Culture
As the Dodgers enter their Shohei Ohtani Era, failure is not an option
PHOENIX — Flags only fly forever if you raise them.
At Dodgertown, the ancestral home of the Los Angeles Dodgers in Vero Beach, Fla., a mural celebrating six World Series winners greeted visitors. No such signage exists at Camelback Ranch. The team has won the National League West 11 times since shifting its spring training base to Arizona in 2009, but the franchise does not memorialize mere postseason berths. The Dodgers intended to build a monument to the 2020 World Series championship team but pandemic-related construction delays sidelined the project, and the organization moved on. There are no murals and no banners, no portraits of protocol-following perseverance. If you rely upon commemorative decorations as your guide, the triumph in a 60-game season may as well not exist.
When Mark Walter, the owner of the Dodgers and the chief executive officer of Guggenheim Partners, met with two-way star Shohei Ohtani this past winter, he attempted to sell a vision based on these conflicting truths, the immense pride and deep frustration within his franchise. The Dodgers had become a colossus since Walter’s group took over in 2012 — a perennial contender, playing before crowds that lead the sport in attendance, driving a money machine now valued at nearly $5 billion. Yet the success could not offset the sting of October defeats. A series of early postseason exits since 2020 had disappointed Walter and those within his baseball operations department. As he outlined the dichotomy, Walter wanted to stress something to Ohtani: The owner considered his tenure running the Dodgers to be an on-field failure.
“We’ve only done it once,” said team president Stan Kasten, who was present when Walter spoke to Ohtani. “And we need to do it more often than that.”
In Ohtani — who will debut as a Dodger this week during a two-game series in Seoul, South Korea — Walter and the rest of the organization found a $700 million symbol of a new era. His arrival has vaulted the club into a new financial stratosphere, with a deferral-laden contract serving as the backbone for a $1.2 billion offseason bonanza. His presence has heightened expectations for a team that has not missed the postseason since Barack Obama’s first term in office. Ohtani chose the Dodgers because the franchise offered a pathway to October that had been foreclosed to him during six seasons with the Los Angeles Angels. The Dodgers pursued Ohtani because they had grown tired of watching other franchises conduct parades in November.
And because a union between the two parties made far too much business sense to pass up.
When Kasten first heard about how Ohtani wanted to structure his contract, he assumed he was missing something. Dodgers president of baseball operations Andrew Friedman called Kasten after a discussion with Ohtani’s agent, Nez Balelo. “Can you repeat that?” Kasten said. Over the course of a 10-year pact, Ohtani intended to receive only $20 million, with $680 million deferred through 2043 so he would not handcuff his new team.
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Mark Walter and Stan Kasten introduce their new $700 million man at Dodger Stadium in December. (Frederic J. Brown / AFP via Getty Images)
In recent years, the Dodgers have made deferrals a habit. The contracts for both perennial MVP candidates Mookie Betts and Freddie Freeman feature deferred millions. When the team offered $300 million to Gerrit Cole after the 2019 season, the bid included deferrals. Yet the contract Ohtani sought provided so much financial flexibility to the team that Friedman later admitted he would not have had the courage to suggest it himself. Kasten described Walter as “very supportive” of the contract structure. “I would tell you to ask Mark about it,” Kasten said. “But we know that’s not going to happen.” (Through a different team official, Walter, who rarely addresses the public, declined an interview request.)
With Ohtani’s contract functioning effectively as a credit card, Friedman rebuilt the starting rotation and bolstered the offense of a team that won 100 games in 2023 despite myriad shortcomings. The Dodgers bested the sport’s other financial behemoths to land Japanese pitcher Yoshinobu Yamamoto with a 12-year, $325 million deal. After acquiring Tampa Bay Rays starter Tyler Glasnow, the team hammered out a $110 million extension. The signing of former All-Star outfielder Teoscar Hernández for $23.5 million felt like an afterthought. Ohtani, of course, was the biggest prize. He will not pitch this season as he recovers from Tommy John surgery. But he can still inspire hyperbole. Freeman suggested that when his career was over he would tell his grandchildren about playing with Ohtani, “just like we talk about Babe Ruth.”
