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Breslow’s Red Sox front-office audit resulted in painful cuts. Will the changes bring wins?

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Breslow’s Red Sox front-office audit resulted in painful cuts. Will the changes bring wins?

In the 17 months since the Boston Red Sox hired Craig Breslow as chief baseball officer — their fourth leadership change within the past 10 seasons — the organization has undergone sweeping changes, particularly behind the scenes in the front office. Under Breslow’s direction, longtime employees have been fired, while others have left on their own, frustrated with the direction of the organization. The scouting department, in particular, has seen deep cuts.

Many that remain in the roughly 275-person front office paint a previously unreported picture of uncertainty and unease, though others see opportunity and optimism, particularly in the rapid revamping of the organization’s pitching infrastructure and player development methods, and in a promising big-league team. Some indicate it’s created an odd juxtaposition between those eager to initiate change and those trying to adapt to new roles under new leadership.

Breslow does not apologize for changes he believes will finally snap the organization out of a years-long stretch of mediocrity. He was hired for this purpose. The team has made the postseason once since their last World Series title in 2018 and has posted a record at or below .500 in four of the past five seasons. Red Sox ticket prices remain among the highest in baseball.

Breslow recently spoke to The Athletic about the restructuring that resulted from an internal audit conducted last year that helped reshape the front office, noting that they “tried to pick off the highest leveraged opportunities first.”

“There are times where maybe it makes sense to bulldoze through things and then kind of pick up the pieces afterward and there are times where being a little bit more intentional and patient ends in the best outcome,” he said, standing outside of Boston’s spring training complex at JetBlue Park. “I think ultimately, what we’ve been trying to instill is the idea that what is most important is what happens on the field, and we need to work backwards from that.”

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Change is not new in Boston. Far from it. Just two years ago under Chaim Bloom, the Red Sox underwent a different front-office overhaul. But Bloom wasn’t around long enough to see those changes make an impact.

So, how will Breslow’s restructuring be different? After so many years of upgrading and updating the front office structure under previous leadership, is this new setup the right one? Will ownership give Breslow enough runway to see the changes through or — given that his predecessors were each fired within their first five years on the job — is he already nearing the halfway mark of his tenure in Boston?

Sources within the team acknowledge that baseball’s increasingly competitive landscape necessitated swift change. Yet too much change can create instability.

Breslow is clear that he believes it’s important to be transparent and he is mindful of the organization’s culture and staff morale. But he also has a strong vision of how the Red Sox can improve.

“Our goal is not to make everyone happy,” he said.

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Craig Breslow was introduced as the Red Sox chief baseball officer on Nov. 2, 2023. (Charles Krupa / Associated Press)

Within a few months of joining the Red Sox, Breslow hired New York City-based Sportsology Group to conduct an internal audit of all baseball operations employees.

One goal was to get all of the front-office departments on the same page so that they could collaborate and communicate more effectively, ultimately benefitting the major-league team. The audit also laid out an objective evaluation method for Breslow to utilize when identifying employees who would best fit his vision for the franchise.

“The one thing I’m committed to, is doing what’s best for the organization and that requires taking a hard look at the processes that we have in place, the systems we have in place, and the people that we have in place,” Breslow told The Athletic in June amid the audit.

“Sportsology is not the decision-making group. They are not evaluating people, we are evaluating people,” he added. “They’re helping us create the frameworks that allow us to do that and certain benchmarks against which we want to evaluate and how to calibrate the information that’s coming in. But the evaluations are being done by us.”

During the audit, there was a natural undercurrent of anxiety within the organization about just what the evaluations would suggest, according to multiple employees who spoke on a condition of anonymity. After the audit was completed, there were widespread changes, not just in scouting, where people with decades of experience were let go, but in creating new department heads in research and development, and reorganizing player development and the medical department.

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“The result of an audit was not some drastic kind of headcount-cutting measure,” Breslow said. “It was understanding who our people are, what type of work they’re doing, what we’re really good at, what opportunities there are to improve.”

