Culture
Carlos Alcaraz is making magic again. Watch out.
It happens every time that guy Carlos Alcaraz takes the court. One outrageously zany point where he does something that people who have been watching tennis for decades will swear on the life of their favorite doubles partner that they have never seen before.
And they are probably right because even as he muddled (for him) his way through the past six months or so, experiencing some version of a sophomore slump, Alcaraz has never failed to produce the spectacular.
On Sunday, in the final of the BNP Paribas Open in Indian Wells, the moment arrived a little more than halfway through the first set against Daniil Medvedev.
A perfectly lofted short-range lob came at Alcaraz as he closed in on the net. At first, he thinks he can leap backwards and smack it — but halfway into that maneuver, he realizes he has to turn and spring and chase it down, which he does, just before it settles onto the purple hard court for a second time.


And that’s when the Alcaraz-of-it-all really takes hold. At the final moment, he realizes that because of the way he’s holding his racket in his forehand grip, he can’t get under the ball. At this point, pretty much everyone else who has ever done this for a living takes a desperate swat and the ball skitters across the ground into the net. Not so with Alcaraz.
In a split second, he does this tiny wrist rotation and swipes at the ball with what in this moment is the backside of his strings.




And the point goes on and a few shots later, he cracks a forehand down the line and Medvedev watches it whistle by.

And just like that, tennis was on its way back to where it was last summer, with Alcaraz staking his claim to the game’s present and future, leaving an opponent heaving on every stroke, clinching a title while watching a last error float off the court, then hugging his tennis father and coach, Juan Carlos Ferrero, and his real father as thousands of fans bathe him in their roars of adulation.
Hours later, with a big glass trophy sitting next to him after his 7-6(5), 6-1 triumph, Alcaraz was at a loss to explain just what had happened on that little first miracle of a point.
“Something happened to my feet that I couldn’t jump,” he said. “When something like that happens, you have to put one more ball in and just run to the next one.”
Alcaraz has said repeatedly in the last two weeks that he’s had a rough time the past few months. The losing was weird, sure, but the main problem was when he stepped onto the court, whether it was to train or compete, he struggled to find the joy that he had always felt when he had a racket in his hand. His family and his coaches kept asking him what was wrong.
He had no answers for them, which, in some ways, made it worse. When he sprained his ankle in Rio last month, he was as low as he had been since the start of his career.
(Buda Mendes/Getty Images)
For nearly 200 years and probably longer than that, people have come to California for a restart, to relaunch their identity or to try to find their old, true one. And that is about what happened to Alcaraz over the past two weeks in the Coachella Valley.
The boy came back, and when he did, the show took off once more and never more so than in those crazy moments of sprinting, wrist-flicking and passing up the line in the first set that sent the capacity crowd of 16,000 into its first frenzy.
“Points like this one give me extra motivation to put a smile on my face,” he said — with a smile on his face.
This was going to happen before too long. Alcaraz is simply too gifted and too dedicated to the sport to let this eight-month drought without a title go on much longer. Why would the arc of his early career be any different from that point?
At the moment the first whispers of doubt were starting, when his close friend and rival Jannik Sinner was making his play for supremacy, Alcaraz surged to life. He beat Sinner in the semifinals here, ending the Italian’s 19-match winning streak, then got some revenge against Medvedev, who had ended his attempt to defend his title at the U.S. Open in September when this fallow period was just getting started.
Alcaraz is nothing if not resilient, especially when an A-list crowd is on hand, as it was on Sunday in the desert. Rod Laver was there, and Maria Sharapova, and the actors Charlize Theron, Zendaya and Tom Holland. When Alcaraz is on the court, especially in a final, a tennis match evolves into a happening and for the first couple of years, he almost always delivered. When that stopped happening during the past eight months, something felt slightly off with the tennis universe.
No more. The win gave Alcaraz his second consecutive title in what plenty of players and much of the sport consider the most important tournament that is not a Grand Slam. It was the 13th title of a career that is just getting going, even if the next time he claims the sport’s top ranking (it will happen soon enough) it will be his second go at No 1. In 2022, at 19, he became the youngest player ever to get to the top of the rankings.
(Matthew Stockman/Getty Images)
When it was over, Medvedev sat with his coach, Gilles Cervara, in the locker room, told him he had no regrets about the afternoon, and asked Cervara if he did. A shot or two here and there, Cervara said, but this one was on Alcaraz’s racket.
Medvedev said that when Alcaraz raised his level in the first set, he “kind of managed to be there and to try to catch his level, but I was just a little bit down. In the end, this down was going down, down, down, and he was going up, up, up”.
