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Euro 2024 and the lopsided draw affecting which teams are considered likely finalists

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Euro 2024 and the lopsided draw affecting which teams are considered likely finalists

There is a reason, at the very moment Gareth Southgate and his players were having obscenities and plastic cups hurled at them in Cologne on Tuesday, every leading UK bookmaker was slashing the odds on England winning Euro 2024.

It had nothing to do with a sudden surge of optimism or a flurry of betting activity. After all, who would lump any money on an England triumph after that?

It was because of the way the tournament has begun to take shape: the odds for England were cut along with Italy, Austria and Switzerland. The odds on French, Spanish, German or Portuguese glory drifted accordingly.

If it was a free draw after the group stage, as what happens in European club competition, it would be hard to look beyond Spain, Germany, Portugal and — as poorly as they have played so far — pre-tournament favourites France.

But the path was pre-determined. The knockout bracket looked unbalanced before a ball was kicked. It has been unbalanced further by France’s failure to win their group, meaning they join Spain, Germany, Portugal and Denmark in the top half of the bracket. Belgium, should they finish second or third in Group E, could end up there too.

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What is England’s route to Euro 2024 final?

On paper, the bottom quarter of the bracket looks reasonably strong: Switzerland facing Italy in Berlin on Saturday; England facing a third-placed team (quite feasibly the Netherlands) on Sunday. But Switzerland, Italy and England won one game each in the group stage. Add the Netherlands (or whoever finishes third in Group E — Romania, Belgium, Slovakia or Ukraine) and it becomes four wins from a possible 12.

To spell this out, in the bottom quarter of the draw, a team that has won just once in the group stage will reach the semi-final — where the worst-case scenario would mean facing Austria, Belgium or the Netherlands. The most likely semi-final permutations in the other half of the draw might be Spain or Germany vs Portugal or France.

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It was put to Southgate on Tuesday, after a dire 0-0 draw with Slovenia, that England might have got lucky with how the knockout stage is shaping up. “We shouldn’t be seduced by which half of the draw,” the manager told ITV Sport. “We have to take a step at a time. Tonight was an improvement. We’ve got to improve to win the next round.”

In his post-match news conference, it was spelt out to him that England had ended up on the opposite side of the bracket to Germany, France, Spain and Portugal. “We have huge respect for all of the teams you’ve mentioned but equally, there are some very good teams on our side of the draw,” he said.

Not equally, though. As at the 2018 World Cup, fortune has smiled on England and on all the other teams who have ended up on that side of the bracket — not least Austria, who are entitled to claim that, by finishing ahead of France and the Netherlands, they have made their own luck.

In 2018, five of the six top-ranked teams in the knockout stage (Brazil, Belgium, Portugal, Argentina and France) ended up on one side of the draw, while the other half consisted of Spain (who had won only one of their three group games), Russia, Croatia, Denmark, Sweden, Switzerland, Colombia and England.

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That World Cup was widely regarded as Belgium’s best chance of winning a major tournament, with so many of their ‘golden generation’ of players at or around the peak of their powers. But they paid a heavy price for winning Group G, beating Japan and Brazil but then falling to France in the semi-final. England’s prize for finishing second to Belgium in their group was a place in the gentler side of the draw, which led to them beating Colombia and Sweden before defeat by Croatia in the semi-final.

Euro 2016 brought a similar imbalance. Italy, under Antonio Conte, excelled in the group stage, but their prize for winning Group E was to be placed on the tougher side of the draw. They beat Spain 2-0 but lost to Germany on penalties in the quarter-final. Germany in turn lost to hosts France in the semi-final. On the other side, Portugal — who had scraped third place in Group F by drawing with Iceland, Austria and Hungary — reached the final by beating Croatia in the round of 16, Poland in the quarter-final and Wales in the semi-final.

Some competitions are based on a free draw, such as the FA Cup. Others, such as the NFL or NBA, see teams ranked on their regular-season record, which should theoretically ensure the two strongest teams in either conference end up on opposite sides of the draw.

International football competitions — including the World Cup, European Championship, Copa America, Africa Cup of Nations and Asian Cup — do not work like that. It is pre-determined from the moment the draw is made: the winner of Group A will play the runner-up of Group B, the winner of Group C will play the runner-up of Group D and so on.

The group-stage draw is seeded, but teams are allocated to each group by a random draw, which raises the possibility of the knockout bracket ending up lop-sided. Because the tournaments are condensed into a four-week or five-week period, with matches played in a host nation, it is felt beneficial to have a pre-determined structure for planning, travel and ensuring each team has enough rest between matches.

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There are still inconsistencies. Austria will have a seven-day break between the end of their group matches on Tuesday and their first knockout round next Tuesday, whereas Spain’s opponents in the round of 16 (still to be determined) will have had just four days’ rest.

Everything about knockout football lends itself to variance. But it can be predicted with some confidence that a team that has performed miserably at Euro 2024 will reach the semi-final or feasibly the final. After a difficult group stage, England, Switzerland, Italy and others have had a soft landing. For one of them, it might even prove a springboard.

(Top photo: Andreas Gora/Picture Alliance via Getty Images))

Culture

I Think This Poem Is Kind of Into You

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I Think This Poem Is Kind of Into You

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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.

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“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.

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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.

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Louise Glück in 1975.

Gerard Malanga

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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.

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“Confidence” can have two meanings, both of which apply to “Early December in Croton-on-Hudson.” Reading it, you are privy to a secret, something meant for your ears only. You are also in the presence of an assertive, self-possessed voice.

Where there is power, there’s also risk. To give voice to desire — to whisper or cry “I want you” — is to issue a challenge and admit vulnerability. It’s a declaration of conquest and a promise of surrender.

What happens next? That’s up to you.

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Culture

Can You Identify Where the Winter Scenes in These Novels Took Place?

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Can You Identify Where the Winter Scenes in These Novels Took Place?

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.

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Culture

From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel

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From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel

Inge Morath/Magnum Photos

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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.

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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.

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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.

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See the full list of the 10 Best Books of 2025 here.

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