Culture
Atletico Madrid’s links with radical ultras is a story of violence, emotion and change
Sunday night’s dramatic derby with city rivals Real Madrid put Atletico Madrid’s relationship with the radical block of fans that gather inside their ground under a new global spotlight.
After Real Madrid took the lead, Atletico captain Koke and manager Diego Simeone pleaded for calm with balaclava-wearing supporters, who had thrown objects onto the pitch at rival goalkeeper Thibaut Courtois for his supposedly provocative celebrations.
The match was suspended for 20 minutes before Angel Correa’s 95th-minute equaliser gave Simeone’s side a 1-1 draw.
After the final whistle, Atletico’s players celebrated in front of the section where the small number of supporters involved in the object-throwing regularly congregate — behind the goal at the south end of their Estadio Metropolitano, which on Sunday welcomed a record crowd of 70,112.
The whole night shone a spotlight on the more radical elements of Atletico’s support, especially the Frente Atletico ‘ultras’ (fans marked out for their choreographed and fanatical support) and their long and complicated relationship with the club’s hierarchy and the current team.
It also drew further attention to the stormy relationship between the Spanish capital’s two biggest football clubs, including historical grievances on the Atletico side, and the racist abuse Real Madrid’s Vinicius Junior has suffered around recent meetings between the sides.
Here, The Athletic dives into the deeper questions behind what happened.
Who are the Frente Atletico?
The Frente Atletico was formed in 1982, originally influenced by ultras movements in Italy and the UK. Atletico recognised it as an official supporters club and encouraged them as they brought atmosphere with chants and banners, motivated players and attracted bigger crowds to the stadium. Frente leaders got to know then-Atletico president Jesus Gil, occasionally socialising with Atletico players and appearing on Spanish radio shows in the 1980s.
Over time, Frente members holding more radical right-wing views took control of the group. They were also attracted by money-making opportunities, as Atletico facilitated the sale of blocks of match tickets that the Frente leadership could control. This continued after Atletico were converted into a private company in 1992, with Gil and film producer Enrique Cerezo taking control in a move Spain’s supreme court later deemed illegal — but no action followed as the court also said that the statute of limitations had passed.
Atletico’s Metropolitano had a record crowd on Sunday night (Florencia Tan Jun/Getty Images)
There was often violence involved with the Frente. In the 1980s, some members would ‘defend’ Atletico fans from opposition ultras at away games. There were also clashes with police.
The group became increasingly radical. Frente members attacked and killed Real Sociedad supporter Aitor Zabaleta near Atletico’s old Vicente Calderon stadium in 1998. Despite this, Frente retained its privileges with the club, continuing to sell match tickets and storing its banners and drums at the Calderon.
More recently, in November 2014, Deportivo La Coruna ultra Javier ‘Jimmy’ Romero Taboada was killed during an organised fight between Depor and Atletico fans before a game at the Calderon.
How could such a group still be allowed into Atletico’s stadium?
After Romero Taboada’s death, Atletico revoked the Frente’s official status and banned some members from the Calderon. Over the next few years, Atletico began to modernise on and off the pitch, most notably moving to the Estadio Metropolitano on Madrid’s outskirts. Twelve consecutive seasons of Champions League football under Simeone have brought extra revenue and status as one of Europe’s elite clubs.
But Frente-aligned clothes, banners and chants are still a part of the Metropolitano’s matchday experience. Incidents are less frequent but still serious, including an Atletico ultra displaying a Nazi swastika at a game in May 2018 and a far-right banner flown in their section of the stadium during that year’s Europa League final against Marseille in Lyon.
The scene inside Atletico’s ground before kick-off on Sunday night (Gonzalo Arroyo Moreno/Getty Images)
There have also been battles for control of Atletico’s most radical fans and the moneymaking opportunities presented by the Frente ‘brand’, such as ‘official’ scarves and T-shirts. A man was hospitalised in January 2018 after a fight between members of different hardcore Atletico groups outside the Metropolitano. A new radical group, ‘Suburbios Firm’, has emerged — its members are already banned from attending home games, but sometimes support the team away.
