Culture
Honestly, Ruben, maybe you should try not saying what’s on your mind for a change
A few years ago, I got into a lift with a former colleague I knew a little but wouldn’t exactly describe as a close friend. In the way that we all have done hundreds of times, I asked how he was, expecting a variant of the standard response: “Yeah, not bad thanks, mate. How are you?”
Instead, this colleague said flatly: “My wife wants a divorce.”
I can’t really remember how the rest of the conversation went in the short but excruciating journey to our floor, so paralysed by awkwardness was I. Did I offer sympathy, constructive advice, compassion? I hope so, but I can’t guarantee it. My colleague was merely saying what was on his mind, speaking his truth, but the lack of social filter, the brutal honesty of the interaction was too much and threw me entirely off-kilter.
Honesty is good. You shouldn’t lie. In most circumstances, it would be better if we all told the truth. In most circumstances. Not always.
There’s a lot to be said for the harmless lie, the artfully concealed truth, the slight diversion from your true feelings when it would be much better for all concerned just to hold back a little bit. Which brings us to Ruben Amorim.
The Manchester United head coach is a very honest man. Incredibly honest. In fact, he’s far too honest, seemingly a man incapable of hiding his true feelings when faced with questions from the media.
Here are a few examples of the extremely honest things he has said in public, since arriving at Old Trafford in November.
“I am not helping my players in the moment.”
“David Moyes is doing a better job than me, it’s simple.”
“I have to sell my idea, I don’t have another one.”
Ruben Amorim often bares his soul in press conferences (Carl Recine/Getty Images)
“Imagine what this is for a fan of Manchester United. Imagine what this is for me. We are getting a new coach who is losing more than the last coach.”
“We are the worst team maybe in the history of Manchester United.”
“This club needs a shock.”
“That is really clear (that United could get relegated), so we have to fight.”
Amorim has always been like this. Some of his former players told The Athletic in January that honesty and clear communication are among his strengths. “We prefer the truth,” one of them said.
But while the managerial straight shooter can be useful, constructive even, there must be a point where it becomes counterproductive. His public self-flagellation won’t necessarily tally with what he says in the dressing room, but you feel it’s unlikely that his players would have been fired up after he declared them the worst team in United’s history — even if he did clarify a few days later that he was referring to himself more than his squad.
It sometimes feels like we, the public, are participating in a mass therapy session, that Amorim is unburdening his soul at every possible opportunity. Maybe that’s good, maybe it feels cathartic, maybe it’s better than bottling it all up.
Imagine if you were his friend and he was constantly telling you stuff like this, though. You’d do your best to help him but there must be a point where you’d say: “Come on, mate… give it a bit of a rest.” He’d be the guy at a party bumming everyone out if he happened to have a bad day.
Amorim has overseen 10 wins from his 23 games in charge of United (Carl Recine/Getty Images)
And there have been a lot of bad days at United so far. It’s impossible not to have some sympathy for Amorim; a young coach who had already achieved plenty but who was coming to the end of a cycle at Sporting CP and was given an opportunity he didn’t feel he could say no to.
He wanted to wait until the summer, as was sensible, but United insisted that he take the job there and then, as was very not sensible. Perhaps he should have held his nerve, trusted that he could finish the season in Portugal and still get a bigger job, and avoid the swirling mess of Manchester United altogether.
But there he is, looking increasingly beleaguered on the touchline and then, once he’s facing the cameras and the microphones, shows the world his truth.
All of this would be very different if things were going better on the pitch. If United were winning, then this column might have been about how refreshing his honesty is, how it’s surely a virtue that has helped relate to his players. But like most other things in football, everything is viewed through the prism of results.
He doesn’t seem to be playing a character or presenting a persona, as managers sometimes do in order to create some distance between their actual self and their public-facing self.
Which, for those outside of United, particularly the media, is great. Having a manager bare his soul rather than stare blankly down the camera and offer a set of interchangeable platitudes is entertaining, an interesting diversion from the norm, grimly fascinating even.
Amorim is an engaging speaker… but not one for sugarcoating (Alex Livesey/Getty Images)
For his sake though, it can’t be a good thing. Apart from the debatable benefits of public self-abasement, many of his statements only serve to emphasise the negativity around United — which doesn’t need much emphasising — and create more debate and fevered coverage.
Would anyone seriously be talking about the prospect of United being relegated, given the state of the bottom three, if he hadn’t mentioned it? What is the benefit of comparing himself negatively to Erik ten Hag or Moyes? These are the sort of things that might be true but you don’t need to actually say them.
Apart from anything else, from a self-preservation point of view, there must come a point where his employers think that he’s far too honest, that he is attracting more negativity to United than they can stomach.
Perhaps there was some evidence that the United boss can play the game when he downplayed Alejandro Garnacho’s reaction to being substituted against Ipswich Town in his latest press conference on Friday, saying that the 20-year-old will pay for a team dinner after disappearing down the tunnel rather than taking a spot on the substitutes’ bench.
Still, the advice to Amorim is just to dial it back a little. Everyone will understand if you try a little positive spin on things occasionally. Nobody will blame you for a little fib every now and then.
And if you get into a lift and someone asks how things are going, just say: “Yeah, not bad thanks, mate. How are you?”
(Top photo: Oli Scarff/AFP via Getty Images)
Culture
I Think This Poem Is Kind of Into You
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.
Culture
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.
Culture
From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel
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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