The scouting department had the biggest turnover — and those departures created the most angst. On the amateur side, a 34-person staff last year was reduced to 22 following departures and layoffs. Four people were added in their place, increasing the amateur staff to 26. Among the most notable layoffs were longtime scouts Mark Wasinger, Paul Fryer and Willie Romay, a group with decades of collective scouting experience. Tom Kotchman, a scout for nearly 50 years, including 14 with the Red Sox, retired at the end of 2024.

Changes in the scouting world have become ubiquitous over the past decade with the evolving landscape of how the game is evaluated, particularly as advances in technology enhance — and at the same time challenge — traditional scouting methods. Breslow admitted emerging research methods have allowed teams to collect information differently and often more objectively.

“But it has not eliminated the value in the role of the scout,” he said. “I think in certain cases, we’re asking our scouts to take on slightly different responsibilities in order to ensure that we are continually positioned at the industry’s leading edge. But it isn’t that scouts are less important. It isn’t that we’re looking to diminish the voice or the role of the scout. It’s that the job of the scout has changed, and we have to provide the support for people to make sure that they’re going to do their jobs every day.”

All of the scouts who were let go had significant impacts on the club, but Romay, in particular, was directly responsible for uniting the Red Sox with key pieces of the current clubhouse, signing Triston Casas, Kutter Crawford and Roman Anthony. One employee noted that Romay being part of the cuts in the fall was “incredibly disheartening for everyone.”

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“Like anything, like friends that get traded, like anyone that gets released, you never want to see that happen to someone and it’s sad,” said Anthony, whose relationship with Romay was a key reason he didn’t forgo signing with the Red Sox to play at Mississippi. “I still stay in contact with him. He still texts me and still roots for me. I understand it’s a business, and I understand that teams have to do whatever they think is right. And people may not always agree with that.”

Mike Rikard, who’d previously served as amateur scouting director and most recently as vice president of scouting, was moved to a special assistant role last fall before he left the organization in January to join the Arizona Diamondbacks as senior advisor in the scouting department. The Diamondbacks have several former Red Sox employees in their front office, including GM Mike Hazen. Rikard led the team’s drafts from 2015-19 when they selected Andrew Benintendi, Tanner Houck, Jarren Duran, Casas and Crawford. He later transitioned to VP of scouting where he helped in the evaluations of Mayer, Anthony, Campbell and Kyle Teel.

On the international side, 12 scouts were let go or reassigned to different departments with eight additions, shifting the 40-person group to 36.

Assistant general manager Eddie Romero, who had focused on the club’s international scouting and player development efforts, remained an assistant GM but with a role more centered on the big-league club in acquisitions and player development. Over the past 20 years, Romero has helped revitalize the organization’s Dominican Academy and led efforts in signing and developing players such as Xander Bogaerts, Rafael Devers, Brayan Bello and Ceddanne Rafaela.


A batting cage at the Red Sox Dominican Academy. (Jen McCaffrey / The Athletic)

On the professional scouting side, five pro scouts on an 18-person staff were fired and their spots were filled with a mix of external and internal moves, including shifting international amateur scouts Kento Matsumoto and Won-Sang Lee, based in Japan and South Korea, respectively, to the pro side.

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Several inquiries about these changes were left unanswered and those who did discuss changes asked not to be identified or quoted, citing ongoing questions about their job security. Some scouts who were fired have said they’re happy with their new teams and didn’t want to discuss the matter.

The industry has taken notice of the changes to the Red Sox scouting department. In a recent Baseball America poll of more than two dozen scouts, the Red Sox ranked among the least “scout-friendly” teams.

Breslow wouldn’t address specific departures, but defended what he deemed difficult decisions in order to keep the organization at the forefront of the game, noting “that there are a number of people who have contributed to the success of this organization, and that will not change.”

