Culture
Anthony Edwards can't run from stardom anymore
PHOENIX — Fresh off, arguably, the most important performance of his young career, Anthony Edwards sat in front of the world with a white tank top and an all-black Atlanta Braves fitted cap that sat loose, hovering just above his crisp hairline — making him look more like an extra in Outkast’s “Player’s Ball” video than the future face of the NBA.
Edwards is who he is. Silly. Lovable. Intelligent. Country. He wears it all, loudly and proudly. He’s also a competitor. A trash-talker. He wears all of those things just as loud, just as proud.
You add all of that up and you have a star. You add all of those things up plus a 40-point performance in a playoff-sweeping 122-116 victory over the Phoenix Suns on Sunday night, and you start to enter superstardom.
Yet, Edwards, for one reason or another, is afraid to go there. For as honest, brash and confident as he is and can be, there lives a bashfulness inside the 22-year-old when it comes to talking about his stature within the sport’s most prestigious club.
A year ago, before a first-round loss to the eventual-champion Denver Nuggets, Edwards said he couldn’t consider himself a young star until he “wins in the playoffs.”
A year later, he did it. Edwards not only won in the playoffs, but he was the alpha in a series that featured the likes of Devin Booker and Kevin Durant, his all-time favorite player. Edwards led his organization to heights it hadn’t seen in 20 years, the second round of the NBA playoffs. He did it with rim-twisting dunks. He did it with a sweet shooting stroke. He did it with gnaw-your-arm-off defense. He did it with leadership. He did it with WWE “Suck It!” extracurriculars. He did it while giving an earful to the player he has looked up to since he was 5.
These are the things that make stars. This is what stardom looks like.
“Nah, not yet, man,” Edwards said Sunday after reaching the benchmark he placed on himself a year ago. “Not yet.”
Edwards, unbeknownst to him, lost the privilege to decide what he is and isn’t in this league.
Kevin Durant congratulates Anthony Edwards after Minnesota swept Phoenix in the first round of the NBA playoffs. (Christian Petersen / Getty Images)
When you score 40 points in a series-clinching victory — on the road at that — you’re a star. When you played 79 regular-season games and were the best player for a team that was one game short of having the top record in your conference, you’re a star. When you’re one of 12 players, at the age of 22, picked to represent your country in the Olympics, you’re a star. When you make everyone laugh every time you’re in front of a microphone, order McDonald’s off Uber Eats immediately after a game, like he did in Detroit last season, you’re a star.
“He’s the face of the league,” said teammate Karl-Anthony Towns, who sat next to Edwards as his reserved side took center stage when talking about his status in the NBA. “He hates when I say it, but it’s true. Like I said, ‘Future so bright, got to put the sunglasses on.’ ”
Regular players don’t decide to dominate when they have a chance to end their opponent for good. They don’t have that ability. Stars shoot 11 of 15 from the floor for 31 points in the second half when their team is trailing at halftime like Edwards did on Sunday. Stars muster up their last bit of energy late in the fourth quarter to throw down a “Night, night!” dunk — like he did with just over two minutes to play when he crossed up Bradley Beal on the wing, took a gather dribble, launched from outside of the paint and forced his childhood hero out of the way as he punished the rim like it hit his sister.
Stars get on their other star teammate amid all the chaos when they do something wrong like Edwards did when Towns committed another unnecessary foul with the game in the balance.
Edwards can’t run from it anymore. No matter how hard he tries. If he doesn’t want to be a star, then stop playing like one.
“He rises to the occasion,” Wolves forward Kyle Anderson told The Athletic.
Stars also make their teammates better. That’s the point of having a star. The gravity of one person makes the existence of others more meaningful.
Edwards picked apart the Suns’ defense as a playmaker. The 40 points will make the headlines, but he also had six assists with only two turnovers in 41 minutes of play. He should have had 10-plus assists, but the Wolves couldn’t buy a bucket in the game’s first 24 minutes.
