Culture
Concerns over fans' U.S. visa wait times for 2026 World Cup: 'Your window might already be closed'
Concerns have been raised with the United States government, including an official meeting in the White House, over fears supporters may be deterred from the 2026 men’s World Cup owing to excessive wait times to process visa applications to visit the country.
The tournament begins in 777 days and it will be at least another 18 months before many countries will be assured of qualification, yet the wait times for U.S. visa interviews in two Mexican cities are already in excess of 800 days, while it is 685 days in the Colombian capital of Bogota.
In a statement to The Athletic, the U.S. Department of State (which oversees international relations) insisted it is determined to reduce wait times but also encouraged supporters in affected countries to start applying for visas now, over two years out from the tournament and with the line-up still unknown.
The 2026 edition of world football’s governing body FIFA’s flagship tournament will include 48 nations for the first time and will be held in 16 cities in the U.S, Canada and Mexico.
It will also be the first World Cup without an overarching local organising committee, which means FIFA is tasked with pulling everything together, in conjunction with the many layers of stakeholders and bureaucracy across three nations and 16 host cities, each of which have differing levels of private and taxpayer support.
The three host countries also have differing entry criteria for visitors, which has the potential to create visa confusion for fans seeking to follow their team deep into the tournament across multiple borders.
Several host cities, including the location for the final — New York/New Jersey — are also concerned about the wait times for visas, and the potential impact on income from tourism during the tournament, but the cities are currently allowing FIFA and the travel industry to lead the conversations with the government. Some of those who have spoken to The Athletic wished to remain anonymous, owing either to sensitivity around discussions or to protect working relationships.
Travis Murphy is the founder of Jetr Global Sports + Entertainment and a former American diplomat who also once ran international government affairs for the NBA.
“My concern is this could be a disaster (in 2026),” he said. “The concerns are absolutely there on the city level. The cities are thinking, ‘They are FIFA, so they must have it under control.’ But when you realise how FIFA worked in the past with previous hosts in Qatar and Russia, it doesn’t necessarily work in the United States.
“We’re just a completely different animal in terms of how our government operates and how we communicate. And frankly, the emphasis that we place on soccer as a sport in our country.
“If this was the Super Bowl, the World Series or the NBA finals, we’d be having a different conversation. Soccer is not the biggest sport in our country. And I think that’s a fundamental lack of understanding by FIFA, perhaps just taking it for granted that it is the case everywhere in the world. But it’s not yet in the United States.”
In recent months, U.S. travel industry representatives and FIFA have raised concerns with the U.S. Department of State and the White House as the respective groups seek to organise how millions of tourists will enter the U.S. during the five-week tournament in June and July 2026. In January 2024, FIFA strengthened its staff in D.C. when it hired Alex Sopko, the former chief of staff for the Office of Intergovernmental Affairs at the White House, to be its new Director of Government Relations.
In a statement to The Athletic, a FIFA spokesperson said the organisation is working closely with U.S. Government in the planning and preparation for the World Cup, including regular discussions on critical topics such as immigration and visas, and adding it recognises “the urgency of these matters.”
The visa delays ahead of the World Cup were raised in a meeting at the White House on Wednesday, April 17, with senior administration officials in conversation with the United States Travel Association (U.S. Travel).
Geoff Freeman, president and CEO of U.S. Travel, was present in the meeting. He describes visa wait times as a “massive issue” but added: “We came away confident that the White House recognises the significance of the 2026 World Cup and will take concrete steps to streamline aspects of the travel experience for the more than eight million anticipated visitors.”
Freely available data on the website of the Department of Consular affairs details the lengthy wait times currently impacting visitor visas from markets that may be highly relevant during the World Cup, which begins in 778 days.
Forty-one countries, including much of Europe, Japan, South Korea and Australia, are part of a visa waiver programme — ESTA — to enter the United States, which means citizens of these countries can travel without obtaining a visa, so as long as their trip for tourism or business does not exceed 90 days.
However, many people, estimated by U.S. Travel to represent 45 per cent of those who visit the States, do require visas for entry. These documents, called a B1/B2 visa, also require in-person appointments at a U.S. Embassy or Consulate to take digital photographs and fingerprints, as well as an interview, in which the candidate must state their intention to return to their home countries and explain their reasons for visiting the United States.
FIFA president Gianni Infantino announces the 2026 match schedule in February (Brennan Asplen/FIFA via Getty Images)
Wait times for a visa interview at a U.S. consulate in the Mexican cities of Mexico City and Guadalajara are currently 878 days and 820 days respectively, so an application made today may not be approved before the World Cup begins. In the Colombian capital of Bogota, the current wait time is 685 days, while Panama City is 477 days and Quito in Ecuador is 420.