“We have to evaluate where we currently are and where we think this game is headed,” he said. “In some cases, that means the set of responsibilities that our scouts take on has changed and in certain situations it hasn’t at all. We need to find the best people and put them in the right places.

“Fortunately, and in a lot of ways and as a result of a pretty comprehensive audit, we found that we do have a lot of great people here. And there are maybe people who decide that the direction that we’re going is not for them, and that’s OK. But again, all of this is rooted in trying to put the best team we possibly can on the field and give ourselves the best chance of making great decisions.”

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Boston is not the only team reorganizing their scouting structure. The Chicago Cubs, a team for which Breslow previously worked, is in the midst of its own front-office changes. As teams shift more toward Driveline-type methods, others have gone a different direction. The Philadelphia Phillies scaled back “Driveline-ification” efforts of their front office in recent years. In 2022, the Red Sox hired former Phillies director of minor-league hitting Jason Ochart.

At the same time the Red Sox have cut from the scouting department, they have added to others, including research and development, which is now the second-largest department in the front office, behind only international scouting. The R&D department was reorganized under four directors — baseball sciences, baseball systems, baseball technology and baseball analytics. Early in the offseason, Breslow hired Taylor Smith, former director of predictive modeling for the Tampa Bay Rays, as an assistant general manager tasked with overseeing R&D. Mike Groopman, an assistant GM who’d previously overseen R&D, moved to a role focused on acquisitions. The new structure created a heavy emphasis on data-driven analysis and sought to streamline a growing department that had increased to 33 people, up from 30 last year.

Although R&D grew, there were departures, including Joe McDonald, a former director of analytics, who joined the New England Patriots as senior analyst of football strategy. A few analysts were moved to scouting roles. In all, there were six additional hires, including one Breslow specifically highlighted at his end-of-season presser, former Driveline employee Kyle Wasserberger, a biomechanist with an extensive background in injury prevention and rehabilitation.

The Red Sox now employ nine former Driveline employees, the most of any team in baseball, including Driveline founder Kyle Boddy, who serves as a special assistant to Breslow. Breslow said there has not been a directive to hire Driveline employees but he values the way they approach the game.

“I think people who have gone to work at Driveline have taken on a specific set of experiences that typically lends itself to a way of thinking and a curiosity and open-mindedness,” he said. “Yeah it’s data-driven decision-making, but it’s understanding and having evidence and having support for decision-making rather than just blindly working through different possibilities of outcomes and solutions. It’s doing a lot of the work beforehand, before you take a suggestion or a recommendation to a player. It’s being grounded in evidence and information.”

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This analytical approach has paid dividends in many areas, particularly in developing several top position player prospects, including Anthony, Mayer and Campbell, who’ve excelled at the plate thanks to a revamped hitting philosophy implemented over the past few years on the minor-league side, a process that began under Ochart at the end of Bloom’s tenure.

It has also created tension with traditional coaching methods. The Boston Globe recently reported on a “heated conversation” Hall of Famer Jim Rice, a former hitting instructor who now serves as a special assignment instructor for the Red Sox, had with an unidentified staffer after a player approached Rice for hitting advice. Rice was told by the staffer his advice “didn’t align with the team’s approach.”

“There are little tips of the iceberg that have revealed themselves,” one employee noted about the culture of the organization.

Despite that rift and the obvious shift toward more data-driven methods, the Red Sox are not foregoing hands-on instruction. As they seek to strengthen ties between their farm system and their major-league team, another notable change was the addition of Chris Stasio, formerly the assistant farm director, who will work in a player development role on the major-league coaching staff.

Traditionally, the Red Sox player development group was solely involved in development in the minor leagues, but now, via Stasio’s new role, it will also focus on continued development at the big-league level. Stasio will be in uniform and travel with the major-league team. Stasio’s new position was part of a larger restructuring of player development that saw eight people fired and four moved to different positions, including former minor league hitting coordinator Dillon Lawson, who was promoted to big league assistant hitting coach.

