLB before their nine years are up, there are no guarantees. Sasaki might have been pushing 30 by the time he had an opportunity to play in the U.S.
He made it clear: His goal is to play in the major leagues.
“Ohtani and Kikuchi are already overseas,” Sasaki said. “I always thought one day, hopefully I can get there. They were big influences for me. Ohtani said, ‘Follow your instinct. That is what you decided. That is a path you need to keep walking.’”
Sasaki’s path — to become MLB draft-eligible by attending an American university — has almost no precedent. Rikuu Nishida, a speedy infielder from Sendai, was an 11th-round pick of the Chicago White Sox last year after a standout season at the University of Oregon. But Nishida, who played two seasons at a junior college upon arriving in the U.S., was not an NPB draft prospect in Japan.
Although there are no written rules that would prohibit an MLB team from signing a Japanese high school player out of its international signing pool, there’s been an unofficial understanding among teams against the practice. (Until 2020, when it rescinded its rule, NPB enforced a ban of two to three years on Japanese players who opted out of the draft and signed with a foreign league.)
Ohtani came close to setting a groundbreaking precedent as a high school phenom in 2012, when he advised NBP teams against drafting him, saying that he intended to sign with an MLB franchise. The Nippon Ham Fighters took him anyway, then persuaded him to sign by promising to let him develop as a two-way player.
NPB teams had no such hope of signing Sasaki, who ensured that he would be taken off the NPB draft board by attending an American university. Now he will have two seasons to improve his conditioning and address weaknesses in his game before turning pro.
The chance to develop in less of a fishbowl environment was appealing to Sasaki and his father, as well.
“In Japan, people tend to focus more on shortcomings. But in the U.S., they develop individuality,” Hiroshi Sasaki told CNN in March. “I think this is a very good choice for him.”
It is a choice that involves financial risk and delayed gratification. As a first-round pick in NPB, Sasaki likely would have received a signing bonus and incentives worth more than $1 million, plus personal services contracts that could have earned him hundreds of thousands more. At Stanford, of course, he is merely a student-athlete on scholarship. He also cannot participate in NIL opportunities while on U.S. soil because he is an international player on a student visa.
He would earn a multimillion bonus if he is a first-round pick in 2026, but that is far from assured. Because he is limited to first base and his defensive skills are unpolished, his bat must be compelling. And although he faced top high school competition in Japan, advancing to the Best Eight at the famed Koshien tournament last year, he mostly hit against pitchers who threw in the upper 80s.
He is betting on himself. And on Stanford to help him develop his gifts.
“I had the confidence to come to the States,” Sasaki said. “Right now I want to settle in here, take classes and do well. Take one step at a time. And two years from today, we’ll see where I am at. Getting to the major leagues is not everything for my life. Of course I want to get drafted and get to the major leagues. But I want to keep studying and also be a good person.”
Does that make him a pioneer? He shrugged. That’s for others to decide.
“He’s showing a lot of courage to come here spring quarter, practice on a daily basis with a college team and look so comfortable,” Esquer said. “He wants to get an education and maybe become an entrepreneur, but he’s also told us that he wants to leave a mark and blaze a trail for Japanese players to come here and play college baseball. Eighteen-year-old kids don’t normally think that way.
“He grew up with Ohtani. He’s seen the standard of what it takes to be great.”
If Sasaki becomes a top MLB draft prospect two years from now, he’s likely to be regarded as the baseball player who upended an entire system — something that even Ohtani could not accomplish.
Ohtani, asked about his influence on Sasaki’s decision, said he merely offered support and encouragement.
“I didn’t really offer any advice or anything like that,” Ohtani said through Dodgers interpreter Will Ireton. “Making the best decision usually comes from being convicted. I’ve made decisions like that in the past as well. I feel like that’s the decision he made from his conviction.”
Sasaki (right) has known Ohtani since he was young, and has turned to the megastar for advice over the years. (Courtesy of the Sasaki family)
Esquer and his coaches still have trouble believing Sasaki is here.