The 2026 World Cup is guaranteed to include the U.S, Mexico and Canada as hosts but five more nations may yet qualify from North and Central America, while up to seven may enter from the South American Football Confederation. Wait times are also dramatic in the Turkish city of Istanbul, where it takes 553 days for an appointment, as well as in Morocco, semi-finalists at the World Cup in 2022, where the wait time is 225 days.
In a statement to The Athletic, the state department said: “We encourage prospective FIFA World Cup visitors who will need U.S. visas to apply now – there is no requirement to have purchased event tickets, made hotel reservations, or reserved airline tickets to qualify for a visitor visa.”
Freeman attributes the current visa delays to the shutdown of consular offices during the coronavirus pandemic but also outlines long-standing issues.
“The U.S. is the world’s most desired nation to visit, but our market share is slipping and it’s in a large part due to long visa wait times,” he said. “If you are Colombian and want to come and bring your kids in 2026, your window might already be closed.”
A World Cup is further complicated because many supporters may wait until their nations have secured qualification to organise their trip. For the Americas, this will largely be in winter 2025 — the play-offs may be as late as March 2026 — while nations will only know the cities in which their teams will be competing following the draw, which is usually held eight months out from the tournament.
During the 2022 World Cup in Qatar, visitors were able to expedite their entry into the country by applying for a Hayya card, effectively a fan pass for World Cup ticket holders that acted as a visa for the tournament. A repeat pass is not expected to be approved by the U.S, particularly at a time of global tensions both in the Middle East and following Russia’s invasion of and continued war against Ukraine.
Freeman warned: “The U.S. is not going to change its visa policies in the short term to frankly cater to FIFA. I think where you may see the U.S. adjust some of its approach is in cooperation with Mexico and Canada. So once teams have qualified within the tournament, how do we streamline their ability to cross borders and attend games in other markets later in the tournament? I believe that’s where there will be greater cooperation and some of those discussions are already taking place.”
The answer may simply be additional staff and investment, such as deploying more consular officers at embassies, a method which has helped significantly reduce wait times from Brazil and India over the past year. Congress set aside $50million for the U.S. State Department to “reduce passport backlogs and reduce visa wait times” in a bill signed into law by U.S. President Joe Biden in March but it was not specified how and where the money will be invested.
There is a precedent for visa issues causing delays at major international sporting events in the United States. Kenya’s Ferdinand Omanyala, who set the African 100metres record of 9.77 seconds in 2021, only received his visa documentation the day before the men’s 100 metres heats began at the World Athletics Championships in Eugene, Oregon in 2022.
After securing his visa in Kenya, he took a five-hour flight to Qatar, endured a six-hour layover, then a 14-hour flight to Seattle, another three-hour layover and last of all, a one-hour flight to Oregon. He landed at 4.15 pm and immediately went to the track, where the heats commenced at 6.50pm.
Omanyala competes in the men’s 100m heats on July 15, 2022 (Carmen Mandato/Getty Images)
The sprinter said: “If you are hosting a championship, you need to waive (visa requirements) for athletes. It’s a lesson for the host country in the future, and the U.S. is hosting the Olympics in 2028 (in Los Angeles), so they need to learn from this and do better next time.”
Murphy added: “There were hundreds of athletes who were unable to travel. The World Athletics Championships was was a relatively small event compared to the magnitude of what we’re talking about with the 48-team World Cup and the millions and millions of people involved, in terms of what needs to happen.”
Playing rosters are usually only approved in the final months before a tournament, but the U.S. is expected to expedite processing to ensure players and support staff from federations are able to arrive in time for the World Cup.
The U.S. Department of State attributes the issues at World Athletics to the pressures felt by consular officers coming out of the pandemic and told The Athletic that wait times for “P-visas”, generally used by members of professional sports teams coming to participate in athletic competitions, are “low worldwide”.
Murphy said the National Security Council has established a working committee on the matter for the White House but caveated his optimism with a reminder that more instant priorities are Israel, Gaza and Ukraine. He said: “This is not a priority beyond the host cities, FIFA itself and the members of Congress who represent those host cities. But in terms of there being a broad approach that is all-encompassing and has a wide swath of support in Congress, there’s just nothing there. There’s no bills or initiatives in Congress that are focused on this.”
He added: “The conversations that needed to have started a year plus ago are not at a point where they need to be. And when you’re talking about the U.S. Government, it is essentially at a state of standstill in terms of any major movement that needs to happen from now until November of this year (when there is a Presidential election).”