The first step on the road to the purported promised land took place at Camelback Ranch three days after the Super Bowl. Crowds lined both sides of a path connecting the Dodgers clubhouse to a practice field for the team’s first workout. The speaker system blared a playlist that sounded as if it had not been updated since 2016. Reporters stood atop step-ladders. Fans lofted selfie sticks. A man hoisted a child onto his shoulders. The throngs pressed against the chain-link fence, desperate for a glimpse of Los Angeles’ newest lodestar. When Ohtani jogged to the field, the roar was loud enough to drown out the bridge of “I Knew You Were Trouble.” The soundtrack was fitting, at least to the team’s president.
“I don’t want to compare it to Taylor Swift, but I think it’s our equivalent, in terms of conversation,” Kasten said. “It’s just everywhere you look, people are talking about him.” Kasten framed the alliance as mutually beneficial. “He had been this outsized talent for the last six years. But I think pairing him with the size of the Dodger brand makes his impact and his visibility even larger than it has been, until now.”
Dave Roberts rounded a corner and spotted a mass of media in the shade of the grapefruit trees planted outside Camelback Ranch. There was the usual group of American and Japanese reporters. But the media relations staff had installed a riser so seven different camera crews could film the manager’s daily briefing without turning the crowd into a rugby scrum. Roberts has chosen to greet the amplified attention this year with the amplification of his own enthusiasm.
“Oh, wow!” Roberts said. “Look at this setup, huh?”
When Ohtani was introduced at Dodger Stadium on Dec. 15, he expressed confusion to Dodgers broadcaster Joe Davis as he gazed out at rows and rows of attendees. Ohtani had been told only media would be there. Davis had to break it to Ohtani that the massive crowd was, in fact, just the media. A similar crush will greet Ohtani during the season, especially at these games in Seoul. The Dodgers are already covered by one of the larger domestic press contingents. The group now includes around a dozen Japanese reporters, tracking Ohtani’s exploits in granular detail, from the number of home runs he hits in batting practice to the larger meaning of a fist bump with Hernández. When Bill Plunkett of the Orange County Register asked Ohtani in passing about his dog, Dekopin, Plunkett’s picture was plastered across Japanese newspapers.
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Shohei Ohtani attracted massive attention at his first Dodgers spring training. (Kyodo via Associated Press)
Ohtani conducts group interviews once or twice a week. He rarely reveals much about himself. He values his privacy. Reporters have been discouraged from approaching Ohtani or Yamamoto for one-on-one conversations. The team preferred to hold the group sessions in front of a backdrop featuring advertising for Guggenheim. (The team’s uniforms also now include a Guggenheim patch.) For the players, the parade of reporters has wrought some genial irritation. The clubhouse is often barren when reporters are permitted inside.
“It’s just a lot of people,” pitcher Walker Buehler said. “They’ll ask you two questions about you, and then six about Ohtani. And you’ll be like, ‘You just baited me! You baited me into this. You guys got me.’”
The primary person who will deal with the scrutiny is Roberts. The courtship of Ohtani created unease for him. When Roberts decided at the Winter Meetings to reveal a Dodger Stadium sit-down with Ohtani — which no other official from any team involved in the sweepstakes had done previously — Friedman and general manager Brandon Gomes declined to offer him much cover. The group patched things up later that week, but when the Dodgers introduced Ohtani, Roberts was not on the stage.
As Roberts spoke to the group beside the grapefruit trees, an intrepid eighth cameraman scaled a staircase leading toward the complex’s executive offices.
“Excuse me,” a security guard told the cameraman, “you have to come down from there.”
The cameraman pointed to a Dodgers official.
“Excuse me,” the guard repeated.
The cameraman pointed again. A team official walked over. “He’s with us,” the staffer explained. SportsNet LA, the team’s television network, has produced 10 seasons of “Backstage: Dodgers,” which offers lighthearted looks at the inner workings of the franchise. The guard was adamant. Regulations trumped content; eventually the cameraman left his perch and rejoined the scrum. Soon after, Friedman and members of his baseball operations department, clad in three-quarter-zip pullovers, descended the steps.
To some, Roberts occupies the hottest seat in the sport. Friedman has impregnable job security. The Ohtani deal features a provision called a “key man” clause. He can opt out of his contract if Friedman or Walter leaves the organization. The same protection does not apply to Roberts, whose contract runs through 2025. “If the highest preseason expectations in club history crash,” esteemed Los Angeles Times columnist Bill Plaschke wrote recently, “the Dodgers will need an easy target to take the blame, and that will be him.”