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There have been changes in the medical department, too. Dr. Larry Ronan, who’s been the team’s lead physician for 20 years, stepped into an advisory role this season. Dr. Peter Asnis, who’d been the team’s head orthopedist for more than a decade, was elevated to head physician, leading a staff of multiple specialized doctors. On the field, strength coach Kiyoshi Momose moved to a Boston-based strength role, rather than traveling with the club, while two strength coaches were added to their staff of roughly a dozen trainers, rehab specialists, massage therapists and physical therapists.


The vast number of changes across the Red Sox organization has empowered some employees while leaving others feeling diminished in their roles. Some understood the cutthroat nature of working in a billion-dollar industry where the bottom line is what matters most. Others saw years of loyalty and hard work wiped clean.

The Red Sox have not won in recent years and that, in turn, means change. Once again.

Breslow and his leadership team acknowledge the painful moves but remain steadfast that in a competitive industry, this type of restructuring is par for the course and that the organization is re-evaluated after every season. This was, however, a larger and deeper reorganization.

“Without a doubt, we had to make really difficult decisions,” he said. “My hope is that whether people agree with those decisions or not, they understood that we were making the best decisions that we could in order to further this goal we have of competing for World Series championships year over year.

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“I don’t know that there’s a finish line,” he added. “We need to constantly evolve, track our progress, reevaluate. I think that’s what good organizations do.”

(Top photo: Charles Krupa / Associated Press)

Culture

Poetry Challenge: Memorize “The More Loving One” by W.H. Auden

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Poetry Challenge: Memorize “The More Loving One” by W.H. Auden

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Let’s memorize a poem! Not because it’s good for us or because we think we should, but because it’s fun, a mental challenge with a solid aesthetic reward. You can amuse yourself, impress your friends and maybe discover that your way of thinking about the world — or even, as you’ll see, the universe — has shifted a bit.

Over the next five days, we’ll look closely at a great poem by one of our favorite poets, and we’ll have games, readings and lots of encouragement to help you learn it by heart. Some of you know how this works: Last year more Times readers than we could count memorized a jaunty 18-line recap of an all-night ferry ride. (If you missed that adventure, it’s not too late to embark. The ticket is still valid.)

This time, we’re training our telescopes on W.H. Auden’s “The More Loving One” — a clever, compact meditation on love, disappointment and the night sky.

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Here’s the first of its four stanzas, read for us by Matthew McConaughey:

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The More Loving One by W.H. Auden 

Looking up at the stars, I know quite well 

That, for all they care, I can go to hell, 

But on earth indifference is the least 

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We have to dread from man or beast. 

Matthew McConaughey, actor and poet

In four short lines we get a brisk, cynical tour of the universe: hell and the heavens, people and animals, coldness and cruelty. Commonplace observations — that the stars are distant; that life can be dangerous — are wound into a charming, provocative insight. The tone is conversational, mixing decorum and mild profanity in a manner that makes it a pleasure to keep reading.

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Here’s Tracy K. Smith, a former U.S. poet laureate, with the second stanza:

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How should we like it were stars to burn 

With a passion for us we could not return? 

If equal affection cannot be, 

Let the more loving one be me. 

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Tracy K. Smith, poet

These lines abruptly shift the focus from astronomy to love, from the universal to the personal. Imagine how it would feel if the stars had massive, unrequited crushes on us! The speaker, couching his skepticism in a coy, hypothetical question, seems certain that we wouldn’t like this at all.

This certainty leads him to a remarkable confession, a moment of startling vulnerability. The poem’s title, “The More Loving One,” is restated with sweet, disarming frankness. Our friend is wearing his heart on his well-tailored sleeve.

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The poem could end right there: two stanzas, point and counterpoint, about how we appreciate the stars in spite of their indifference because we would rather love than be loved.

But the third stanza takes it all back. Here’s Alison Bechdel reading it:

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Admirer as I think I am 

Of stars that do not give a damn, 

I cannot, now I see them, say 

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I missed one terribly all day. 

