Culture
How Merseyside became America’s 51st state
Beyond the dust of Liverpool’s dock road and the huge lorries rolling in and out of the city’s port, the glass panels of Everton’s new home at the Bramley-Moore Dock sparkle impressively, radiating ambition.
The site, expected to open next year, is a feat of engineering considering the narrow dimensions of the fresh land below it, where old waters have been drained to create a 52,888-capacity arena that has been earmarked to host matches at the 2028 European Championship.
The Everton Stadium, as it is currently known, has been nearly 30 years in the making and nothing about its construction has been straightforward. There were three other proposed sites — including one outside Liverpool’s city boundaries, in Kirkby — which never materialised; a sponsorship deal collapsing due to Russia’s invasion of Ukraine; three owners, Peter Johnson, Bill Kenwright and Farhad Moshiri, departing; and several flirtations with relegation.
Ultimately, Dan Friedkin, a Texan-based billionaire, will have the honour of being in post when it is inaugurated after his group’s long-awaited takeover was completed on Thursday.
Everton’s new waterfront home (Paul Ellis/AFP via Getty Images)
It has been a momentous week for Everton, and for the region as a whole. The Friedkin Group’s takeover means both of Merseyside’s Premier League clubs are now controlled by Americans. Meanwhile, a third, League Two side Tranmere Rovers, could join them if the English Football League (EFL) ratifies a takeover by a consortium led by Donald Trump’s former lawyer Joe Tacopina.
In football terms, Liverpool is on the verge of becoming the USA’s 51st state — the name of the 2001 movie starring Samuel L Jackson and Robert Carlyle, which was filmed in the city and used Anfield, the home of Liverpool FC, as a backdrop.
It is a huge cultural shift from the days — back when that film was released — when Liverpool and Everton had local owners and an American takeover of the city’s most celebrated sporting organisations seemed unthinkable.
And for all the excitement that Everton and Tranmere’s takeovers have generated, there remains an underlying caution — born of years of fear and frustration over the direction their clubs have taken — over what U.S. ownership will mean.
GO DEEPER
Inside Everton’s Friedkin takeover: From the precipice to fresh hope thanks to new U.S. owner
Everton is a club of contrasts.
Much of their mainly local support comes from some of the United Kingdom’s most economically challenged districts in the north end of Liverpool, near Walton where Goodison Park is located, and the ‘People’s Club’ — as former manager David Moyes christened them — has long taken pride in not being connected to big business, particularly in comparison to their near-neighbours Liverpool.
“One Evertonian is worth twenty Liverpudlians,” said former local captain Brian Labone, who led the team he supported as a boy in the 1960s.
Yet it hasn’t always been this way. At that time, it was Everton — not Liverpool — who were the city’s big spenders under their chairman John Moores, the founder of Littlewoods Pools. Then, their nickname was the ‘Mersey Millionaires’ and the club’s modus operandi was unapologetically ruthless: one manager, Johnny Carey, was sacked in the back of a taxi.
Moores would detail several innovations that would grow the sport, making it more attractive to business. They included the creation of a European Super League (sound familiar?), the rise of television, as well as the removal of the maximum wage, leaving a free market in which the best players would go to the richest clubs.
When Liverpool started to dominate English football and Goodison Park experienced a dip in gates, Moores tried to raise more cash. One of his solutions was to bring corporate hospitality to Goodison, as well as more advertising boards around the pitch but the move experienced pushback.
“Fans didn’t like it,” says Gavin Buckland, who recently published a book entitled The End, which looks at some of the longer-term causes of Everton’s struggles. “They felt the boards intruded on their match day routine — an in-your-face commercialism.”
Attitudes haven’t changed much since, in part because successive Everton owners haven’t been able to expand Goodison which is hemmed into Walton’s warren of terraced streets. Under Kenwright, Everton played on that reputation of the plucky underdog punching above its weight; it was only when Moshiri, a Monaco-based British-Iranian steel magnate, arrived as co-owner in 2016 that the waters were muddied.