Stanford was a late entrant when the recruitment process began last year. Sasaki took unofficial visits to Vanderbilt, Duke, UCLA and Cal — he also attended a Giants game at Oracle Park — but did not go to Palo Alto. At the time, there wasn’t a spot for him at Stanford, which allows a strict number of admissions per sport. Then two Cardinal players entered the transfer portal and a few others de-committed.
Suddenly, Stanford had a spot — and plenty of interest.
“We were playing catch-up, to be honest with you,” said Eager, who is the team’s pitching coach as well as recruiting coordinator. “In the Japanese culture, because we weren’t involved in the first go-around, we didn’t know if they would take it as a sign of disrespect. We hoped to explain that this is just how it operates here. We liked him all along. And we had a good official visit in January. But I tell you what, I did not think we were getting him.”
The official visit included meet-and-greets with three Stanford alums who are major leaguers: Chicago Cubs second baseman Nico Hoerner, Kansas City Royals pitcher Kris Bubic and San Francisco Giants pitcher Tristan Beck. Hoerner drew on his experience playing with Japanese outfielder Seiya Suzuki in Chicago while encouraging Sasaki to make sure he could continue the routines that are important to him.
“You can do your best to put yourself in someone’s shoes, but it is a totally different experience what he’s going to be doing,” Hoerner said. “The adjustment to college, even for myself, driving 45 minutes from where I grew up, was really different. Doing that with a language barrier, taking classes, and the whole schedule is a lot.
“In pro ball, you’re in charge of your own career at the end of the day. But a lot of times in college, you’re pretty much subject to whatever the program believes in. So I just felt it was really important to stress that whatever it is that makes him tick as a player, he’d be able to continue to do that. Because not all college programs would really be (OK) with that. And I did feel like Stanford, with the staff that they have, are there for whatever the players need.”
Esquer knew what was at stake, even beyond adding a potential impact hitter. If Sasaki chose Stanford, it would enhance the university’s already prestigious international brand. And if Sasaki became the first arrival that breaks a dam, perhaps the pipeline of talent from Japan would lead directly to the Sunken Diamond.
Sasaki’s visit was thorough but not ostentatious. The team hired a taco truck to cater a post-practice party. Several players remarked that they saw Esquer wearing a suit for the first time. Mostly, Esquer hoped to convey that Sasaki would have every resource to develop as a player and person.
“My promise to you is that we’re going to take care of your son,” Esquer told Hiroshi Sasaki. “We’re going to coach him and help him get better, but also we’re going to make sure he’s well looked after.”
Beck laughed when he recalled his recruiting visit more than a decade ago. No taco trucks, no meetings with trustees, no coaches in suits. But he remembered one thing someone told him that might have resonated with an international celebrity like Sasaki.
“One of the adages I heard before I enrolled was, ‘Don’t worry about being bothered, because the most famous people here don’t play sports at all,’” Beck said. “The most interesting people here aren’t even athletes, even with people like Andrew Luck walking around campus.
“He did mention his favorite team was the Giants, which is sweet. I made sure he said that a couple more times so Nico and Kris were sure to hear it.”
Sasaki was projected to be a top pick in the NBP draft after hitting a national record 140 home runs in high school. (Courtesy of Stanford Athletics)
You might assume that Sasaki wants to become the next Ohtani. But there’s another home run hitter that he has spent his life emulating.
“I don’t know how far I can go, but I respect Barry Bonds a lot,” Sasaki said. “(To) one day get to be as close as possible to Barry Bonds — that is my goal.”
Bonds, and not Shohei?
“Ever since I was in elementary school, I was watching Barry Bonds,” Sasaki said. “Ohtani was one of my mentors. Sometimes I communicate with him and get advice. But Barry Bonds was my ultimate goal since I was little. Don’t misunderstand. I respect Shohei and Barry Bonds both.
“When Bonds got in the batter’s box, people expected to see something big or something special. I want to be like that.”
Rintaro Sasaki, my goodness.
Wish we could’ve seen this swing in NPB but I’m confident he’s going to blossom into a superstar. pic.twitter.com/ifkODlbc2g
— Yakyu Cosmopolitan (@yakyucosmo) April 30, 2024
For now, Sasaki just wants to be a good teammate and fit in. He is taking a language skills class with other international students, but his other two courses, including an introductory class in human biology, are in English. He understands more than he can speak, but baseball tends to operate with its own universal language. When Yamada, the trainer, returned to Japan for a week, Sasaki appeared to manage just fine. If Sasaki gets stuck on a word, bullpen catcher Michael Fung, who is minoring in East Asian Studies and spent time last year studying in Stanford’s overseas program in Kyoto, is usually able to help bridge any language gap.