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Few have as much riding on Shohei Ohtani’s success as manager Dave Roberts. (Jayne Kamin-Oncea / USA Today)
In eight seasons at the helm, Roberts has never won fewer than 91 games — except for the shortened 2020 season, when the club played at a 116-win pace. His .618 winning percentage is the best in Major League Baseball history. He would likely find a bevy of suitors for his services, especially in the wake of new Chicago Cubs manager Craig Counsell’s market-setting five-year, $40 million contract. Unlike Counsell, Roberts has actually won a World Series — even if his postseason resume contains its share of strategic misfires.
Roberts has described anything short of a championship in 2024 as a bust. Of course, he has spoken with that confidence before. He guaranteed the Dodgers would win the 2022 World Series. That team set a franchise record with 111 victories, but crashed out of the postseason in four games. The disappointment increased the motivation to add Ohtani. Before the season, Roberts suggested his players should worry less about external noise and concentrate on individual progress. Ignoring the noise, he acknowledged, will be tougher than ever.
“This year feels different because you’ve got, essentially, the best player on the planet,” Roberts said. He added, “People love beating the Yankees. And people love beating the Dodgers. When you put on this uniform, that’s what you sign up for. But this year, it’s a little bit more extreme.”
The most expensive pitcher in the history of Major League Baseball has never thrown a pitch in Major League Baseball. Whenever Yoshinobu Yamamoto took the mound this spring, the occasion merited monitoring. As he unveiled his arsenal in a bullpen session during the team’s first workout, a gaggle of reporters watched from a distance. Roberts, Friedman and various members of the coaching staff and front office stood behind the row of mounds. Standing behind the catcher, peering through a mesh-covered fence were Buehler, reliever Daniel Hudson and starter James Paxton. Each took a peek as Yamamoto spun curveballs and splitters along with his 95-mph fastball. “Everything just explodes out of his hand,” Paxton said a day later.
Yamamoto has been an object of fascination among big-league teams for years. The list of executives who traveled to Japan to watch him in 2023 included Friedman, New York Yankees general manager Brian Cashman and San Francisco Giants president of baseball operations Farhan Zaidi. After the season, New York Mets owner Steve Cohen and president of baseball operations David Stearns made similar jaunts to court Yamamoto. The Yankees presented Yamamoto with his own No. 18 jersey in pinstripes.
His free agency sparked even greater zeal than expected. When the offseason began, some executives pegged Yamamoto in line for a contract worth about $200 million. As the price escalated, the Giants bowed out. The Yankees offered $300 million. So did the Philadelphia Phillies. The Dodgers won the bidding by matching Cohen’s offer after Yamamoto met with Betts, Freeman and, of course, Ohtani.
Yamamoto represents the promise and the peril inherent in the Dodgers pitching staff. His stature is unremarkable; he stands 5-foot-10 and weighs about 175 pounds. He became elite through a focus on flexibility and unconventional activities like chucking a javelin. The transition from Japan to the major leagues can be challenging. During the winter, Yamamoto familiarized himself with the baseball used in the major leagues, which is smaller and slicker than its equivalent in Japan. During his spring debut, a center-field camera for SportsNet LA could capture the different grips of Yamamoto’s pitches.
The tipping discussion that followed did not prompt alterations to Yamamoto’s delivery. The organization expects him to lead its rotation, which will likely function as something resembling a six-man unit to provide breaks for the starters. The regulars may need the rest. Yamamoto has never pitched on the big-league schedule. Glasnow logged a career-high 120 innings last season. Paxton has thrown 117 2/3 innings since 2019. Buehler will not begin the season with the club as he attempts to return from his second Tommy John surgery. Clayton Kershaw hopes to rejoin the team by July or August as he recovers from the first surgery of his career, a corrective procedure on his left shoulder. The list of rehabbing pitchers at Camelback Ranch will include Dustin May, Emmet Sheehan and Tony Gonsolin.
Despite the uncertainty, the team expects its pitching to be excellent. The same cannot be said for its infield defense. A series of wayward throws by infielder Gavin Lux, who is returning from knee surgery, convinced the organization to play Betts at shortstop, a position Betts had handled in only 14 games in the first 10 years of his big-league career. Lux did not look much better after swapping places with Betts to play second base.
The overwhelming strength of the Dodgers, the propulsive force expected to vault the club past 100 victories yet again, will be the first three hitters in the lineup. Betts posted a .987 OPS last season with 39 homers and 40 doubles. Freeman put forth his usual output, with a .976 OPS, 29 homers and 59 doubles. Ohtani surpassed them both while pulling double duty as a pitcher: 44 home runs and a 1.066 OPS in an offense that provided scant protection. When executives around the sport grumble about the Dodgers, they are grumbling about the prospect of trying to shut down this trio, during a season in which Ohtani can concentrate on his hitting.