Goodison Park – with Anfield visible at the top of the picture – is sandwiched into terraced streets (Michael Regan/Getty Images)
Under Moshiri, Everton became two clubs in one. Like Kenwright, Moshiri operated from London but unlike the theatre impresario, he had no natural connection with Merseyside. While Moshiri aimed for the stars, spending big on players and managers, Kenwright — who remained chairman and still had influence until his death last year — had a more corner-shop mentality. There was a lack of clarity over decision-making.
Enter Friedkin. Perversely, Everton’s fallen state is a major reason they represent such an attractive proposition to the San Diego-born businessman, who identified them as one of, if not the last, purchasable English football club where there is room for significant growth.
On Merseyside, there is some concern about what this might mean: Americans have tended to develop dubious reputations as owners of English football clubs due to their appetite for driving non-football revenues and seeing their investments as content providers.
Will the new stadium, for example, become a shopping mall experience, complete with hiked-up ticket prices? Buckland speaks of a “cliff edge”, where Everton are moving into a new home, necessitating new routines for matchgoing fans, while a new foreign owner with a reputation for keeping his distance gets his feet under the table. For some, all of this at once might be too much.
Given that Friedkin cannot claim to have played a leading role in the stadium move, he is likely to be judged quickly on the team that he delivers. Any new revenue-driving schemes will only float if fortunes improve on the pitch, otherwise his priorities will be questioned.
For proof, simply look across Stanley Park. In 2016, thousands of Liverpool fans walked out of Anfield in the 77th minute of a Premier League game against Sunderland after FSG announced that some ticket prices in the stadium’s new Main Stand would be priced at £77.
Liverpool had won just one trophy in six years of FSG ownership at that point and local fans, especially, felt like their loyalty was being exploited, given the organisation’s policy of investing its own money in infrastructure but not the team. The protest led to an embarrassing climbdown.
Liverpool was once described by the Guardian newspaper as the “Bermuda Triangle of capitalism”. It has since been framed absolutely as a left-wing city even though voting patterns suggest it should be described as a dissenting one. Its football supporters, whether blue or red, tend to confront perceived injustices, especially if it involves outsiders making money at the expense of locals, and even more so if they are not delivering on the pitch.
Liverpool have retained their working-class feel (Simon Hughes/The Athletic)
FSG were only able to buy Liverpool at a knockdown price, which its former American owner Tom Hicks described as an “epic swindle”, due to the response of the supporters who unionised themselves in an attempt to drive both Hicks and his partner George Gillett out following a series of broken promises, as the club veered dangerously towards deep financial problems from 2008.
“The missteps of Hicks and Gillett put power in the hands of the fans,” reminds Gareth Roberts from Spirit of Shankly, the fans group which is still active 16 years after its formation and which now has members on the club’s official supporters board. The latter became enshrined in Liverpool’s articles of association after FSG apologised for its leading role in the attempt to create a European Super League in 2021.
This came after several other high-profile PR blunders that eroded trust. It remains to be seen whether figures like John W. Henry, FSG and Liverpool’s principle owner, will listen to the board rather than pay lip service and carry on regardless with his own plans. Roberts says the ongoing challenge is “getting them to understand the culture”, and it does not help the relationship when Henry’s business partner, Tom Werner (Liverpool’s chairman), speaks so enthusiastically about taking Premier League fixtures away from Anfield and potentially hosting them in other parts of the world.
There was a time when either Everton or Liverpool’s local owner not showing at a match would dominate conversations in pubs and get reported in the local paper. Now, that only happens if they actually turn up.
Leading FSG figures usually fly in from Boston, Massachusetts, attending a couple of games a season — Werner was at Liverpool’s recent game against Real Madrid, while Henry was in the stands for the first home game of the season against Brentford. They appoint executives and dispatch them to Merseyside, or London, where the club has long had an office, to run the business on their behalf. Such individuals are under pressure to drive revenues as far as they can, in theory improving the economic possibilities of the team.