Sasaki declined Esquer’s offer of a full-time interpreter, saying he would chip away at the language barrier faster with the help of his teammates.
“It fired us up to hear that,” said Lavin, who has become one of Sasaki’s more steady companions. “Because it seems he’s really bought into the team’s culture and being around us. He’s a normal teammate here. You can’t tell from talking to him that he’s super famous. He has not brought it up once, how many people know his name.”
Still, Sasaki is likely to draw crowds very soon. The word is just beginning to trickle out that he is on campus. At a recent game at Santa Clara University, two dozen Japanese baseball fans waited outside the ballpark so they could meet Sasaki and take pictures with him. Stanford officials are gearing up for more attention, more media and more fans.
For now, his competition is limited to those spirited intrasquad games. A couple of his teammates already feel comfortable enough to engage in a bit of sarcastic banter. And they’ve learned that Sasaki is already comfortable enough to dish it right back.
“We were at Oregon State and I’m watching him flick home runs the other way,” Lavin said. “So I said to him, ‘Ah, it’s just the wind.’ Then the wind died down and he started hitting pull-side homers over the stands.
“And he looked at me and said, ‘It’s not the wind.’”
The Athletic’s Fabian Ardaya and Patrick Mooney contributed to this story.
(Top image: Sean Reilly / The Athletic; Photos: Courtesy of Stanford Athletics)
Culture
Poetry Challenge: Memorize “The More Loving One” by W.H. Auden
Let’s memorize a poem! Not because it’s good for us or because we think we should, but because it’s fun, a mental challenge with a solid aesthetic reward. You can amuse yourself, impress your friends and maybe discover that your way of thinking about the world — or even, as you’ll see, the universe — has shifted a bit.
Over the next five days, we’ll look closely at a great poem by one of our favorite poets, and we’ll have games, readings and lots of encouragement to help you learn it by heart. Some of you know how this works: Last year more Times readers than we could count memorized a jaunty 18-line recap of an all-night ferry ride. (If you missed that adventure, it’s not too late to embark. The ticket is still valid.)
This time, we’re training our telescopes on W.H. Auden’s “The More Loving One” — a clever, compact meditation on love, disappointment and the night sky.
Here’s the first of its four stanzas, read for us by Matthew McConaughey:
The More Loving One
Looking up at the stars, I know quite well
That, for all they care, I can go to hell,
But on earth indifference is the least
We have to dread from man or beast.
Matthew McConaughey, actor and poet
In four short lines we get a brisk, cynical tour of the universe: hell and the heavens, people and animals, coldness and cruelty. Commonplace observations — that the stars are distant; that life can be dangerous — are wound into a charming, provocative insight. The tone is conversational, mixing decorum and mild profanity in a manner that makes it a pleasure to keep reading.
Here’s Tracy K. Smith, a former U.S. poet laureate, with the second stanza:
How should we like it were stars to burn
With a passion for us we could not return?
If equal affection cannot be,
Let the more loving one be me.
Tracy K. Smith, poet
These lines abruptly shift the focus from astronomy to love, from the universal to the personal. Imagine how it would feel if the stars had massive, unrequited crushes on us! The speaker, couching his skepticism in a coy, hypothetical question, seems certain that we wouldn’t like this at all.
This certainty leads him to a remarkable confession, a moment of startling vulnerability. The poem’s title, “The More Loving One,” is restated with sweet, disarming frankness. Our friend is wearing his heart on his well-tailored sleeve.
The poem could end right there: two stanzas, point and counterpoint, about how we appreciate the stars in spite of their indifference because we would rather love than be loved.
But the third stanza takes it all back. Here’s Alison Bechdel reading it:
Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.
Alison Bechdel, graphic novelist
The speaker downgrades his foolish devotion to qualified admiration. No sooner has he established himself as “the more loving one” than he gives us — and perhaps himself — reason to doubt his ardor. He likes the stars fine, he guesses, but not so much as to think about them when they aren’t around.