Alison Bechdel, graphic novelist

The speaker downgrades his foolish devotion to qualified admiration. No sooner has he established himself as “the more loving one” than he gives us — and perhaps himself — reason to doubt his ardor. He likes the stars fine, he guesses, but not so much as to think about them when they aren’t around.

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The fourth and final stanza, read by Yiyun Li, takes this disenchantment even further:

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Were all stars to disappear or die, 

I should learn to look at an empty sky 

And feel its total dark sublime, 

Though this might take me a little time. 

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Yiyun Li, author

Wounded defiance gives way to a more rueful, resigned state of mind. If the universe were to snuff out its lights entirely, the speaker reckons he would find beauty in the void. A starless sky would make him just as happy.

Though perhaps, like so many spurned lovers before and after, he protests a little too much. Every fan of popular music knows that a song about how you don’t care that your baby left you is usually saying the opposite.

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The last line puts a brave face on heartbreak.

So there you have it. In just 16 lines, this poem manages to be somber and funny, transparent and elusive. But there’s more to it than that. There is, for one thing, a voice — a thinking, feeling person behind those lines.

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W.H. Auden in 1962. Sam Falk/The New York Times

When he wrote “The More Loving One,” in the 1950s, Wystan Hugh Auden was among the most beloved writers in the English-speaking world. Before this week is over there will be more to say about Auden, but like most poets he would have preferred that we give our primary attention to the poem.

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Its structure is straightforward and ingenious. Each of the four stanzas is virtually a poem unto itself — a complete thought expressed in one or two sentences tied up in a neat pair of couplets. Every quatrain is a concise, witty observation: what literary scholars call an epigram.

This makes the work of memorization seem less daunting. We can take “The More Loving One” one epigram at a time, marvelling at how the four add up to something stranger, deeper and more complex than might first appear.

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So let’s go back to the beginning and try to memorize that insouciant, knowing first stanza. Below you’ll find a game we made to get you started. Give it a shot, and come back tomorrow for more!

Your first task: Learn the first four lines!

Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.

Question 1/6

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Let’s start with the first couplet. Fill in the rhyming words.

Looking up at the stars, I know quite well 

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That, for all they care, I can go to hell, 

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Tap a word above to fill in the highlighted blank.

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Ready for another round? Try your hand at the 2025 Poetry Challenge.

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Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.

Illustrations by Daniel Barreto.

Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.

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Culture

Famous Authors’ Less Famous Books

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Famous Authors’ Less Famous Books

Literature

‘Romola’ (1863) by George Eliot

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Karl Leitz for Anthony Cotsifas Studio

Who knew that there’s a major George Eliot novel that neither I nor any of my friends had ever heard of?

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“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.

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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.

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‘Quiet Dell’ (2013) by Jayne Anne Phillips

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Karl Leitz for Anthony Cotsifas Studio

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.

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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.”

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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

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Karl Leitz for Anthony Cotsifas Studio

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.

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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.

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‘Fox 8’ (2013) by George Saunders

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Karl Leitz for Anthony Cotsifas Studio

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.

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We’d all have read it by now — right?

‘Between the Acts’ (1941) by Virginia Woolf

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Karl Leitz for Anthony Cotsifas Studio

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.

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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.

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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.

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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.

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Culture

6 Poems You Should Know by Heart

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6 Poems You Should Know by Heart

Literature

‘Prayer’ (1985) by Galway Kinnell

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Whatever happens. Whatever
what is is is what
I want. Only that. But that.

Galway Kinnell in 1970. Photo by LaVerne Harrell Clark, © 1970 Arizona Board of Regents. Courtesy of the University of Arizona Poetry Center

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“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.”

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Lucille Clifton in 1995. Afro American Newspapers/Gado/Getty Images

“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?’”

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‘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.

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“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.

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These interviews have been edited and condensed.

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