At one point this spring, Roberts compared Ohtani to the most talented teammate he had ever had. Near the end of his playing career, Roberts shared a clubhouse with Barry Bonds, the sport’s all-time home run leader, a slugger tarnished by his involvement with performance-enhancing drugs but revered by his peers for his talent. Ohtani, Roberts thought, might one day surpass Bonds — in ability, if not homers.
“Shohei,” Roberts said, “has a chance to be the best player ever.”
The people ringed the practice field, clicking cameras and lifting selfie sticks once more, as Ohtani settled into the batter’s box to face live pitching for the first time since his elbow surgery. One fan clutched a painted portrait of the world’s most famous designated hitter. This was several days after the first workout. The attention on Ohtani and the Dodgers had not slackened. If anything, it had intensified, and would only continue to do so.
For a decade, Kershaw acted as the gravitational force within the Dodgers clubhouse. The duo of Betts and Freeman supplied that presence in recent years. Given the magnitude of Ohtani’s fame, the ramifications of his contract and the extent of his ability, Ohtani must serve that role now. He has bonded with Hernández, a former American League West rival. Freeman pronounced himself amazed that Ohtani remembered the name of Freeman’s son, Charlie, after meeting the boy at last year’s All-Star Game.
“He seems to be holding onto his balance, to the extent he can,” Kasten said. “But it’s almost like, in America, he can escape. Because in Japan, he can’t. I’ve been there recently. He’s everywhere.”
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Shohei Ohtani’s arrival in Korea with wife Mamiko Tanaka became a news event. (Stringer / Getty Images)
When Ohtani announced his marriage, Japanese television stations interrupted their programming. The Dodgers intend to capitalize on that devotion. “One of our goals is to have baseball fans in Japan convert to Dodger blue,” Friedman said at Ohtani’s introductory press conference. That effort is unlikely to end with Ohtani and Yamamoto. The team is expected to make a full-pocketed pursuit of Rōki Sasaki, the 22-year-old right-handed phenom, whenever the Chiba Lotte Marines make him available. Visitors to Dodger Stadium can expect a bevy of new sponsorships decorating the ballpark. The prices of tickets to enter the ballpark are rising on the secondary market.
As Ohtani prepared to face his new teammates in batting practice, fans and reporters catalogued his movements. When he connected with a fastball from pitcher J.P. Feyereisen, the sound reverberated across the facility. The crowd gasped as the ball took flight. Ohtani watched it clear the center-field fence as he left the batter’s box. He peeled a pad off his surgically-repaired right arm, which remained sheathed in a compression sleeve. He jogged back toward the clubhouse, past the crowd screaming his name, one step closer to Opening Day.
The judgment on this first season of the 10-year union will not come until October. Ohtani has never experienced the MLB playoffs. The Dodgers never miss an invitation. The franchise embarked on this era hoping to accumulate flags to raise and banners to proclaim championships.
Anything less would be a failure.
(Top illustration by Dan Goldfarb / The Athletic; Photos by George Rose / Getty Images; Gene Wang / Getty Images; David Durochik/Diamond 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
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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.
More in Literature
See the rest of the issue
Culture
Classic and Contemporary Literature From France, Japan, India, the U.K. and Brazil
Literature
FRANCE
According to the writer Leïla Slimani, 44, the author of ‘The Country of Others’ (2020).
Classic
‘Essais de Montaigne’ (‘Essays of Montaigne,’ 1580)
“France is a country of nuance with a love of conversation and freedom and an aversion to fanaticism. It’s also a country built on reflexive subjectivity. Montaigne reveals all that, writing, ‘I am myself the matter of my book.’”
Contemporary
‘La Carte et le Territoire’ (‘The Map and the Territory,’ 2010) by Michel Houellebecq
“Houellebecq describes France as a museum, where landscape turns into décor and where rural areas are emptying out. He shows the gap between the Parisian elite and the rest of the population, which he paints as aging and disoriented by modernity. It’s a melancholic and yet ironic novel about a disenchanted nation.”
JAPAN
According to the writer Yoko Ogawa, 64, the author of ‘The Memory Police’ (1994).