In practical terms, especially within the stadium, the ‘Frente’ is now more of an idea than an actual group of paid-up members. Ultras from the 1990s and 2000s are older and less likely to attend matches. The club recognise an ‘animation section’ of fans behind the goal but they have long ended the practice of facilitating blocks of tickets for sale by ultras leaders.
Atletico say they can only ban individuals from the stadium after they have committed a crime and that it is impossible (and illegal) to take collective action against groups of people without evidence of wrongdoing. “We cannot expel 200 people from the stadium because someone believes they belong to a certain group or because they wear a certain T-shirt,” a club spokesperson told The Athletic. “The image might be awful, but there has to be a crime committed for action to be taken.”
After Sunday’s events, an Atletico statement said the club was committed to “working with the police to locate those involved, one of whom has already been identified”.
Were they involved in the racist abuse of Vinicius Jr?
Last December, four members of Frente Atletico were charged over the hanging of an effigy dressed to resemble Vinicius Jr from a bridge near Real Madrid’s training ground in January 2023. The mannequin was hung next to a 16-metre banner that read “Madrid hates Real” and was displayed hours before a Madrid derby in the Copa del Rey quarter-finals.
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After last season’s Metropolitano ‘derbi’, police identified individuals who were caught on camera racially abusing the Brazilian. Atletico revoked their status as club members, banning them from the stadium. Similarly, when one ‘fan’ racially abused Athletic Bilbao’s Nico Williams in April, he was also expelled and banned.
Before Sunday’s game, messages on social media circulated with some apparent Atletico fans urging supporters to wear masks to the game to avoid detection by cameras when making racist insults, specifically calling Vinicius Jr a monkey.
Real Madrid goalkeeper Thibaut Courtois throws a lighter off the pitch (Florencia Tan Jun/Getty Images)
No racist abuse of Vinicus Jr was reported on Sunday, although there were chants against him when Madrid’s team bus arrived and whistles for his every intervention on the pitch.
Instead, the focus switched to Courtois, a former Atletico player who moved from Chelsea to Real Madrid in 2018.
How does Atletico’s self-image fit with all this?
Atletico fans, players and club officials have historically identified themselves as scrappy underdogs who fight against authority and power — especially against their richer and more glamorous city rivals. That self-image is deeply rooted within the club and most Atletico fans are convinced the media and authorities support Real Madrid.
Atletico went 14 years without a win against Real Madrid (1999-2013) and still feel that any victory for Atletico over Madrid is a victory for the little guy.
“These are difficult times and people identify with us as we are fighting against many adversities,” said then-Atletico midfielder Tiago in 2014 as Simeone’s side won that season’s league title — their third in 37 years. “We’re like Robin Hood.”
Simeone’s style of football — with its emphasis on hard work and physicality — fits Atletico’s traditions and the emotional connection with the stadium has played a key role. After each game, Atletico’s players salute all four corners of the stadium, starting with their more hardcore fans.
On Sunday, when the game was stopped after objects were thrown at Courtois, Atletico captain Koke and long-serving defender Jose Maria Gimenez ran behind the goal to speak with the fans in the area the objects had come from. Simeone also approached them, making a ‘calm down’ gesture.
After the game, as usual, Atletico’s players gathered on the edge of the penalty area to applaud the Fondo Sur (the hardcore group of fans who congregate behind the goal at the stadium’s south end), which many felt could be seen as a gesture of support for their behaviour during the game.
Simeone in front of the Fondo Sur section at Atletico’s ground on Sunday (Gonzalo Arroyo Moreno/Getty Images)
What do most Atletico fans think?
As the Frente is not an official group, nobody knows exactly how many members it has or how many regularly attend games. Some ultras who lead chants behind the goal have often covered their faces with scarves or balaclavas to avoid identification.