John W. Henry visits Anfield for the Brentford game in August (Michael Regan/Getty Images)
Roberts says ticketing is an especially thorny issue at Liverpool due to the popularity of the club. It feels like locals are under attack: that there is a race to get the richest person’s bum onto a seat.
As far as Roberts is concerned, a club that markets its image from the energy that Anfield occasionally creates is treading on dangerous ground. “The Kop still has power,” he insists. “But if you squeeze the fans and they drop off, there is a risk that the place gets filled with spectators rather than supporters and with that, you kill the golden goose.”
This, he adds, should act as a warning to Evertonians as they embark on their own American adventure.
Like Roberts, Liverpool metro mayor Steve Rotheram is a season ticket holder at Anfield and he understands such anxieties. In October, he spent a fortnight in North America exploring trade opportunities and the experience made him realise how powerful a brand Liverpool has abroad due to its connections with football and music, as well as its central role as a port in the movement of the Irish diaspora that spread across the Atlantic in the 19th century.
He says such history helps start conversations with American businesses from sectors like bioscience and digital innovation, which are now interested in investing in Merseyside due to the availability of land near the waterfront on both sides of the Mersey river, a hangover from the harsh economic measures of the 1980s and the decline that followed.
Rotheram says football, especially, plays a significant role in the visitor economy to the region, which in 2018 was worth £6.2billion. A thriving Everton playing at a stadium that does a lot more than host football matches every fortnight has the potential to add to that pot. The site at Bramley-Moore promises to regenerate the area around it and, currently, there are small signs of that change. Now Everton’s immediate financial concerns have gone away, perhaps businesses hoping to move in can proceed with more confidence.
GO DEEPER
How Liverpool 2.01 was built – and FSG abandoned any plans to sell
To reach the third professional football club on Merseyside attracting American investment, you have to cross the river.
If Rotheram gets his way, a walkable bridge will connect Liverpool to Wirral, the home of Tranmere Rovers, and potentially boost the peninsula’s economy. But for the time being, there are just two transport options: a tunnel under the Mersey or, more pleasurably, a ferry which takes less than seven minutes to sail from the Pier Head, beneath the famous Liver Buildings, to Seacombe.
In the middle of this journey, as the ferry juts north, there is a different view of Everton’s new stadium, positioned between a scrapyard and a wind farm, both of which are in the shadow of a brooding tobacco warehouse that is the biggest brick building in the world. Everton’s new home is much closer to the city and might seem enormous from the land, glistening from whichever angle you look at it, but it does not dominate the skyline from the brown, scudding channels of the Mersey.
Everton’s new stadium, as viewed from Birkenhead across the Mersey (Christopher Furlong/Getty Images)
When the novelist Nathaniel Hawthorne sailed across the same stretch of water in 1854, he recalled a scene that he thought neatly captured the personality of the Liverpudlians he’d encountered over the previous six months, having been sent to the city as American consul.
There, on the ferry, was a labourer eating oysters using a jack knife taken from his pocket, tossing shell after shell overboard. Once satisfied, the labourer pulled out a clay pipe and started puffing away contentedly.
According to Hawthorne, the labourer’s “perfect coolness and independence” was mirrored by some of the other passengers. “Here,” Hawthorne wrote, “a man does not seem to consider what other people will think of his conduct but whether it suits his convenience to do so.”
Hawthorne did not specify whether the labourer was from Liverpool or the piece of land to the west now known as Wirral. To any outsider, the places and their residents tend to be viewed as one of the same.
On Merseyside, however, distinctions are made: Liverpudlians tend to identify themselves as tougher and sharper, while those from “over the water”, tend to have softer accents and are once removed from the struggles of the city.
In truth, both areas suffered in the late 1970s and 80s when unemployment ripped through its docks and shipyards. Whereas Liverpool’s city centre has been transformed in the decades since, the Wirral’s waterfront feels less promising. Whereas Liverpool has the Albert Dock, museums and a business district punctuated by glassy high rises, Wirral has very few distinguishable features from the river beyond its scaly, grey sea wall.
