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Amick: Steph Curry was ready to 'meet the moment' in a way we've never seen

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Amick: Steph Curry was ready to 'meet the moment' in a way we've never seen

PARIS — The ball bounced off the rim five times.

Five!

Stephen Curry came off that brick-house screen from Joel Embiid late in the fourth quarter, with Serbian guard Ognjen Dobrić running into the wall as if he were Wile E. Coyote and crumpling to the floor, and the greatest shooter of all time fired a shot from up top that might as well have landed on a craps table.

With just 144 seconds left to play in this FIBA-style game where the clock is no one’s friend, it fell through the net to give Team USA a lead for the first time since midway through the first quarter. Eventually, Team USA pulled off one of the most stunning comebacks ever by somehow surviving a 17-point deficit against Serbia, 95-91, en route to the Olympic gold-medal game against France. Eventually, we’ll come to truly appreciate how close this squad — with names like LeBron James, Curry, Kevin Durant and so many more all-time talents on board — came to a level of infamy that would have surpassed the 2004 team that took bronze in Athens and inspired a reckoning within the national program as a result.

Phew.

I honestly don’t know what else to say.

When you cover international tournaments such as the Olympics, there is a level of support from some non-American media for their respective teams that is, to be honest, quite off-putting. Some reporters cheer on press row, which is considered a no-no in the United States, and others even shout disparaging things at American players like Joel Embiid (true story).

But to watch these Americans walk up to the edge like they did, and to anticipate the sort of scrutiny that was headed their way from people like yours truly if they fell short, was to quietly hope that shots like Curry’s late 3 would fall. It’s a dynamic that simply doesn’t exist in the NBA, one that’s born out of the reality that you know one group of humans so much better than the others. And when Curry finished the job, stealing that pass from Bogdan Bogdanović and going coast-to-coast for a left-to-right layup that put Team USA up 91-86 with 1:01 left, there was a sense of relief that the Golden State Warriors star had finally had a moment in his debut Summer Games.

As Team USA coach Steve Kerr shared afterward, Curry had the look of a player who was pressing coming in. He scored in single digits in three of Team USA’s four Olympic games while averaging a whopping 7.3 points in the first four, with the lone highlight of his first Olympics experience being the exhibition game against Serbia on July 17 in which he scored 24 points.

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That was child’s play compared to this one. Curry was unconscious, finishing with 36 points while hitting 12 of 19 shots and burying nine of 14 3s in all.

You know how many times he has hit that many 3s on 14 or fewer attempts in his entire storied career? Nine, according to Stathead.com, and that includes 1,103 games in all between regular season and playoffs (0.8 percent of the time). As a relevant reminder, these games are 40 minutes long and not the 48-minute affairs we see in the NBA. The fact that it came in a game in which Team USA was in such desperate need of a hoops hero made it all the more epic.

“There were times these last couple weeks where I thought (Curry) was working too hard,” said Kerr, the Warriors coach who has had his front-row seat to Curry’s greatness for a decade. “He just cares so much, works so hard at his game constantly. We all know who he is, what he’s about, and I almost wanted to tell him, ‘Hey, take a day off,’ But it’s just not who he is. He works so hard, and he willed himself to that game tonight over the past couple weeks with the work he’s put in.”

Curry, the 36-year-old who had still managed to enjoy this Olympic experience to the fullest off the floor, insisted the walls weren’t closing in.

“I didn’t feel (pressure) at all, because we were winning by … 15, 20 every game,” he said. “I know that I affect the game in other ways. But about two minutes into the game tonight, we realized that I’m getting looks, that they were playing a different type of defense on us. Obviously, they were scoring crazy on the other end, so you just keep going and get lost in the moment.

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“It’s whatever the game calls for. I shot three times last game (in a rout of Brazil), and I wasn’t looking to force it, because that’s not what the game called for. So that’s the beauty of Team USA and FIBA and this whole experience. Every game has been somebody different.”

Still, to hear Curry’s side of the story was to realize this role has been a massive adjustment for him. While he entered the Serbia game shooting just 35.7 percent from the field and 25 percent from three (5 of 20), he had also averaged just seven shots per game. That context, the reality that this team makes it so challenging for so many great players to find a way to play like they do with their NBA squads, is often lost in the discussion.

“I haven’t had many opportunities,” Curry said so plainly. “I haven’t shot the ball well the whole tournament, but it doesn’t waver your confidence to meet the moment.”

And did he ever.

When one of the greatest basketball games of all time was over, James — who was a part of the ’04 team the USA Basketball program would rather everyone forget — threw the ball into the air and looked down to find Curry waiting to hug him with unbridled joy. It was a surreal scene in every way, the sight of these two NBA rivals sharing the kind of memory no one could have imagined when their Cavs and Warriors teams were battling for all those years in the finals.

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GO DEEPER

LeBron James, Steph Curry had a ‘healthy resentment’ — Olympics offer something new

So, I asked James, where does this game rank in terms of sheer emotion?

“I mean, it’s up there,” said James, the four-time champion and Los Angeles Lakers star whose triple-double (16 points, 12 rebounds and 10 assists) played a massive part in the win. “I mean, I’m 39 years old, going into my 22nd season. I don’t know how many opportunities or moments I’m gonna get like this, to be able to compete for something big and play in big games.”

This game was bigger than big. It was downright magical, with all this history tied up between the players who matter most falling by the wayside for the sake of their national pride. Just listen to Kevin Durant, the Phoenix Suns star who won two championships with Curry in Golden State and sounded like he’d never seen anything like this before.