The vast majority of Atletico fans do not like the Frente at all. Many keep away from the bars where the hardcore ultras drink before games and also steer clear of them in the stadium.
Divides within the fanbase are clear. In November 2022, the Fondo Sur left their area empty for the first half of a game against Espanyol, protesting the team’s poor displays. Fans in other areas of the stadium loudly whistled them when they did enter.
On Sunday evening, when the referee took the players off the pitch in the second half, this divide was again evident. Amid a surreal silence in most of the ground, ultras behind the goal continued to chant and jump and down, only to be met by whistles from other areas of the ground. There were also whistles when the team went to applaud the Fondo Sur on the final whistle.
Atletico players acknowledging fans after the final whistle on Sunday (Gonzalo Arroyo Moreno/Getty Images)
“I was there and I was one of those who whistled the Frente,” said one Atletico fan (as the supporters consulted for this article work in football, they spoke anonymously to protect their position). “Atletico fans are fed up and embarrassed by what happened.”
Another supporter said: “Ninety-nine per cent of the people in that stand are normal, but those who dominate are the brainless ones.”
Atletico’s ‘embattled underdog’ identity can blend into a feeling of persecution among regular fans, not just Atletico’s more radical ultras. Many agreed when Simeone said after Sunday’s game that Courtois bears responsibility for the way he celebrated Madrid’s opening goal. TV pictures showed him mouthing, ‘Vamos’ (come on) as he moved his hand towards the stands — a proactive gesture, in the view of home fans. Moments before the goal, chants of, “Courtois die” had been heard.
Courtois is not popular among Atletico fans. Since joining Real Madrid, they feel he has been disrespectful towards his former team, who he represented from 2011 to 2014. Like all players who have made more than 100 Atletico appearances, he has a plaque on the ‘centenary players’ walk’ on the stadium concourse. As they always do whenever Courtois plays at the Metropolitano with Real, Atletico fans left rubbish and other debris on his plaque.
What does the rest of Spanish football make of Atletico’s hardcore fans?
After Romero Taboada’s death in 2014, there was a concerted effort from Spanish football authorities to weaken ultras’ influence, even trying to keep them out of stadiums.
Many other clubs — including Real Madrid and Barcelona — have banned individuals and groups. They have also introduced their own ‘official’ animation sections, which are more tightly controlled by club authorities, so behaviour can be more easily policed.
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La Liga’s reputation took a battering following the global uproar at the racist abuse that Vinicius Jr suffered in Valencia’s Mestalla stadium last year and the league’s executives have since reacted much more seriously to any incidents of racism within or around Spanish stadiums, and also online.
Vinicius Jr has been racially abused by fans at several La Liga grounds (Aitor Alcalde/Getty Images)
La Liga’s official response on Sunday evening to the events inside the stadium was relatively restrained, with a post on X saying there was “zero tolerance for any acts of violence inside or outside our stadiums”.
Local coverage of the events, which made many headlines in international media, was also quite restrained. There were no angry op-eds calling for the Metropolitano to be closed or for the complete banning of all ultras from Spanish stadiums.
The Spanish Football Federation and La Liga have yet to decide what punishment Atletico will receive for Sunday’s incident. They could try to close parts of the stadium for a few games, but that may be difficult to impose. Real Betis successfully appealed such a sanction when a Sevilla player was hit by an object thrown from the stands in January 2022. Atletico also successfully appealed in April when a section of the stand was closed for two games after Williams was racially abused, arguing that it was unfair to punish a whole group for the behaviour of one individual.
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What about Atletico’s international image and the club’s medium-term future?
The evolution of Atletico into one of Europe’s elite clubs continued this summer, with the investment of more than €200million (£166.6m; $222.2m) in big international stars, including Julian Alvarez and Conor Gallagher.