Classic
‘Man’yoshu’ (late eighth century)
“‘Man’yoshu,’ the oldest extant collection of Japanese poetry, reflects a diversity of voices — from emperors to commoners. They bow their heads to the majesty of nature, weep at the loss of loved ones and find pathos in death. The pages pulse with the vitality of successive generations.”
Contemporary
‘Tenohira no Shosetsu’ (‘Palm-of-the-Hand Stories,’ 1923-72) by Yasunari Kawabata
“The essence of Japanese literature might lie in brevity: waka [a classical 31-syllable poetry form], haiku and short stories. There’s a tradition of cherishing words that seem to well up from the depths of the heart, imbued with warmth. Kawabata, too, exudes more charm in his short stories — especially these very short ‘palm-of-the-hand’ stories — than in his full-length novels. Good and evil, beauty and ugliness, love and hate — everything is contained in these modest worlds.”
INDIA
According to Aatish Taseer, 45, a T contributing writer and the author of ‘Stranger to History: A Son’s Journey Through Islamic Lands’ (2009).
Classic
‘The Kumarasambhava’ (‘The Birth of Kumara,’ circa fifth century) by Kalidasa
“This is an epic poem by the greatest of the classical Sanskrit poets and dramatists. The gods are in a pickle. They’re being tormented by a monster, but Shiva, their natural protector, is deep in meditation and cannot be disturbed. Kama, the god of love, armed with his flower bow, is sent down from the heavens to waken Shiva. Never a wise idea! The great god, in his fury, opens his third eye and incinerates Kama. But then, paradoxically, the death of the god of love engenders one of the greatest love stories ever told. In the final canto, Shiva and his wife, the goddess Parvati, have the most electrifying sex for days on end — and, 15 centuries on, in our now censorious time, it still leaves one agog at the sensual wonder that was India.”
Contemporary
‘The Complex’ (2026) by Karan Mahajan
“This state-of-the-nation novel, which was published just last month, captures the squalor and malice of Indian family life. Delhi is both my and Mahajan’s hometown and, in this sprawling homage to India’s capital, we see it on the eve of the economic liberalization of the 1990s, as the old socialist city gives way to a megalopolis of ambition, greed and political cynicism.”
THE UNITED KINGDOM
According to the writer Tessa Hadley, 70, the author of ‘The London Train’ (2011).
Classic
‘Jane Eyre’ (1847) by Charlotte Brontë
“Written almost 200 years ago, it remains an insight into our collective soul — or at least its female part. Somewhere at the heart of us there’s a small girl in a wintry room, curled up in the window seat with a book, watching the lashing rain on the window glass: ‘There was no possibility of taking a walk that day. …’ Jane’s solemnity, her outraged sense of justice, her trials to come, the wild weather outside, her longing for something better, for love in her future: All this speaks, perhaps problematically, to something buried in the foundations of our idea of ourselves.”
Contemporary
‘All That Man Is’ (2016) by David Szalay
“Though he isn’t quite completely British (he’s part Canadian, part Hungarian), Szalay is brilliant at catching certain aspects of British men — aspects that haven’t been written about for a while, now updated for a new era. Funny, exquisitely observed and terrifying, this novel reminds us, too, how absolutely our fate and our identity as a nation belong with the rest of Europe.”
BRAZIL
According to the writer and critic Noemi Jaffe, 64, the author of ‘What Are the Blind Men Dreaming?’ (2016).
Classic
‘Memórias Póstumas de Brás Cubas’ (‘The Posthumous Memoirs of Brás Cubas,’ 1881) by Machado de Assis
“Not only is it experimental in style — very short chapters mixed with long ones; different points of view; narrated by a corpse; metalinguistic — but it also introduces an extremely ironic view of the rising bourgeoisie in Rio de Janeiro at the time, revealing the hypocrisy of slave owners, the falsehood of love affairs and the only true reason for all social relationships: convenience and personal interest. After almost 150 years, it’s still modern, both formally and, unfortunately, also in content.”
Contemporary
‘Onde Pastam os Minotauros’ (‘Where Minotaurs Graze,’ 2023) by Joca Reiners Terron
“The two main characters — Cão and Crente — along with some of their colleagues, plan to escape and set fire to the slaughterhouse where they work under exploitative conditions. The men develop sympathy for the animals they kill, and one of them becomes a sort of philosopher, revealing the sheer nonsense of existence and the injustices of society in the deepest parts of Brazil.”
These interviews have been edited and condensed.
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