Alcaraz wasn’t alone in setting the world back into order on Sunday. In the women’s final, Iga Swiatek beat Maria Sakkari to win her second Indian Wells title in three years. Swiatek won 6-4, 6-0, taking out Greece’s most successful female player with a crisp efficiency that has become her trademark. And Swiatek being Swiatek, the win came with at least one set of pure domination – a second set ‘bagel’ in the scoreline that so often adds an exclamation point to so many of her victories.
Swiatek, 22, already the winner of four Grand Slams but none since June, showed her resilience last fall after she lost the No 1 ranking she had held for 76 weeks. By the season’s end, she had it back, but she stumbled early at the Australian Open, and with Aryna Sabalenka hitting her stride, Swiatek’s supremacy looked under threat. There were more reasons for jitters when things got started for her at Indian Wells 10 days ago.
She opened against Danielle Collins, who had nearly beaten her in Australia. After that came Linda Noskova, the young Czech who sent her home in Melbourne. Collins got three games. Noskova got four. Both endured a second-set bagel.
When Swiatek won here two years ago and then completed the ‘Sunshine Double’ two weeks later with a win at the Miami Open, it was a breakthrough moment for her. A master of clay court tennis, she had suddenly proven to herself that she could win on the hard court.
“This time, I’m just super happy with the work,” Swiatek said.
Her opponents, not so much. They know she has turned her dominance and efficiency into a strategy that has translated into a 19-4 record in finals and six straight wins in the ultimate match because she has so much energy in her reserves.
(Robert Prange/Getty Images)
“I’ve played bigger hitters, but at the same time she takes away time from you,” Sakkari said. “It took me a couple of games to just get used to her timing.”
The scary thing for all the other women is that the sweet spot of Swiatek’s season, the clay court swing, is still three weeks away. In years past, stepping onto the red clay felt like coming home and she looked forward to it.
“Now it doesn’t really matter,” she said in a bit of a flex.
For Alcaraz, the flexes often come in the form of those little miracles that he manages more than anyone else. Medvedev, who can pull off a few of his own every so often, knows the effect they can have when you do manage one.
“You feel like, OK, you can do more and more, hit stronger, hit faster and be better,” he said.
And that’s what happened as the match moved to the second set and its seemingly inevitable conclusion. At moments, it felt like the balls coming off Alcaraz’s racket were defying the laws of physics and not losing any velocity from the moment they shot off his racket to when they were bouncing up to Medvedev’s eyes or flying past him.
Medvedev would pound the ball over and over and Alcaraz would send it back, unbothered.
“He makes one good shot, I’m in trouble and I lose the point,” Medvedev said. “It’s tough. Mentally it’s not easy to play against this.”

No one knows this better than Alcaraz. From 80 feet away, it’s not hard at all to see a foe’s shoulders sagging, his spirit breaking, his head shaking with amazement and helplessness.
And nothing quite helps matters, in one moment or over the long-term, like a little bit of magic thinking and hitting. That wild series of shots when the tension was rising, it’s good for the game, both his and wider one, he said, and more importantly good for his soul.
“I always say that I’m playing better with a smile on my face,” he said. “Points like this one don’t matter if I win it or lose it, it puts a smile on my face anyway. I think it helps me to keep improving my game on the match and showing my best tennis.”
The smart money says Alcaraz’s best tennis is yet to come.
(Top photo: Matthew Stockman/Getty Images)
Culture
Finding Wisdom in a Poem by Wendy Cope
Where do you turn when you need advice? A chatbot? A life coach? A wise and trusted friend?
How about a poet? Poets may not be famous for making the best life choices, but because they subject the mess of human existence to the discipline of language, they can be as helpful as any therapist or mentor.
Good poets know the rules and when to break them, which is something they can teach the rest of us.
To wit:
Giving advice is a peculiar literary undertaking. It flourishes in certain popular genres — graduation speeches, newspaper columns, country and western songs and poems like this one — but what, in these contexts, is it really for?
I’m thinking of situations when you don’t urgently need help but nonetheless enjoy reading answers to questions you may not have thought to ask. What interests you isn’t the content of the advice — you could get all the life hacks you want from A.I. — so much as the voice of the person dispensing it.
Wendy Cope is an English poet, born in 1945, who has been a fixture of her country’s literary scene since the 1980s. More recently, her short, buoyant poem “The Orange” has been widely memed online, bringing her to the attention of new readers beyond Britain.
Cope favors rhyme, meter, brisk jokes and tart aperçus. She addresses romance, friendship and the petty absurdities of modern life with disarming good humor. The last line of “The Orange” is “I love you. I’m glad I exist.” Somehow she makes it the opposite of cringe.
This isn’t the kind of poetry you would describe as “confessional.” And yet …
Question 1/7
Stop, if the car is going “clunk”
Or if the sun has made you blind.
Don’t answer e–mails when you’re drunk.
Tap a word above to fill in the highlighted blank.Want to learn this poem by heart? We’ll help.