It added to a feeling that Atletico’s hierarchy are looking to take a big leap forward. This summer, €70m was raised from the club’s shareholders, which include UK-Israeli company Quantum Pacific and U.S. investors Ares Management Corporation. Chief executive Miguel Angel Gil Marin laid the first stone at a new training ground on a site beside the Metropolitano.
Many within the Spanish football industry believe that Gil Marin and Cerezo will sell their controlling interest in Atletico to foreign investors. Sunday’s disgraceful scenes, which echoed around the world, will not have helped drum up interest.
When reporters asked Cerezo on Sunday afternoon about the online hate messages about Vinicius Jr, he first said, “At Atletico Madrid, I don’t consider that there is anyone anti-racist or racist.” Later, at the stadium, he clarified to broadcasters DAZN that he “meant to say that we all have a responsibility to fight against racism”.
Cerezo (centre) in conversation with Real Madrid counterpart Florentino Perez (Oscar J Barroso/Europa Press via Getty Images)
Atletico are keen to project a more modern positive image and have launched campaigns in the stadium and online to educate their fans.
“’We Love Football’ is a project to channel all of our actions aimed to build a sport where diversity, inclusion, respect and tolerance inspire society,” the club’s website says.
On Sunday, Atletico quickly released a statement saying the club was working with police to identify all individuals who threw objects onto the pitch and that they will be banned from attending games. Since Sunday, Atletico have also changed their statutes so that fans who wear masks to avoid identification can be immediately expelled from the stadium.
There is an awareness at Atletico — within the club and among the fans — that their image has been badly damaged. The vast majority of fans are adamant that the Frente does not represent their views and the club say they are doing all they can to stamp out their influence — but the connection is still strong between the team and the section of the stand where there is continuing anti-social (and worse) behaviour.
“The image of the players talking to fans wearing balaclavas, and then going to applaud the stand at the end of the game, was terrible,” said another Atletico fan. “The club still has a lot of work to do.”
(Top photo: Gonzalo Arroyo Moreno/Getty Images)
Culture
Try This Quiz and See How Much You Know About Jane Austen
“Window seat with garden view / A perfect nook to read a book / I’m lost in my Jane Austen…” sings Kristin Chenoweth in “The Girl in 14G” — what could be more ideal? Well, perhaps showing off your literary knowledge and getting a perfect score on this week’s super-size Book Review Quiz Bowl honoring the life, work and global influence of Jane Austen, who turns 250 today. In the 12 questions below, tap or click your answers to the questions. And no matter how you do, scroll on to the end, where you’ll find links to free e-book versions of her novels — and more.
Culture
Revisiting Jane Austen’s Cultural Impact for Her 250th Birthday
On Dec. 16, 1775, a girl was born in Steventon, England — the seventh of eight children — to a clergyman and his wife. She was an avid reader, never married and died in 1817, at the age of 41. But in just those few decades, Jane Austen changed the world.
Her novels have had an outsize influence in the centuries since her death. Not only are the books themselves beloved — as sharply observed portraits of British society, revolutionary narrative projects and deliciously satisfying romances — but the stories she created have so permeated culture that people around the world care deeply about Elizabeth Bennet and Mr. Darcy, even if they’ve never actually read “Pride and Prejudice.”
With her 250th birthday this year, the Austen Industrial Complex has kicked into high gear with festivals, parades, museum exhibits, concerts and all manner of merch, ranging from the classily apt to the flamboyantly absurd. The words “Jane mania” have been used; so has “exh-Aust-ion.”
How to capture this brief life, and the blazing impact that has spread across the globe in her wake? Without further ado: a mere sampling of the wealth, wonder and weirdness Austen has brought to our lives. After all, your semiquincentennial doesn’t come around every day.
By ‘A Lady’
Austen published just four novels in her lifetime: “Sense and Sensibility” (1811), “Pride and Prejudice” (1813), “Mansfield Park” (1814) and “Emma” (1815). All of them were published anonymously, with the author credited simply as “A Lady.” (If you’re in New York, you can see this first edition for yourself at the Grolier Club through Feb. 14.)