The Department of State insisted it is “committed to facilitating legitimate travel to the United States while maintaining high national security standards.”
Its statement continued: “We are pleased to be an active participant in a working group with FIFA and other stakeholders on plans for the 2026 FIFA World Cup. The Bureau of Consular Affairs recognizes the importance of international inbound tourism, including for mega sporting events such as the FIFA World Cup, and is working tirelessly to facilitate secure travel to the United States. We have significantly reduced visa wait times over the past two years.”
One of the peculiarities of the U.S. political system is that there is no sports ministry to facilitate such discussions. In its absence, Murphy calls for a special envoy to be appointed, with the World Cup likely to be followed by the women’s edition in 2027 before the Olympics in LA in 2028.
He said: “There has to be somebody centralised to organise those conversations. That’s relatively easy to do. If it’s somebody that has the respect and attention of the cabinet agencies, they can have a conversation with Capitol Hill and that’s going to go a long way to getting things done.”
(Top photo: Patrick Smith/FIFA via Getty Images)
Now that we’ve memorized the first half of our poem, let’s learn a little more about the man who wrote it. (Haven’t memorized anything yet? Click here to start at the beginning.)
For most of his life, Wystan Hugh Auden (1907-73) was a star. He was widely read, quoted, argued over and gossiped about, achieving a level of fame that few writers now — and not many then — could contemplate. His New York Times obituary did not hesitate to call him “the foremost poet of his generation.”
Celebrity of that kind is ephemeral, but Auden’s words have continued to circulate in the half century since his death. Maybe you’ve heard some of them before. In the 1994 film “Four Weddings and a Funeral,” his poem “Funeral Blues” is recited by Matthew (John Hannah) over the casket of his lover, Gareth (Simon Callow).
In the Gen-X touchstone “Before Sunrise” (1995), Jesse (Ethan Hawke) regales Celine (Julie Delpy) with an impression of Dylan Thomas reading Auden’s “As I Walked Out One Evening.”
In both these scenes, the characters use Auden’s poetry to give voice to a longing for which they otherwise might not have words. Auden’s poetry is often useful in that way. It speaks to recognizable human occasions, and it isn’t always all about him.
“The More Loving One” might not be something you’d quote at a funeral or on a date, but it is almost effortlessly quotable — the perfect expression of a thought you never knew you had:
Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.
Ken Burns, filmmaker
The word “I” occurs five times in this stanza, but we don’t know much about the person speaking. His personality is camouflaged and revealed by craft.
Auden, born in the northern English cathedral city of York, began practicing that craft as a schoolboy, and honed it at Oxford. Not long after graduating in 1928, he was anointed by critics and readers as the great hope of modern English poetry. A charismatic, divisive figure, he gathered acolytes, imitators and haters.
He swam in the intellectual and ideological crosscurrents of the 1930s, drawing Marxism, psychoanalysis and mystical nationalism into his writing. Assimilating a daunting array of literary influences — Old English and Ancient Greek, French chansons and Icelandic sagas — he forged a poetic personality that was bold, confiding and seductive.
His love poems of that era were candid, discreet dispatches from a calendar of feverish entanglements, wrenching breakups and one-night stands, usually with other men. He also wrote about the feverish politics of the time — class conflict; the rise of fascism; the Spanish Civil War — in ringing rhetoric he later disavowed.
In 1939 Auden moved to America, acquiring U.S. citizenship after World War II. In New York he fell in love with Chester Kallman, a young American writer who became his life partner.
It was a complicated relationship, starting as a passionate affair and enduring through decades of domestic companionship and creative collaboration. Kallman’s refusal to be sexually exclusive wounded Auden, a dynamic that poignantly shades this poem’s most memorable couplet:
If equal affection cannot be,
Let the more loving one be me.
Yiyun Li, writer
In America, Auden distanced himself from the radical politics of his earlier career and embraced Anglican Christianity. His intellectual preoccupations shifted toward religion and existentialism — to the kinds of big questions we think about late at night, or when we look to the sky.
Making the leap from wunderkind to grand old man without seeming to stop in middle age, he became a mentor for several generations of younger poets. He was a prolific and punctual contributor of reviews and essays to various publications, including this one, for which he wrote a rave of J.R.R. Tolkien’s “The Fellowship of the Ring” in 1954.
Through it all, Auden devoted fanatical attention to the finer points of poetic technique. His notebooks are full of numbers, word lists and markings that show just how deep this commitment went. He counted every syllable, measured every stress.
He gathered rhymes and other words with a lexicographer’s zeal and a crossword puzzler’s precision.
