Culture
Emma Hayes struck balance between USWNT celebration and evaluation, winning the October window
Center back Naomi Girma stole the show in Louisville as the U.S. women’s national team wrapped up the international window with its third win. But the real story of that October camp is the sheer amount of evaluation head coach Emma Hayes managed in addition to the celebratory nature of the team’s Olympics gold medal victory tour.
“I got out of it what I wanted to get out of it,” Hayes said Wednesday. “A ton of debutants, managed minutes for everyone that’s still in NWSL play, (and) a chance to develop some things that, for us, we set as targets for ourselves on the training pitch.”
Hayes has backed up everything she has said since taking over the job in May, going back to her first media appearances in New York City this spring — specifically: club form matters. While her hands were tied slightly in this window as Olympics celebrations meant she had to call up every healthy member of the squad that went to the Games in France in the summer, she used her remaining roster spots to the fullest. She also maximized rotation, not just in the starting line-ups and her substitute choices, but the 23-player game-day rosters.
All seven uncapped players on the roster, including a mid-camp addition, earned their first USWNT minutes.
Orlando Pride defender Emily Sams and Washington Spirit midfielder Hal Hershfelt were in France as alternates but did not see the field. Racing Louisville forward Emma Sears immediately impressed in her debut as only the fourth player in program history to record a goal and assist in her first cap. Bay FC defender Alyssa Malonson nabbed her first assist in her debut Wednesday against Argentina, playing provider to Girma. Paris Saint-Germain’s Eva Gaetino, Utah Royals’ Mandy Haught and Gotham FC’s Yazmeen Ryan rounded out the new kids.
3 – Three different #USWNT players (Eva Gaetino, Mandy Haught & Alyssa Malonson) will be starting in their national team debut in the same game for the first time since four did so on March 7, 2001 against Italy. Newcomers. pic.twitter.com/mzv4oVFFUL
— OptaJack⚽️ (@OptaJack) October 30, 2024
There were important returns too. Alyssa Thompson finally scored her first international goal in her return to the national team after missing out on the Olympic roster, and Ashley Sanchez and Hailie Mace picked up minutes against Argentina.
It’s hard to disagree with Hayes’ approach to club form after a successful window because she achieved all of her objectives and captured three multi-goal wins. As a bonus, she also finally saw the team down a goal, forced into mounting a comeback against Iceland in Nashville on Sunday. It was the first time the USWNT had fallen behind in a game managed by Hayes.
The challenge now is figuring out how much these matches actually matter in the long run. While the friendlies were fun to watch — no one will complain about a Girma brace either — with so much focus on rotation and evaluation, it feels more like one of the first pieces to the larger puzzle. One that won’t be completed for a few more years.
The back half of 2024 has generally felt like a period for recovery and big-picture thinking at the senior team level.
While the next and final window of the year in late November and early December involves two high-profile European opponents on the road, the friendlies against England and the Netherlands will likely be an outlier from this period. Higher-profile opponents mean higher stakes, but it’s fair to expect Hayes to again use the full depth of her roster with an eye on evaluation and development.
Our last home game of the year did not disappoint! ⚡
A sold-out stadium, three international debuts and two goals by center back extraordinaire Naomi Girma! #USWNT x @JimBeam pic.twitter.com/ab7bcLUX8u
— U.S. Women’s National Soccer Team (@USWNT) October 31, 2024
Hayes has already shown she’s not afraid of big moments and prioritized using the depth of her roster to bring Jaedyn Shaw, Croix Bethune and others to their first major tournament this summer. While the starting XI against England on November 30 is sure to be the strongest possible, Hayes has another chance to ensure that players who will be crucial to the team’s success two or three years down the line experience an environment like Wembley Stadium as well.
The true sign of things to come will be January’s Futures Camp, which Hayes promised to run concurrently with the full senior team camp in Los Angeles. The USWNT hasn’t run a talent and identification camp since 2019, shortly after Vlatko Andonovski took over the team, but it was the only one to occur during his four-year tenure.
Hayes has promised to cast a wide net, especially following semifinal appearances from the under-20 and under-17 teams in their respective World Cups this year. But for all the angst over the past few years about generational change, the runway has finally been fully cleared.
The Olympics were the most obvious symbolic gesture of the end of one USWNT era, with Alex Morgan not named to the roster. It was a surprise sunsetting of a generational player but was also a testament to the team she helped build.
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There are more options than ever before in every position. Making the U.S. roster seems harder than it’s been in the past, but doing so is also more clearly tied to form and thus more transparent than ever. Hayes has finally truly buried that “emergency surgery” line she came in with and led the team to Olympic gold, and as promised, the larger work is now underway.
These three games provided a good start, but were just a start nonetheless.
The first 270 minutes of the cycle leading to the 2027 World Cup in Brazil and home-turf Los Angeles-hosted Olympics a year later are in the bag. There’s still so much more to come.
(Top photo: Scott Wachter / Imagn Images)
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.
Cold weather can serve as a plot point or emphasize the mood of a scene, and this week’s literary geography quiz highlights the locations of recent novels that work winter conditions right into the story. Even if you aren’t familiar with the book, the questions offer an additional hint about the setting. 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 books if you’d like to do further reading.
When a writer is praised for having a sense of place, it usually means one specific place — a postage stamp of familiar ground rendered in loving, knowing detail. But Kiran Desai, in her latest novel, “The Loneliness of Sonia and Sunny,” has a sense of places.
This 670-page book, about the star-crossed lovers of the title and several dozen of their friends, relatives, exes and servants (there’s a chart in the front to help you keep track), does anything but stay put. If “The Loneliness of Sonia and Sunny” were an old-fashioned steamer trunk, it would be papered with shipping labels: from Allahabad (now known as Prayagraj), Goa and Delhi; from Queens, Kansas and Vermont; from Mexico City and, perhaps most delightfully, from Venice.
There, in Marco Polo’s hometown, the titular travelers alight for two chapters, enduring one of several crises in their passionate, complicated, on-again, off-again relationship. One of Venice’s nicknames is La Serenissima — “the most serene” — but in Desai’s hands it’s the opposite: a gloriously hectic backdrop for Sonia and Sunny’s romantic confusion.
Their first impressions fill a nearly page-long paragraph. Here’s how it begins.
Sonia is a (struggling) fiction writer. Sunny is a (struggling) journalist. It’s notable that, of the two of them, it is she who is better able to perceive the immediate reality of things, while he tends to read facts through screens of theory and ideology, finding sociological meaning in everyday occurrences. He isn’t exactly wrong, and Desai is hardly oblivious to the larger narratives that shape the fates of Sunny, Sonia and their families — including the economic and political changes affecting young Indians of their generation.
But “The Loneliness of Sonia and Sunny” is about more than that. It’s a defense of the very idea of more, and thus a rebuke to the austerity that defines so much recent literary fiction. Many of Desai’s peers favor careful, restricted third-person narration, or else a measured, low-affect “I.” The bookstores are full of skinny novels about the emotional and psychological thinness of contemporary life. This book is an antidote: thick, sloppy, fleshy, all over the place.
It also takes exception to the postmodern dogma that we only know reality through representations of it, through pre-existing concepts of the kind to which intellectuals like Sunny are attached. The point of fiction is to assert that the world is true, and to remind us that it is vast, strange and astonishing.
See the full list of the 10 Best Books of 2025 here.
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