There were signs throughout the season, but it was this series where Edwards blossomed as a creator for others. There were times early on in his career when it felt like he passed because he had to. There was nowhere else for him to go.
As the season went on, and this playoff series played out, Edwards was welcoming blitzes so that he could create advantages to make the pass to an open man, so that he could get his teammates involved in the flow of the game, so that this Timberwolves team could potentially do something only one team before has accomplished in the franchise’s 35-year history.
But, yeah, Edwards is not a star.
“He is a good person,” said Minnesota assistant coach Micah Nori, who filled in for coach Chris Finch after a collision on the sideline in the fourth quarter left him with a serious leg injury. “And what I mean by that is, they trust him. He’s got some self-humor. You’ve seen all of his interviews. He’s the first one to congratulate and move all of his glory over to his teammates. They all love him.
“When he plays, makes the right play, and they know he cares, not only about himself but the team, he’s done a good job of stepping up in that regard.”
Edwards can keep running from the label all he wants, but if he doesn’t want to embrace it out of fear of being content, then it will never go away. His mindset is correct. His intentions are good. But it’s impossible for anyone with two eyes and a pinch of sense not to see a star when they look at Edwards.
From this point on, there’s no point in even asking Edwards about it. He has spoken — with his play and his personality. He never needs to say it out loud. We’ll all keep saying it for him.
“He’s my favorite player to watch,” Durant said of his star pupil after Sunday’s game. “He’s just grown so much since coming in the league. At 22, his love for the game shines so bright. That’s one of the reasons why I like him the most because he just loves basketball and is grateful to be in this position.
“He’s going to be someone I follow for the rest of his career.”
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(Top photo: Ross D. Franklin / Associated Press)
Where do you turn when you need advice? A chatbot? A life coach? A wise and trusted friend?
How about a poet? Poets may not be famous for making the best life choices, but because they subject the mess of human existence to the discipline of language, they can be as helpful as any therapist or mentor.
Good poets know the rules and when to break them, which is something they can teach the rest of us.
To wit:
Giving advice is a peculiar literary undertaking. It flourishes in certain popular genres — graduation speeches, newspaper columns, country and western songs and poems like this one — but what, in these contexts, is it really for?
I’m thinking of situations when you don’t urgently need help but nonetheless enjoy reading answers to questions you may not have thought to ask. What interests you isn’t the content of the advice — you could get all the life hacks you want from A.I. — so much as the voice of the person dispensing it.
Wendy Cope is an English poet, born in 1945, who has been a fixture of her country’s literary scene since the 1980s. More recently, her short, buoyant poem “The Orange” has been widely memed online, bringing her to the attention of new readers beyond Britain.
Cope favors rhyme, meter, brisk jokes and tart aperçus. She addresses romance, friendship and the petty absurdities of modern life with disarming good humor. The last line of “The Orange” is “I love you. I’m glad I exist.” Somehow she makes it the opposite of cringe.
This isn’t the kind of poetry you would describe as “confessional.” And yet …
Question 1/7
Stop, if the car is going “clunk”
Or if the sun has made you blind.
Don’t answer e–mails when you’re drunk.
Tap a word above to fill in the highlighted blank.Want to learn this poem by heart? We’ll help.
Fill in the missing words below. You can always refer to the reading by A.O. Scott and full
text above.Let’s start with the first stanza.
A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself. This week’s literary geography quiz highlights places where authors were born (or lived) that later became locations in their books. 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 works if you’d like to do further reading.
AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries, by Eddie S. Glaude Jr.
For those of us in the national memory-keeping business, anniversaries hold near-totemic power. Satisfyingly round units of time, ideally bearing fancy, Latin-derived names, serve as the overburdened pegs on which to hang think pieces and museum exhibits, revisionist documentaries and maudlin public ceremonies. The arbitrary nature of such occasions is precisely what gives them their charge, inviting us to set aside complacency and submit to a comprehensive check-in.