Three miles or so from the terminal in Seacombe lies Prenton, the home of Tranmere, a football club that returned to the Football League in 2018, having fallen on hard times since the early 1990s when it threatened to reach the Premier League.
Tranmere’s homely but ageing Prenton Park ground (Simon Hughes/The Athletic)
That history is one of the reasons why an American consortium led by Tacopina has an application with the EFL to try and buy the club from former player, Mark Palios, who later acted as the chief executive of the English Football Association.
The Athletic reported in September that Tacopina was attempting to “harness the power of his celebrity contacts” to try to propel Tranmere up the divisions from League Two. In a report the following month, it was revealed on these pages that rapper A$AP Rocky and Las Vegas Raiders defensive end Maxx Crosby were two of the investors.
According to a source involved in the deal, who would like to remain anonymous to protect working relationships, there is a belief the takeover will be completed in early 2025. While the source suggests it has taken longer than expected to reach this point after an unnamed investor dropped out, The Athletic has been told separately that an unnamed investor’s application was rejected by the EFL. This led to the buying group trying to source a replacement. The EFL declined to comment.
Tacopina has been involved in Italian football for a decade, with mixed success. He knows Tranmere is not a sexy name but neither was Wrexham before they were taken over by the Hollywood actors Ryan Reynolds and Rob McElhenney in 2021. While Tranmere has a fight this season to retain its Football League status, Tacopina would be taking on a club that more or less breaks even.
Palios is naturally cautious. For years, he’s wanted to find a minority partner but interested parties have tended to find there isn’t much up-side for such investment. Palios has since been able to convince Tacopina that Tranmere has significant potential with a full takeover, that the club has geography on its side and could become the region’s third wheel.
Joe Tacopina, sat next to former U.S. President Donald Trump, wants to buy Tranmere (Andrew Kelly-Pool/Getty Images)
More than 500,000 people live on the Wirral but the majority cannot get tickets for Liverpool or Everton. There is an interest in Tranmere but many Wirral residents are only would-be fans. That would surely change with an upwardly mobile team, as Tranmere were in the 1990s when it tried to reach the top flight and a packed Prenton Park witnessed a series of exciting cup runs.
Tranmere is worth around £20million in assets. Even if the club reached the Championship, the gateway to the Premier League, the value would increase significantly, potentially leaving Tacopina with a profit if he decided to sell. Importantly, the stadium is owned by the club and Tacopina would be inheriting that. Tacopina takes confidence from the stories of clubs like Bournemouth and Brentford, who are now established in the Premier League despite playing in similar-sized stadiums to Prenton Park (Bournemouth’s is actually considerably smaller) and with little history of success at the top level.
Prenton Park, however, does not have the facilities to generate much revenue outside of matchdays. In the boom of the early 90s, the venue was rebuilt on three sides but that did not include the main stand, which remains a relic of corrugated iron and brick. Lorraine Rogers, the chairperson before Palios, suggested the stand was costing Tranmere £500,000 a year to maintain. In 2021, a League Two game with Stevenage was postponed after a part of the roof flew off during a storm.
Palios has explored other stadium options. From the Mersey, the West float slipway leads to Bidston, where a site has been discussed but diehard fans are not enthusiastic about a move three miles away which would take the club away from its roots and potentially position it next to a waste plant, and where there are few pubs and transport links are limited.
Last summer, Palios suggested the zone was ripe for redevelopment in an interview with Liverpool Business News. “I advise my children, if ever they invest in property, invest in the south bank of the river,” he said. “As sure as apples fall from trees, this place is going to get developed.”
Any relocation, however, would need assistance from Wirral Waters as well as a council that for a decade has carefully been trying to manage its budgets due to cuts from central government. At the start of December, the Liverpool Echo reported that the council will be asking the government for a £20million bailout to prevent it from having to declare bankruptcy.