Where the Magic Happened
Placed near a window for light, this diminutive walnut table was, according to family lore, where the author did much of her writing. It is now in the possession of the Jane Austen Society.
An Iconic Accessory
Few of Austen’s personal artifacts remain, contributing to the author’s mystique. One of them is this turquoise ring, which passed to her sister-in-law and then her niece after her death. In 2012, the ring was put up for auction and bought by the “American Idol” champion Kelly Clarkson. This caused quite a stir in England; British officials were loath to let such an important cultural artifact leave the country’s borders. Jane Austen’s House, the museum now based in the writer’s Hampshire home, launched a crowdfunding campaign to Bring the Ring Home and bought the piece from Clarkson. The real ring now lives at the museum; the singer has a replica.
Austen Onscreen
Since 1940, when Austen had a bit of a moment and Greer Garson and Laurence Olivier starred in MGM’s rather liberally reinterpreted “Pride and Prejudice,” there have been more than 20 international adaptations of Austen’s work made for film and TV (to say nothing of radio). From the sublime (Emma Thompson’s Oscar-winning “Sense and Sensibility”) to the ridiculous (the wholly gratuitous 2022 remake of “Persuasion”), the high waists, flickering firelight and double weddings continue to provide an endless stream of debate fodder — and work for a queen’s regiment of British stars.
Jane Goes X-Rated
The rumors are true: XXX Austen is a thing. “Jane Austen Kama Sutra,” “Pride and Promiscuity: The Lost Sex Scenes of Jane Austen” and enough slash fic and amateur porn to fill Bath’s Assembly Rooms are just the start. Purists may never recover.
A Lady Unmasked
Austen’s final two completed novels, “Northanger Abbey” and “Persuasion,” were published after her death. Her brother Henry, who oversaw their publication, took the opportunity to give his sister the recognition he felt she deserved, revealing the true identity of the “Lady” behind “Pride and Prejudice,” “Emma,” etc. in a biographical note. “The following pages are the production of a pen which has already contributed in no small degree to the entertainment of the public,” he wrote, extolling his sister’s imagination, good humor and love of dancing. Still, “no accumulation of fame would have induced her, had she lived, to affix her name to any productions of her pen.”
Wearable Tributes
It is a truth universally acknowledged that a Jane Austen fan wants to find other Jane Austen fans, and what better way to advertise your membership in that all-inclusive club than with a bit of merch — from the subtle and classy to the gloriously obscene.
The Austen Literary Universe
On the page, there is no end to the adventures Austen and her characters have been on. There are Jane Austen mysteries, Jane Austen vampire series, Jane Austen fantasy adventures, Jane Austen Y.A. novels and, of course, Jane Austen romances, which transpose her plots to a remote Maine inn, a Greenwich Village penthouse and the Bay Area Indian American community, to name just a few. You can read about Austen-inspired zombie hunters, time-traveling hockey players, Long Island matchmakers and reality TV stars, or imagine further adventures for some of your favorite characters. (Even the obsequious Mr. Collins gets his day in the sun.)
A Botanical Homage
Created in 2017 to mark the 200th anniversary of Austen’s death, the “Jane Austen” rose is characterized by its intense orange color and light, sweet perfume. It is bushy, healthy and easy to grow.
Aunt Jane
Hoping to cement his beloved aunt’s legacy, Austen’s nephew James Edward Austen-Leigh published this biography — a rather rosy portrait based on interviews with family members — five decades after her death. The book is notable not only as the source (biased though it may be) of many of the scant facts we know about her life, but also for the watercolor portrait by James Andrews that serves as its frontispiece. Based on a sketch by Cassandra, this depiction of Jane is softer and far more winsome than the original: Whether that is due to a lack of skill on her sister’s part or overly enthusiastic artistic license on Andrews’s, this is the version of Austen most familiar to people today.