Fill in the missing words below. You can always refer to the reading by A.O. Scott and full
text above.Let’s start with the first stanza.
Culture
Can You Match the Places These Authors Lived With Settings in Their Books?
A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself. This week’s literary geography quiz highlights places where authors were born (or lived) that later became locations in their books. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the works if you’d like to do further reading.
Culture
Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.
AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries, by Eddie S. Glaude Jr.
For those of us in the national memory-keeping business, anniversaries hold near-totemic power. Satisfyingly round units of time, ideally bearing fancy, Latin-derived names, serve as the overburdened pegs on which to hang think pieces and museum exhibits, revisionist documentaries and maudlin public ceremonies. The arbitrary nature of such occasions is precisely what gives them their charge, inviting us to set aside complacency and submit to a comprehensive check-in.
In his new book, “America, U.S.A.,” Eddie S. Glaude Jr. presents an intriguing variation on the genre, seeing the country’s 250th birthday as an anniversary of anniversaries: 50 years since the malaise-ridden, schlock-heavy Bicentennial. A century since the subdued Prohibition-era Sesquicentennial. A century and a half since telegraphed reports of George Armstrong Custer’s defeat by the Lakota and Cheyenne at Little Bighorn rudely interrupted the Gilded Age Republic’s 100th birthday party.
If an anniversary offers a snapshot of a moment, the core of Glaude’s book is an old-timey photo album, a collection of notable episodes from earlier national reckonings, long-ago glances in the mirror. An estimable scholar of Black history, politics and religion at Princeton — best known for “Begin Again,” his 2020 meditation on James Baldwin’s relevance for our times — Glaude focuses, as his subtitle puts it, on “how race shadows the nation’s anniversaries.”
Such celebrations, he contends, have never really been the moments for honest self-reflection they are often advertised to be. Instead, the nation usually shatters the mirror, refusing to accept what it prefers not to see. “American anniversaries are often moments to turn a blind eye to the evils of the past and the present,” Glaude writes, “to suppress the fact of America’s divided soul.”
It’s a clever concept, and, needless to say, perfectly timed. Last year, Glaude notes, the Trump administration executed a hostile takeover of the government’s studiously bipartisan 250th anniversary planning. It is now preparing a program that is certain to conceal more than it reveals about the country ostensibly being celebrated.
Glaude, in no mood for celebration, argues that such omissions and evasions also defined commemorations in the past. In 1875, Frederick Douglass predicted “one grand Centennial hosannah of peace and good will to all the white race of this country.” He was right: The nation reached 100 years old at a crucial moment in the post-Civil War fight over racial equality, with white Northerners ready to give up on Southern Reconstruction. The occasion would help the once-warring sections to reunite around a shared commitment to white supremacy. On May 10, 1876, at the opening of the Centennial Exposition in Philadelphia, the police tried to bar Douglass from the grandstand, until a white politician vouched for him.
The 150th anniversary came soon after a resurgent Ku Klux Klan successfully pushed for a restrictive immigration law aimed at keeping America a “Nordic” nation. At the lavishly funded, lightly attended celebrations in Philadelphia, Black veterans of World War I were excluded from marching in the opening parade. A writer with The Associated Negro Press wondered “what was in the breast of those black men who fought to make America safe for Democracy and on Monday stood on the sidelines, forgotten, as the Nordic strode by in all his vain pride.”
By 1976, when the nation marked its Bicentennial, the violence of the ’60s had destroyed any semblance of consensus. Vietnam and Watergate had eroded trust in the government. The commission initially tasked with organizing the anniversary was disbanded amid reports of corruption. Corporations filled the vacuum, Glaude explains, with “star-spangled whoopee cushions; patriotic toilet seats; Liberty hamburgers; red, white and blue beer cans.” The author, around 8 years old at the time, dimly remembers donning a pair of tricolor trousers.
A half-century later, Glaude is refreshingly honest about the depths of his despair. “I do not love America, and never have, especially now,” he writes in one of the more startling opening sentences I’ve read in some time. He dismisses this year’s Semiquincentennial as reaching back “to a storybook America that requires either the banishment of Black people from view or the reduction of our role in the country’s history, so as to affirm America’s ongoing quest to be a more perfect union.”
Undoubtedly true. But Trump doesn’t own the country, at least not yet, nor the 250th anniversary of one of the most radically liberatory and confusingly contradictory events in world history — an inspiration, as Glaude shows, even to critical observers of the American experiment, like Douglass. Far from the revanchist MAGA-palooza in Washington, I suspect this summer’s unasked-for invitation to national soul-searching may surprise us yet.
Despite his despair, Glaude concludes that “the past still offers resources for us to freedom-dream.” So, too, does this book.
AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries | By Eddie S. Glaude Jr. | Crown | 270 pp. | $31
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