Tranmere’s ground rises out of the streets in Birkenhead (Lewis Storey/Getty Images)
While it is generally accepted the Palios era is near an end and Tranmere needs to find a way to move forward, there is a wariness and some Tranmere supporters are questioning whether they want someone who has represented Trump in a rape trial running their club.
Matt Jones, the presenter of the Trip to the Moon podcast, speaks of “excitement, curiosity and fear”. Two years ago, he tracked down Bruce Osterman, Tranmere’s previous American owner (and the first in English football), to San Francisco.
Osterman told Jones that in 1984, he was able to complete a takeover because Tranmere were “days away from shutting its doors”. Yet Osterman was humble enough to admit that he was ill-prepared for the challenges that followed, despite investing £500,000 in cash. “I didn’t know what the hell I was doing,” he admitted. “I had no experience in this area. I was a trial lawyer… I had no understanding of the history, or where we were going.”
Osterman says that if he had his time again, he “would probably have paid more attention to the team’s relationship with the community”. Over the next three and a half years, Tranmere’s financial position became bleaker and he ended up selling the club at a loss to Palios’ predecessor Peter Johnson, the son of a butcher who became a millionaire businessman in the food industry.
Johnson ended up buying Everton where he was much less popular. His story is a reminder that it is not just American owners who move around clubs, as Friedkin has. Johnson grew up a Liverpool fan, an inconvenient factoid which put him on the back foot at Goodison, where he encountered suspicious minds and hardened attitudes.
Cynicism is deeply embedded among Everton fans, who might wonder how long it will take for their club to see the benefits of being at a new stadium and under new ownership.
Yet Friedkin’s arrival potentially draws a line under much of the uncertainty. Simon Hart, a journalist and author who has written extensively about the club, speaks about the last few years being battered by “existential concerns relating to the club’s future to the extent you are largely numb, hoping just to survive. The impression that Friedkin seems reasonably sensible and hasn’t destroyed Roma is something to grasp and be grateful for.
“At the moment, the thing that needs answering is whether Everton can go into the new stadium as a Premier League club that is secure. There is a sense that anything that keeps the club alive is acceptable.”
Excitement is not the right word but relief might be. Hart thinks Goodison is irreplaceable, a venue where the terraces hang over the pitch and some of the timberwork dates back to the Victorian era. It is as much a part of the club’s identity as the Liver Buildings are to Liverpool. A departure inspires mixed emotions that swirl around the freezing reality that Everton has not won a trophy of any kind since 1995.
As the years pass and the record extends, it becomes harder to escape. Hart describes Goodison as his “special place”, but it feels like “disappointment is soaked into every brick now”. He attended the 0-0 draw with Brentford in November when the visiting team were down to 10 men and it felt as though Goodison was weighed down by negative emotion.
Perhaps their new home allows the club to embrace a fresh start and, as he puts it, “allow Evertonians to look forward rather than back.”
(Top image: Getty Images/Design: Eamonn Dalton)
Culture
Poetry Challenge: Memorize “The More Loving One” by W.H. Auden
Let’s memorize a poem! Not because it’s good for us or because we think we should, but because it’s fun, a mental challenge with a solid aesthetic reward. You can amuse yourself, impress your friends and maybe discover that your way of thinking about the world — or even, as you’ll see, the universe — has shifted a bit.
Over the next five days, we’ll look closely at a great poem by one of our favorite poets, and we’ll have games, readings and lots of encouragement to help you learn it by heart. Some of you know how this works: Last year more Times readers than we could count memorized a jaunty 18-line recap of an all-night ferry ride. (If you missed that adventure, it’s not too late to embark. The ticket is still valid.)
This time, we’re training our telescopes on W.H. Auden’s “The More Loving One” — a clever, compact meditation on love, disappointment and the night sky.
Here’s the first of its four stanzas, read for us by Matthew McConaughey:
The More Loving One
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.