Cultural Currency
In 2017, the Bank of England released a new 10-pound note featuring Andrews’s portrait of Austen, as well as a line from “Pride and Prejudice”: “I declare after all there is no enjoyment like reading!” Austen is the third woman — other than the queen — to be featured on British currency, and the only one currently in circulation.
In the Trenches
During World War I and World War II, British soldiers were given copies of Austen’s works. In his 1924 story “The Janeites,” Rudyard Kipling invoked the grotesque contrasts — and the strange comfort — to be found in escaping to Austen’s well-ordered world amid the horrors of trench warfare. As one character observes, “There’s no one to touch Jane when you’re in a tight place.”
Baby Janes
You’re never too young to learn to love Austen — or that one’s good opinion, once lost, may be lost forever.
The Austen Industrial Complex
Maybe you’ve not so much as seen a Jane Austen meme, let alone read one of her novels. No matter! Need a Jane Austen finger puppet? Lego? Magnetic poetry set? Lingerie? Nameplate necklace? Plush book pillow? License plate frame? Bath bomb? Socks? Dog sweater? Whiskey glass? Tarot deck? Of course you do! And you’re in luck: What a time to be alive.
Around the Globe
Austen’s novels have been translated into more than 40 languages, including Polish, Finnish, Chinese and Farsi. There are active chapters of the Jane Austen Society, her 21st-century fan club, throughout the world.
Playable Persuasions
In Austen’s era, no afternoon tea was complete without a rousing round of whist, a trick-taking card game played in two teams of two. But should you not be up on your Regency amusements, you can find plenty of contemporary puzzles and games with which to fill a few pleasant hours, whether you’re piecing together her most beloved characters or using your cunning and wiles to land your very own Mr. Darcy.
#SoJaneAusten
The wild power of the internet means that many Austen moments have taken on lives of their own, from Colin Firth’s sopping wet shirt and Matthew Macfadyen’s flexing hand to Mr. Collins’s ode to superlative spuds and Mr. Knightley’s dramatic floor flop. The memes are fun, yes, but they also speak to the universality of Austen’s writing: More than two centuries after her books were published, the characters and stories she created are as relatable as ever.
Bonnets Fit for a Bennett
For this summer’s Grand Regency Costumed Promenade in Bath, England — as well as the myriad picnics, balls, house parties, dinners, luncheons, teas and fetes that marked the anniversary — seamstresses, milliners, mantua makers and costume warehouses did a brisk business, attiring the faithful in authentic Regency finery. And that’s a commitment: A bespoke, historically accurate bonnet can easily run to hundreds of dollars.
Most Ardently, Jane
Austen was prolific correspondent, believed to have written thousands of letters in her lifetime, many to her sister, Cassandra. But in an act that has frustrated biographers for centuries, upon Jane’s death, Cassandra protected her sister’s privacy — and reputation? — by burning almost all of them, leaving only about 160 intact, many heavily redacted. But what survives is filled with pithy one-liners. To wit: “I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal.”
Stage and Sensibility
Austen’s works have been adapted numerous times for the stage. Some plays (and musicals) hew closely to the original text, while others — such as Emily Breeze’s comedic riff on “Pride and Prejudice,” “Are the Bennet Girls OK?”, which is running at New York City’s West End Theater through Dec. 21 — use creative license to explore ideas of gender, romance and rage through a contemporary lens.
Austen 101
Austen remains a reliable fount of academic scholarship; recent conference papers have focused on the author’s enduring global reach, the work’s relationship to modern intersectionality, digital humanities and “Jane Austen on the Cheap.” And as one professor told our colleague Sarah Lyall of the Austen amateur scholarship hive, “Woe betide the academic who doesn’t take them seriously.”
W.W.J.D.
When facing problems — of etiquette, romance, domestic or professional turmoil — sometimes the only thing to do is ask: What would Jane do?
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.
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