The fourth and final stanza, read by Yiyun Li, takes this disenchantment even further:
Were all stars to disappear or die,
I should learn to look at an empty sky
And feel its total dark sublime,
Though this might take me a little time.
Yiyun Li, author
Wounded defiance gives way to a more rueful, resigned state of mind. If the universe were to snuff out its lights entirely, the speaker reckons he would find beauty in the void. A starless sky would make him just as happy.
Though perhaps, like so many spurned lovers before and after, he protests a little too much. Every fan of popular music knows that a song about how you don’t care that your baby left you is usually saying the opposite.
The last line puts a brave face on heartbreak.
So there you have it. In just 16 lines, this poem manages to be somber and funny, transparent and elusive. But there’s more to it than that. There is, for one thing, a voice — a thinking, feeling person behind those lines.
When he wrote “The More Loving One,” in the 1950s, Wystan Hugh Auden was among the most beloved writers in the English-speaking world. Before this week is over there will be more to say about Auden, but like most poets he would have preferred that we give our primary attention to the poem.
Its structure is straightforward and ingenious. Each of the four stanzas is virtually a poem unto itself — a complete thought expressed in one or two sentences tied up in a neat pair of couplets. Every quatrain is a concise, witty observation: what literary scholars call an epigram.
This makes the work of memorization seem less daunting. We can take “The More Loving One” one epigram at a time, marvelling at how the four add up to something stranger, deeper and more complex than might first appear.
So let’s go back to the beginning and try to memorize that insouciant, knowing first stanza. Below you’ll find a game we made to get you started. Give it a shot, and come back tomorrow for more!
Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.
Question 1/6
Looking up at the stars, I know quite well That, for all they care, I can go to hell,
Tap a word above to fill in the highlighted blank.
Your first task: Learn the first four lines!
Let’s start with the first couplet. Fill in the rhyming words.
Monday
Love, the cosmos and everything in between, all in 16 lines.
Tuesday (Available tomorrow)
What’s love got to do with it?
Wednesday (Available April 22)
How to write about love? Be a little heartsick (and the best poet of your time).
Thursday (Available April 23)
Are we alone in the universe? Does it matter?
Friday (Available April 24)
You did it! You’re a star.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.
Illustrations by Daniel Barreto.
Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.
Culture
Famous Authors’ Less Famous Books
Literature
‘Romola’ (1863) by George Eliot
Who knew that there’s a major George Eliot novel that neither I nor any of my friends had ever heard of?
“Romola” was Eliot’s fourth novel, published between “The Mill on the Floss” (1860) and “Middlemarch” (1870-71). If my friends and I didn’t get this particular memo, and “Romola” is familiar to every Eliot fan but us, please skip the following.
“Romola” isn’t some fluky misfire better left unmentioned in light of Eliot’s greater work. It’s her only historical novel, set in Florence during the Italian Renaissance. It embraces big subjects like power, religion, art and social upheaval, but it’s not dry or overly intellectual. Its central character is a gifted, freethinking young woman named Romola, who enters a marriage so disastrous as to make Anna Karenina’s look relatively good.
It probably matters that many of Eliot’s other books have been adapted into movies or TV series, with actors like Hugh Dancy, Ben Kingsley, Emily Watson and Rufus Sewell. The BBC may be doing even more than we thought to keep classic literature alive. (In 1924, “Romola” was made into a silent movie starring Lillian Gish. It doesn’t seem to have made much difference.)
Anthony Trollope, among others, loved “Romola.” He did, however, warn Eliot against aiming over her readers’ heads, which may help explain its obscurity.
All I can say, really, is that it’s a mystery why some great books stay with us and others don’t.
‘Quiet Dell’ (2013) by Jayne Anne Phillips
This was an Oprah Book of the Week, which probably disqualifies it from B-side status, but it’s not nearly as well known as Phillips’s debut story collection, “Black Tickets” (1979), or her most recent novel, “Night Watch” (2023), which won her a long-overdue Pulitzer Prize.
