Culture
Analysing Jamal Musiala’s bizarre corner goal for Germany against Italy
On average, about one in every 30 corners leads to a goal. The success rate tends to go up dramatically, however, when the goalkeeper and their entire defence are standing outside their six-yard box when a corner is taken.
That was the remarkable scene during the UEFA Nations League quarter-final in Dortmund on Sunday. Germany’s Jamal Musiala turned the ball into an empty net against an Italy team who acted like they thought the game would stop for them to hold a debrief into where everything had been going wrong for them during the first half.
Joshua Kimmich had other ideas and the combination of his brilliant quick-thinking and Musiala’s goal-hanging — allied to a ball boy who was, well, on the ball — led to Germany doubling their 1-0 lead from a highly unusual corner on 36 minutes, and making fools out of Italy in the process.
Musiala celebrates scoring in a highly unusual way (Christof Koepsel/Getty Images)
The goal evoked memories of Liverpool’s fourth against Barcelona in the Champions League semi-final second leg at Anfield in 2019, when Divock Origi swept home Trent Alexander-Arnold’s swiftly-taken corner to take the Premier League club through 4-3 on aggregate. On that occasion, though, there was a goalkeeper standing between the posts. Gianluigi Donnarumma, in contrast, went AWOL in Dortmund last night.
It wasn’t just the Italian goalkeeper who was caught out. Amazon Prime, which was showing the game live as part of a pay-per-view package, almost missed the goal completely too, with viewers only seeing exactly what had happened when a replay was eventually shown.
The bizarre chain of events started with Donnarumma producing an exceptional one-handed save to claw striker Tim Kleindienst’s twisting header behind for a corner. Italy were being outplayed at the time, trailing by a goal on the night following a Kimmich penalty and 3-1 on aggregate. In that context, it was not surprising that their players were annoyed.
As Kleindienst turned away holding his head in his hands in disbelief and disappointment, Kimmich (circled below), quickly made his way to the corner flag.
Italy wing-back Giovanni Di Lorenzo (No 22) started the inquest, pointing with his right arm and looking in the direction of his central-defender team-mate Alessandro Bastoni. With his back turned on the play, Bastoni was gesturing too as he walked towards Di Lorenzo.
Donnarumma decided to get involved as well. Wandering outside of his six-yard box with arms outstretched, the Paris Saint-Germain goalkeeper was oblivious to the presence of Musiala behind him, free as a bird in the six-yard box after following up Kleindienst’s original header.
By now, some important work had already taken place off the pitch. A steward (circled behind the goal below) was busy trying to retrieve the ball Donnarumma had tipped behind.
As the steward bent down to pick it up and motioned to throw it back, he realised a ball boy (also circled) close to the corner flag was already delivering a chest pass that had pre-assist written all over it (think Callum Hynes, the teenage Tottenham Hotspur ball boy who got a high five from their then manager Jose Mourinho after his quick-thinking led to Harry Kane scoring in the Champions League against Olympiacos in 2019).
As Musiala signalled to Kimmich to take the corner quickly, Donnarumma carried on walking and joined what was now a group of five Italians, who had congregated outside the six-yard box to dissect their problems. The only thing missing was a tactics board and a table and chairs.
Central defender Alessandro Buongiorno, who also had his back to play, was among that group, as was fellow centre-back Federico Gatti, who was busy wiping his face with his shirt. The rest of the team may as well have been covering their eyes too.
Late for the meeting, midfielder Samuele Ricci (circled below) was about to become the sixth Italy player to offer his thoughts until he saw Kimmich out of the corner of his eye and sounded the alarm. Unfortunately for Italy, it was far too late.
After placing the ball, Kimmich had spotted Musiala on his own — it was hard to miss the Bayern Munich youngster, especially when he was waving his arms about like an aircraft marshal on a runway — and the corner was launched, arcing towards the edge of the six-yard box.
Although the ball was slightly behind Musiala, forcing him to retreat a little, there was plenty of margin for error on the delivery; six yards to be exact. As Musiala shaped to swivel and strike the ball with his right foot, Donnarumma pivoted too, in a state of blind panic. Musiala’s shot was en route to the back of the net before the goalkeeper had a chance to get reacquainted with his six-yard box…
… and Germany were 2-0 up.
Italy, to their credit, staged a superb fightback to come back from three goals down to draw 3-3 on the night (losing 5-4 on aggregate). But the damage — some of it self-inflicted — was done during a chaotic first half.
“Everyone knows we struggle from set plays, but we cannot keep talking about it, or this will turn into an obsession,” Italy’s head coach, Luciano Spalletti, had told reporters a few days earlier.
And thanks to Musiala’s bizarre goal, that topic of conversation is here to stay for Italy for some time yet.
(Top photo: Alex Grimm/Getty Images)
Culture
I Think This Poem Is Kind of Into You
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.
“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.
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.
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.
“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.
Culture
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.
Culture
From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel
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.
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.
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.
See the full list of the 10 Best Books of 2025 here.
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