The third stanza of “The More Loving One” is a miniature showcase of Auden’s skill. Of the four epigrams arrayed before us, it may be the most technically perfect.
Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.
W.H. Auden, poet
The rhythm is flawless, without an extra syllable or an accent out of place. The grammar is also fastidious. Here is a single sentence, springloaded with equivocation, beginning with one idea and sliding toward its opposite.
This quatrain is the poem’s ideal formal representation of itself, a kind of proof of concept: four lines of impeccable iambic tetrameter in an AABB rhyme scheme. The by-the-book regularity of this stanza should give you a leg up in memorizing it, and you can test yourself below!
But the rest of the poem is an argument against perfection, just as it is a celebration of uncertainty and humility — as we’ll see tomorrow.
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
Admirer as I think I am
Of stars that do not give a damn,
Tap a word above to fill in the highlighted blank.Your first task: Learn the first two lines!
Let’s start with the first couplet in this stanza. Fill in the rhyming words.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
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.
PERMANENCE, by Sophie Mackintosh
Sophie Mackintosh’s novels are always speculative in some way, with either the author or her characters forging a world governed by its own logic and rules. In their boldness and their ability to convey the violence of patriarchy, they recall the work of Jacqueline Harpman — not only the cherished “I Who Have Never Known Men,” but also “Orlanda,” her wild riff on Virginia Woolf’s “Orlando.”
Like Harpman, Mackintosh has a spare and confident hand. Her work is sometimes described as dreamlike; certainly, its contours are sketched with rapidity and confidence and relatively little detail. Her prose operates according to the same principle, at once lyrical and precise, like this from her second novel, “Blue Ticket”: “On the ground was a dead rabbit, disemboweled. Still fresh, the dark loops of its insides glistening like jam.”
When Mackintosh writes about masculine power, she does so in a way that articulates both its seductions and its terrors. Her newest novel, “Permanence,” is less explicitly concerned with the structure of patriarchy, but it has the same erotic charge as her earlier work, the same preoccupation with social prohibitions and the thrill that comes from breaking them.
Like “Blue Ticket,” “Permanence” turns on a highly pronounced binary. In “Blue Ticket,” adolescent girls are issued either a blue or white ticket on the day of their first period. A white ticket denotes a future of marriage and children, a blue ticket one of work — even, it seems, a career. The divide is stark and self-evidently faulty, its coarseness an expression of the brutalizing regime the characters are trapped in.
“Permanence” features a similar opposition, neatly delineated. Clara and Francis are conducting an illicit affair. One morning, they wake up in an alternate reality where they are openly living together. The novel shuttles between these two worlds, one ordinary and familiar, the other a curdled paradise for adulterers.
The thinness of this “city of impermanence” — “fluid, cohesive and yet disparate” — emerges at once. The sky is “uncannily blue,” the newspaper bears no date, the edge of the city is marked by “a slick ring of water, as far as the eye could see.”
Still, a boundary cannot keep the other world from seeping in. Initially, elegantly, this is a problem in the structure of desire. Having been provided the life they dreamed of, in which their longing for each other is fully met, Clara and Francis begin to experience, to their uneasy surprise, boredom and discontent.
Without absence, the intensity of their desire for each other wanes. They even begin, or at least Francis does, to long for the relief of their ordinary life: “Another day ahead of them of petting, giggling, lying around. It seemed insubstantial suddenly, though only the day before he had felt he could do it forever.”
Soon enough, it becomes clear that the problem between Francis and Clara doesn’t lie in the outside impediments of the world they live in, but in their relationship itself. Francis remains troublingly himself — a married father of a small child, reluctant to leave his family, however much he is in love with Clara: “He did love her, and he did want to be with her. … But he already had reality elsewhere, reality which he sometimes felt trapped by, he would admit, but which he could not truly imagine cutting loose.”
“Permanence” might seem like an outlier in the current array of articles and books about open marriages and polyamory, and at first glance the line of distinction between the two worlds, much like the division between blue and white tickets, seems almost old-fashioned. But as Mackintosh persuasively illustrates, the familiar emotions of jealousy, infatuation and eventually indifference — these persist and can flourish in any relationship, however free of prohibition.
“You want this,” Clara tells herself, and then, “You no longer want this,” as it occurs to her that “maybe it was in absence that they loved each other best, and most honestly.”
In her work, Mackintosh devises scenarios that are bold and almost aggressively simplified. But her terrain is complexity and contradiction, and in her hands these oppositions twist and turn in on themselves.