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“Steph, man, that was a God-like like performance,” said Durant, who forced Bogdanović into a crucial backcourt violation with 1:34 left and hit a nasty jumper with 34 seconds remaining that put Team USA up 93-89. “Dang, (Curry) was tough. He felt like he was struggling throughout the whole tournament, and we always said each night it could be somebody different (every game). And tonight, he showed up in a way that, man…”

Durant almost couldn’t find the words.

“Shot after shot, getting a steal and then finishing with the layup,” he said. “He was everywhere tonight. It was one of the greatest games I’ve ever seen him play.”


Required Reading

(Top photo of Stephen Curry and Aleksa Avramović: Ezra Shaw / Getty Images)

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I Think This Poem Is Kind of Into You

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I Think This Poem Is Kind of Into You

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A famous poet once observed that it is difficult to get the news from poems. The weather is a different story. April showers, summer sunshine and — maybe especially — the chill of winter provide an endless supply of moods and metaphors. Poets like to practice a double meteorology, looking out at the water and up at the sky for evidence of interior conditions of feeling.

The inner and outer forecasts don’t always match up. This short poem by Louise Glück starts out cold and stays that way for most of its 11 lines.

And then it bursts into flame.

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“Early December in Croton-on-Hudson” comes from Glück’s debut collection, “Firstborn,” which was published in 1968. She wrote the poems in it between the ages of 18 and 23, but they bear many of the hallmarks of her mature style, including an approach to personal matters — sex, love, illness, family life — that is at once uncompromising and elusive. She doesn’t flinch. She also doesn’t explain.

Here, for example, Glück assembles fragments of experience that imply — but also obscure — a larger narrative. It’s almost as if a short story, or even a novel, had been smashed like a glass Christmas ornament, leaving the reader to infer the sphere from the shards.

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We know there was a couple with a flat tire, and that a year later at least one of them still has feelings for the other. It’s hard not to wonder if they’re still together, or where they were going with those Christmas presents.

To some extent, those questions can be addressed with the help of biographical clues. The version of “Early December in Croton-on-Hudson” that appeared in The Atlantic in 1967 was dedicated to Charles Hertz, a Columbia University graduate student who was Glück’s first husband. They divorced a few years later. Glück, who died in 2023, was never shy about putting her life into her work.

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Louise Glück in 1975.

Gerard Malanga

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But the poem we are reading now is not just the record of a passion that has long since cooled. More than 50 years after “Firstborn,” on the occasion of receiving the Nobel Prize for literature, Glück celebrated the “intimate, seductive, often furtive or clandestine” relations between poets and their readers. Recalling her childhood discovery of William Blake and Emily Dickinson, she declared her lifelong ardor for “poems to which the listener or reader makes an essential contribution, as recipient of a confidence or an outcry, sometimes as co-conspirator.”

That’s the kind of poem she wrote.

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“Confidence” can have two meanings, both of which apply to “Early December in Croton-on-Hudson.” Reading it, you are privy to a secret, something meant for your ears only. You are also in the presence of an assertive, self-possessed voice.

Where there is power, there’s also risk. To give voice to desire — to whisper or cry “I want you” — is to issue a challenge and admit vulnerability. It’s a declaration of conquest and a promise of surrender.

What happens next? That’s up to you.

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Can You Identify Where the Winter Scenes in These Novels Took Place?

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Can You Identify Where the Winter Scenes in These Novels Took Place?

Cold weather can serve as a plot point or emphasize the mood of a scene, and this week’s literary geography quiz highlights the locations of recent novels that work winter conditions right into the story. Even if you aren’t familiar with the book, the questions offer an additional hint about the setting. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the books if you’d like to do further reading.

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From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel

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From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel

Inge Morath/Magnum Photos

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When a writer is praised for having a sense of place, it usually means one specific place — a postage stamp of familiar ground rendered in loving, knowing detail. But Kiran Desai, in her latest novel, “The Loneliness of Sonia and Sunny,” has a sense of places.

This 670-page book, about the star-crossed lovers of the title and several dozen of their friends, relatives, exes and servants (there’s a chart in the front to help you keep track), does anything but stay put. If “The Loneliness of Sonia and Sunny” were an old-fashioned steamer trunk, it would be papered with shipping labels: from Allahabad (now known as Prayagraj), Goa and Delhi; from Queens, Kansas and Vermont; from Mexico City and, perhaps most delightfully, from Venice.

There, in Marco Polo’s hometown, the titular travelers alight for two chapters, enduring one of several crises in their passionate, complicated, on-again, off-again relationship. One of Venice’s nicknames is La Serenissima — “the most serene” — but in Desai’s hands it’s the opposite: a gloriously hectic backdrop for Sonia and Sunny’s romantic confusion.

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Their first impressions fill a nearly page-long paragraph. Here’s how it begins.

Sonia is a (struggling) fiction writer. Sunny is a (struggling) journalist. It’s notable that, of the two of them, it is she who is better able to perceive the immediate reality of things, while he tends to read facts through screens of theory and ideology, finding sociological meaning in everyday occurrences. He isn’t exactly wrong, and Desai is hardly oblivious to the larger narratives that shape the fates of Sunny, Sonia and their families — including the economic and political changes affecting young Indians of their generation.

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But “The Loneliness of Sonia and Sunny” is about more than that. It’s a defense of the very idea of more, and thus a rebuke to the austerity that defines so much recent literary fiction. Many of Desai’s peers favor careful, restricted third-person narration, or else a measured, low-affect “I.” The bookstores are full of skinny novels about the emotional and psychological thinness of contemporary life. This book is an antidote: thick, sloppy, fleshy, all over the place.

It also takes exception to the postmodern dogma that we only know reality through representations of it, through pre-existing concepts of the kind to which intellectuals like Sunny are attached. The point of fiction is to assert that the world is true, and to remind us that it is vast, strange and astonishing.

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See the full list of the 10 Best Books of 2025 here.

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