Matthew McConaughey, actor and poet
In four short lines we get a brisk, cynical tour of the universe: hell and the heavens, people and animals, coldness and cruelty. Commonplace observations — that the stars are distant; that life can be dangerous — are wound into a charming, provocative insight. The tone is conversational, mixing decorum and mild profanity in a manner that makes it a pleasure to keep reading.
Here’s Tracy K. Smith, a former U.S. poet laureate, with the second stanza:
How should we like it were stars to burn
With a passion for us we could not return?
If equal affection cannot be,
Let the more loving one be me.
Tracy K. Smith, poet
These lines abruptly shift the focus from astronomy to love, from the universal to the personal. Imagine how it would feel if the stars had massive, unrequited crushes on us! The speaker, couching his skepticism in a coy, hypothetical question, seems certain that we wouldn’t like this at all.
This certainty leads him to a remarkable confession, a moment of startling vulnerability. The poem’s title, “The More Loving One,” is restated with sweet, disarming frankness. Our friend is wearing his heart on his well-tailored sleeve.
The poem could end right there: two stanzas, point and counterpoint, about how we appreciate the stars in spite of their indifference because we would rather love than be loved.
But the third stanza takes it all back. Here’s Alison Bechdel reading it:
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.
Alison Bechdel, graphic novelist
The speaker downgrades his foolish devotion to qualified admiration. No sooner has he established himself as “the more loving one” than he gives us — and perhaps himself — reason to doubt his ardor. He likes the stars fine, he guesses, but not so much as to think about them when they aren’t around.
The fourth and final stanza, read by Yiyun Li, takes this disenchantment even further:
Were all stars to disappear or die,
I should learn to look at an empty sky
And feel its total dark sublime,
Though this might take me a little time.
Yiyun Li, author
Wounded defiance gives way to a more rueful, resigned state of mind. If the universe were to snuff out its lights entirely, the speaker reckons he would find beauty in the void. A starless sky would make him just as happy.
Though perhaps, like so many spurned lovers before and after, he protests a little too much. Every fan of popular music knows that a song about how you don’t care that your baby left you is usually saying the opposite.
The last line puts a brave face on heartbreak.
So there you have it. In just 16 lines, this poem manages to be somber and funny, transparent and elusive. But there’s more to it than that. There is, for one thing, a voice — a thinking, feeling person behind those lines.
When he wrote “The More Loving One,” in the 1950s, Wystan Hugh Auden was among the most beloved writers in the English-speaking world. Before this week is over there will be more to say about Auden, but like most poets he would have preferred that we give our primary attention to the poem.
Its structure is straightforward and ingenious. Each of the four stanzas is virtually a poem unto itself — a complete thought expressed in one or two sentences tied up in a neat pair of couplets. Every quatrain is a concise, witty observation: what literary scholars call an epigram.
This makes the work of memorization seem less daunting. We can take “The More Loving One” one epigram at a time, marvelling at how the four add up to something stranger, deeper and more complex than might first appear.
So let’s go back to the beginning and try to memorize that insouciant, knowing first stanza. Below you’ll find a game we made to get you started. Give it a shot, and come back tomorrow for more!
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
Looking up at the stars, I know quite well That, for all they care, I can go to hell,
Tap a word above to fill in the highlighted blank.
Your first task: Learn the first four lines!
Let’s start with the first couplet. Fill in the rhyming words.
Monday
Love, the cosmos and everything in between, all in 16 lines.
Tuesday (Available tomorrow)
What’s love got to do with it?
Wednesday (Available April 22)
How to write about love? Be a little heartsick (and the best poet of your time).
Thursday (Available April 23)
Are we alone in the universe? Does it matter?
Friday (Available April 24)
You did it! You’re a star.
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.
Culture
Famous Authors’ Less Famous Books
Literature
‘Romola’ (1863) by George Eliot
Who knew that there’s a major George Eliot novel that neither I nor any of my friends had ever heard of?