Phillips has no parallel in her use of potent, stylized language to shine a light into the darkest of corners. In “Quiet Dell,” her only true-crime novel, she’s at the height of her powers, which are particularly apparent when she aims her language laser at horrific events that actually occurred. Her gift for transforming skeevy little lives into what I can only call “Blade Runner” mythology is consistently stunning.
Consider this passage from the opening chapter of “Quiet Dell”:
“Up high the bells are ringing for everyone alive. There are silver and gold and glass bells you can see through, and sleigh bells a hundred years old. My grandmother said there was a whisper for each one dead that year, and a feather drifting for each one waiting to be born.”
The book is full of language like that — and of complex, often chillingly perverse characters. It’s a dark, underrecognized beauty.
‘Solaris’ (1961) by Stanislaw Lem
You could argue that, in America, at least, the Polish writer Stanislaw Lem didn’t produce any A-side novels. You could just as easily argue that that makes all his novels both A-side and B-side.
It’s science fiction. All right?
I love science and speculative fiction, but I know a lot of literary types who take pride in their utter lack of interest in it. I always urge those people to read “Solaris,” which might change their opinions about a vast number of popular books they dismiss as trivial. As far as I know, no one has yet taken me up on that.
“Solaris” involves the crew of a space station continuing the study of an aquatic planet that has long defied analysis by the astrophysicists of Earth. Part of what sets the book apart from a lot of other science-fiction novels is Lem’s respect for enigma. He doesn’t offer contrived explanations in an attempt to seduce readers into suspending disbelief. The crew members start to experience … manifestations? … drawn from their lives and memories. If the planet has any intentions, however, they remain mysterious. All anyone can tell is that their desires and their fears, some of which are summoned from their subconsciousness, are being received and reflected back to them so vividly that it becomes difficult to tell the real from the projected. “Solaris” has the peculiar distinction of having been made into not one but two bad movies. Read the book instead.
‘Fox 8’ (2013) by George Saunders
If one of the most significant living American writers had become hypervisible with his 2017 novel, “Lincoln in the Bardo,” we’d go back and read his earlier work, wouldn’t we? Yes, and we may very well have already done so with the story collections “Tenth of December” (2013) and “Pastoralia” (2000). But what if we hadn’t yet read Saunders’s 2013 novella, “Fox 8,” about an unusually intelligent fox who, by listening to a family from outside their windows at night, has learned to understand, and write, in fox-English?: “One day, walking neer one of your Yuman houses, smelling all the interest with snout, I herd, from inside, the most amazing sound. Turns out, what that sound is, was: the Yuman voice, making werds. They sounded grate! They sounded like prety music! I listened to those music werds until the sun went down.”
Once Saunders became more visible to more of us, we’d want to read a book that ventures into the consciousness of a different species (novels tend to be about human beings), that maps the differences and the overlaps in human and animal consciousness, explores the effects of language on consciousness and is great fun.
We’d all have read it by now — right?
‘Between the Acts’ (1941) by Virginia Woolf
You could argue that Woolf didn’t have any B-sides, and yet it’s hard to deny that more people have read “Mrs. Dalloway” (1925) and “To the Lighthouse” (1927) than have read “The Voyage Out” (1915) or “Monday or Tuesday” (1921). Those, along with “Orlando” (1928) and “The Waves” (1931), are Woolf’s most prominent novels.
Four momentous novels is a considerable number for any writer, even a great one. That said, “Between the Acts,” her last novel, really should be considered the fifth of her significant books. The phrase “embarrassment of riches” comes to mind.
Five great novels by the same author is a lot for any reader to take on. Our reading time is finite. We won’t live long enough to read all the important books, no matter how old we get to be. I don’t expect many readers to be as devoted to Woolf as are the cohort of us who consider her to have been some sort of dark saint of literature and will snatch up any relic we can find. Fanatics like me will have read “Between the Acts” as well as “The Voyage Out,” “Monday or Tuesday” and “Flush” (1933), the story of Elizabeth Barrett Browning’s cocker spaniel. Speaking for myself, I don’t blame anyone who hasn’t gotten to those.
I merely want to add “Between the Acts” to the A-side, lest anyone who’s either new to Woolf or a tourist in Woolf-landia fail to rank it along with the other four contenders.