It’s hardly a surprise when the central character in “Blue Ticket” decides to eschew her designation and have a child, declaring, “True and false were no longer opposing binaries. My body was speaking to me in a language I had not heard before.” Nor is it especially startling when discontent chases Clara and Francis from one world to the other, unraveling their relationship.
What is more disquieting is the surreptitious ease with which Mackintosh’s speculative worlds start to align with our own, allowing the reader to see how so many of the old prohibitions and conventions — around choice, around marriage — remain, somehow, firmly in place.
That moment of recognition, in a landscape that is startlingly alien, is the source of Mackintosh’s power as a writer.
PERMANENCE | By Sophie Mackintosh | Avid Reader Press | 240 pp. | $28
Maybe you woke up this morning haunted by the first four lines of W.H. Auden’s “The More Loving One” — or tickled by its tongue-in-cheek handling of existential dread. (Not ringing any bells? Click here to begin the Poetry Challenge).
This is a love poem. Perhaps that seems like an obvious thing to say about a poem with “Loving” in its title, but there isn’t much romance in the opening stanza.
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
We have to dread from man or beast.
Ada Limón, poet
Nonetheless, the poem soon makes clear that love is very much on its mind.
How should we like it were stars to burn
With a passion for us we could not return?
David Sedaris, writer
The polished informality gives the impression of a decidedly cerebral speaker — someone who’s looking at love philosophically, thinking about how it works and what it means.
If equal affection cannot be,
Let the more loving one be me.
Reginald Dwayne Betts, poet
Musing this way — arguing in this fashion — he stands in a long line of playful, thoughtful poetic lovers going back at least to the 16th century. He sounds a bit like Christopher Marlowe’s passionate shepherd:
Come live with me and be my love,
And we will all the pleasures prove,
That Valleys, groves, hills, and fields,
Woods, or steepy mountain yields.
Auden’s poem, like Marlowe’s, is written in four-beat lines:
How should we like it were stars to burn
With a passion for us we could not return?
Josh Radnor, actor
And it features strong end rhymes:
If equal affection cannot be,
Let the more loving one be me.
Samantha Harvey, writer
These tetrameter couplets represent a long-established poetic love language. Not too serious or sappy, but with room for both earnestness and whimsy. And even for professions of the opposite of love, as in this nursery rhyme, adapted from a 17th-century epigram:
I do not like thee, Doctor Fell
The reason why I cannot tell.
But this I know and know full well
I do not like thee, Doctor Fell.
There is some of this anti-love spirit in Auden’s poem too, but it mainly follows a general rule of love poetry: The person speaking is usually the more loving one.
This makes sense. To write a poem requires effort, art, inspiration. To speak in verse is to tease, to cajole, to seduce, all actions that suggest an excess of desire. That’s why it’s conventional to refer to the “I” in a poem like this as the Lover and the “you” as the Beloved. The line “Let the more loving one be me” could summarize a lot of the love poetry of the last few thousand years.
But who, in this case, is the beloved? This isn’t a poem to the stars, but about them. Or maybe a poem that uses the stars as a conceit and our complicated feelings about them as a screen for other difficult emotions.
What the stars have to do with love is a tricky question. The answer may just be that the poem assumes a relationship and then plays with the implications of its assumption.
This kind of play also has a long history. Since love is both abstract and susceptible to cliché, poets are eager to liken it to everything else under the sun: birds, bees, planets, stars, the movement of the tides and the cycle of the seasons. Andrew Marvell’s “Definition of Love,” from the 1600s, wraps its ardor in math:
As lines, so loves oblique may well
Themselves in every angle greet;
But ours so truly parallel,
Though infinite, can never meet.
The literary term for this is wit. The formidable 18th-century English wordsmith Samuel Johnson defined a type of wit as “a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike.” “The most heterogeneous ideas are yoked by violence together,” he wrote; that kind of conceptual discord defines “The More Loving One.”
The second stanza is, when you think about it, a perfect non sequitur. A hypothetical, general question is asked:
How should we like it were stars to burn
With a passion for us we could not return?
Mary Roach, writer
The answer is a personal declaration that is moving because it doesn’t seem to apply only or primarily to stars:
If equal affection cannot be,
Let the more loving one be me.
Tim Egan, writer
Does this disjunction make it easier or harder to remember? Either way, these couplets start to reveal just how curious this poem is. We might find ourselves curious about who wrote them, and whom he might have loved. Tomorrow we’ll get to know Auden and his work a little better.
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
How should we like it were stars to burn
With a passion for us we could not return?
Tap a word above to fill in the highlighted blank.
Your task today: Learn the second stanza!
Let’s start with the first couplet in this stanza. Fill in the rhyming words.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
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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