“Romola” was Eliot’s fourth novel, published between “The Mill on the Floss” (1860) and “Middlemarch” (1870-71). If my friends and I didn’t get this particular memo, and “Romola” is familiar to every Eliot fan but us, please skip the following.
“Romola” isn’t some fluky misfire better left unmentioned in light of Eliot’s greater work. It’s her only historical novel, set in Florence during the Italian Renaissance. It embraces big subjects like power, religion, art and social upheaval, but it’s not dry or overly intellectual. Its central character is a gifted, freethinking young woman named Romola, who enters a marriage so disastrous as to make Anna Karenina’s look relatively good.
It probably matters that many of Eliot’s other books have been adapted into movies or TV series, with actors like Hugh Dancy, Ben Kingsley, Emily Watson and Rufus Sewell. The BBC may be doing even more than we thought to keep classic literature alive. (In 1924, “Romola” was made into a silent movie starring Lillian Gish. It doesn’t seem to have made much difference.)
Anthony Trollope, among others, loved “Romola.” He did, however, warn Eliot against aiming over her readers’ heads, which may help explain its obscurity.
All I can say, really, is that it’s a mystery why some great books stay with us and others don’t.
‘Quiet Dell’ (2013) by Jayne Anne Phillips
This was an Oprah Book of the Week, which probably disqualifies it from B-side status, but it’s not nearly as well known as Phillips’s debut story collection, “Black Tickets” (1979), or her most recent novel, “Night Watch” (2023), which won her a long-overdue Pulitzer Prize.
Phillips has no parallel in her use of potent, stylized language to shine a light into the darkest of corners. In “Quiet Dell,” her only true-crime novel, she’s at the height of her powers, which are particularly apparent when she aims her language laser at horrific events that actually occurred. Her gift for transforming skeevy little lives into what I can only call “Blade Runner” mythology is consistently stunning.
Consider this passage from the opening chapter of “Quiet Dell”:
“Up high the bells are ringing for everyone alive. There are silver and gold and glass bells you can see through, and sleigh bells a hundred years old. My grandmother said there was a whisper for each one dead that year, and a feather drifting for each one waiting to be born.”
The book is full of language like that — and of complex, often chillingly perverse characters. It’s a dark, underrecognized beauty.
‘Solaris’ (1961) by Stanislaw Lem
You could argue that, in America, at least, the Polish writer Stanislaw Lem didn’t produce any A-side novels. You could just as easily argue that that makes all his novels both A-side and B-side.
It’s science fiction. All right?
I love science and speculative fiction, but I know a lot of literary types who take pride in their utter lack of interest in it. I always urge those people to read “Solaris,” which might change their opinions about a vast number of popular books they dismiss as trivial. As far as I know, no one has yet taken me up on that.
“Solaris” involves the crew of a space station continuing the study of an aquatic planet that has long defied analysis by the astrophysicists of Earth. Part of what sets the book apart from a lot of other science-fiction novels is Lem’s respect for enigma. He doesn’t offer contrived explanations in an attempt to seduce readers into suspending disbelief. The crew members start to experience … manifestations? … drawn from their lives and memories. If the planet has any intentions, however, they remain mysterious. All anyone can tell is that their desires and their fears, some of which are summoned from their subconsciousness, are being received and reflected back to them so vividly that it becomes difficult to tell the real from the projected. “Solaris” has the peculiar distinction of having been made into not one but two bad movies. Read the book instead.
‘Fox 8’ (2013) by George Saunders
If one of the most significant living American writers had become hypervisible with his 2017 novel, “Lincoln in the Bardo,” we’d go back and read his earlier work, wouldn’t we? Yes, and we may very well have already done so with the story collections “Tenth of December” (2013) and “Pastoralia” (2000). But what if we hadn’t yet read Saunders’s 2013 novella, “Fox 8,” about an unusually intelligent fox who, by listening to a family from outside their windows at night, has learned to understand, and write, in fox-English?: “One day, walking neer one of your Yuman houses, smelling all the interest with snout, I herd, from inside, the most amazing sound. Turns out, what that sound is, was: the Yuman voice, making werds. They sounded grate! They sounded like prety music! I listened to those music werds until the sun went down.”