In his new book, “America, U.S.A.,” Eddie S. Glaude Jr. presents an intriguing variation on the genre, seeing the country’s 250th birthday as an anniversary of anniversaries: 50 years since the malaise-ridden, schlock-heavy Bicentennial. A century since the subdued Prohibition-era Sesquicentennial. A century and a half since telegraphed reports of George Armstrong Custer’s defeat by the Lakota and Cheyenne at Little Bighorn rudely interrupted the Gilded Age Republic’s 100th birthday party.
If an anniversary offers a snapshot of a moment, the core of Glaude’s book is an old-timey photo album, a collection of notable episodes from earlier national reckonings, long-ago glances in the mirror. An estimable scholar of Black history, politics and religion at Princeton — best known for “Begin Again,” his 2020 meditation on James Baldwin’s relevance for our times — Glaude focuses, as his subtitle puts it, on “how race shadows the nation’s anniversaries.”
Such celebrations, he contends, have never really been the moments for honest self-reflection they are often advertised to be. Instead, the nation usually shatters the mirror, refusing to accept what it prefers not to see. “American anniversaries are often moments to turn a blind eye to the evils of the past and the present,” Glaude writes, “to suppress the fact of America’s divided soul.”
It’s a clever concept, and, needless to say, perfectly timed. Last year, Glaude notes, the Trump administration executed a hostile takeover of the government’s studiously bipartisan 250th anniversary planning. It is now preparing a program that is certain to conceal more than it reveals about the country ostensibly being celebrated.
Glaude, in no mood for celebration, argues that such omissions and evasions also defined commemorations in the past. In 1875, Frederick Douglass predicted “one grand Centennial hosannah of peace and good will to all the white race of this country.” He was right: The nation reached 100 years old at a crucial moment in the post-Civil War fight over racial equality, with white Northerners ready to give up on Southern Reconstruction. The occasion would help the once-warring sections to reunite around a shared commitment to white supremacy. On May 10, 1876, at the opening of the Centennial Exposition in Philadelphia, the police tried to bar Douglass from the grandstand, until a white politician vouched for him.
The 150th anniversary came soon after a resurgent Ku Klux Klan successfully pushed for a restrictive immigration law aimed at keeping America a “Nordic” nation. At the lavishly funded, lightly attended celebrations in Philadelphia, Black veterans of World War I were excluded from marching in the opening parade. A writer with The Associated Negro Press wondered “what was in the breast of those black men who fought to make America safe for Democracy and on Monday stood on the sidelines, forgotten, as the Nordic strode by in all his vain pride.”
By 1976, when the nation marked its Bicentennial, the violence of the ’60s had destroyed any semblance of consensus. Vietnam and Watergate had eroded trust in the government. The commission initially tasked with organizing the anniversary was disbanded amid reports of corruption. Corporations filled the vacuum, Glaude explains, with “star-spangled whoopee cushions; patriotic toilet seats; Liberty hamburgers; red, white and blue beer cans.” The author, around 8 years old at the time, dimly remembers donning a pair of tricolor trousers.
A half-century later, Glaude is refreshingly honest about the depths of his despair. “I do not love America, and never have, especially now,” he writes in one of the more startling opening sentences I’ve read in some time. He dismisses this year’s Semiquincentennial as reaching back “to a storybook America that requires either the banishment of Black people from view or the reduction of our role in the country’s history, so as to affirm America’s ongoing quest to be a more perfect union.”
Undoubtedly true. But Trump doesn’t own the country, at least not yet, nor the 250th anniversary of one of the most radically liberatory and confusingly contradictory events in world history — an inspiration, as Glaude shows, even to critical observers of the American experiment, like Douglass. Far from the revanchist MAGA-palooza in Washington, I suspect this summer’s unasked-for invitation to national soul-searching may surprise us yet.
Despite his despair, Glaude concludes that “the past still offers resources for us to freedom-dream.” So, too, does this book.
AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries | By Eddie S. Glaude Jr. | Crown | 270 pp. | $31
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