As briefly as possible: It focuses on an annual village pageant that attempts to convey all of English history in a single evening. The pageant itself interweaves subtly, brilliantly, with the lives of the villagers playing the parts.
It’s one of Woolf’s most lusciously lyrical novels. And it’s a crash course, of sorts, in her genius for conjuring worlds in which the molehill matters as much as the mountain, never mind their differences in size.
It’s also the most accessible of her greatest books. It could work for some as an entry point, in more or less the way William Faulkner’s “As I Lay Dying” (1930) can be the starter book before you go on to “The Sound and the Fury” (1929) or “Absalom, Absalom!” (1936).
As noted, there’s too much for us to read. We do the best we can.
More in Literature
See the rest of the issue
Culture
6 Poems You Should Know by Heart
Literature
‘Prayer’ (1985) by Galway Kinnell
Whatever happens. Whatever
what is is is what
I want. Only that. But that.
“I typically say Kinnell’s words at the start of my day, as I’m pedaling a traffic-laden path to my office,” says Major Jackson, 57, the author of six books of poetry, including “Razzle Dazzle” (2023). “The poem encourages a calm acceptance of the day’s events but also wants us to embrace the misapprehension and oblivion of life, to avoid probing too deeply for answers to inscrutable questions. I admire what Kinnell does with only 14 words; the repetition of ‘what,’ ‘that’ and ‘is’ would seem to limit the poem’s sentiment but, paradoxically, the poem opens widely to contain all manner of human experience. The three ‘is’es in the middle line give it a symmetry that makes its message feel part of a natural order, and even more convincing. Thanks to the skillful punctuation, pauses and staccato rhythm, a tonal quality of interior reflection emerges. Much like a haiku, it continues after its last words, lingering like the last note played on a piano that slowly fades.”
“Just as I was entering young adulthood, probably slow to claim romantic feelings, a girlfriend copied out a poem by Pablo Neruda and slipped it into an envelope with red lipstick kisses all over it. In turn, I recited this poem. It took me the remainder of that winter to memorize its lines,” says Jackson. “The poem captures the pitch of longing that defines love at its most intense. The speaker in Shakespeare’s most famous sonnet believes the poem creates the beloved, ‘So long as men can breathe or eyes can see, / So long lives this, and this gives life to thee.’ (Sonnet 18). In Rilke’s expressive declarations of yearning, the beloved remains elusive. Wherever the speaker looks or travels, she marks his world by her absence. I find this deeply moving.”
“Clifton faced many obstacles, including cancer, a kidney transplant and the loss of her husband and two of her children. Through it all, she crafted a long career as a pre-eminent American poet,” says Jackson. “Her poem ‘won’t you celebrate with me’ is a war cry, an invitation to share in her victories against life’s persistent challenges. The poem is meaningful to all who have had to stare down death in a hospital or had to bereave the passing of close relations. But, even for those who have yet to mourn life’s vicissitudes, the poem is instructive in cultivating resilience and a persevering attitude. I keep coming back to the image of the speaker’s hands and the spirit of steadying oneself in the face of unspeakable storms. She asks in a perfectly attuned gorgeously metrical line, ‘what did i see to be except myself?’”
‘Sonnet 94’ (1609) by William Shakespeare
They that have power to hurt and will do none,
That do not do the thing they most do show,
Who, moving others, are themselves as stone,
Unmovèd, cold, and to temptation slow,
They rightly do inherit heaven’s graces
And husband nature’s riches from expense;
They are the lords and owners of their faces,
Others but stewards of their excellence.
The summer’s flower is to the summer sweet,
Though to itself it only live and die;
But if that flower with base infection meet,
The basest weed outbraves his dignity.
For sweetest things turn sourest by their deeds;
Lilies that fester smell far worse than weeds.
“It’s one of the moments of Western consciousness,” says Frederick Seidel, 90, the author of more than a dozen collections of poetry, including “So What” (2024). “Shakespeare knows and says what he knows.”
“It trombones magnificent, unbearable sorrow,” says Seidel.
“It’s smartass and bitter and bright,” says Seidel.
These interviews have been edited and condensed.
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