Once Saunders became more visible to more of us, we’d want to read a book that ventures into the consciousness of a different species (novels tend to be about human beings), that maps the differences and the overlaps in human and animal consciousness, explores the effects of language on consciousness and is great fun.
We’d all have read it by now — right?
‘Between the Acts’ (1941) by Virginia Woolf
You could argue that Woolf didn’t have any B-sides, and yet it’s hard to deny that more people have read “Mrs. Dalloway” (1925) and “To the Lighthouse” (1927) than have read “The Voyage Out” (1915) or “Monday or Tuesday” (1921). Those, along with “Orlando” (1928) and “The Waves” (1931), are Woolf’s most prominent novels.
Four momentous novels is a considerable number for any writer, even a great one. That said, “Between the Acts,” her last novel, really should be considered the fifth of her significant books. The phrase “embarrassment of riches” comes to mind.
Five great novels by the same author is a lot for any reader to take on. Our reading time is finite. We won’t live long enough to read all the important books, no matter how old we get to be. I don’t expect many readers to be as devoted to Woolf as are the cohort of us who consider her to have been some sort of dark saint of literature and will snatch up any relic we can find. Fanatics like me will have read “Between the Acts” as well as “The Voyage Out,” “Monday or Tuesday” and “Flush” (1933), the story of Elizabeth Barrett Browning’s cocker spaniel. Speaking for myself, I don’t blame anyone who hasn’t gotten to those.
I merely want to add “Between the Acts” to the A-side, lest anyone who’s either new to Woolf or a tourist in Woolf-landia fail to rank it along with the other four contenders.
As briefly as possible: It focuses on an annual village pageant that attempts to convey all of English history in a single evening. The pageant itself interweaves subtly, brilliantly, with the lives of the villagers playing the parts.
It’s one of Woolf’s most lusciously lyrical novels. And it’s a crash course, of sorts, in her genius for conjuring worlds in which the molehill matters as much as the mountain, never mind their differences in size.
It’s also the most accessible of her greatest books. It could work for some as an entry point, in more or less the way William Faulkner’s “As I Lay Dying” (1930) can be the starter book before you go on to “The Sound and the Fury” (1929) or “Absalom, Absalom!” (1936).
As noted, there’s too much for us to read. We do the best we can.
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Culture
6 Poems You Should Know by Heart
Literature
‘Prayer’ (1985) by Galway Kinnell
Whatever happens. Whatever
what is is is what
I want. Only that. But that.
“I typically say Kinnell’s words at the start of my day, as I’m pedaling a traffic-laden path to my office,” says Major Jackson, 57, the author of six books of poetry, including “Razzle Dazzle” (2023). “The poem encourages a calm acceptance of the day’s events but also wants us to embrace the misapprehension and oblivion of life, to avoid probing too deeply for answers to inscrutable questions. I admire what Kinnell does with only 14 words; the repetition of ‘what,’ ‘that’ and ‘is’ would seem to limit the poem’s sentiment but, paradoxically, the poem opens widely to contain all manner of human experience. The three ‘is’es in the middle line give it a symmetry that makes its message feel part of a natural order, and even more convincing. Thanks to the skillful punctuation, pauses and staccato rhythm, a tonal quality of interior reflection emerges. Much like a haiku, it continues after its last words, lingering like the last note played on a piano that slowly fades.”
“Just as I was entering young adulthood, probably slow to claim romantic feelings, a girlfriend copied out a poem by Pablo Neruda and slipped it into an envelope with red lipstick kisses all over it. In turn, I recited this poem. It took me the remainder of that winter to memorize its lines,” says Jackson. “The poem captures the pitch of longing that defines love at its most intense. The speaker in Shakespeare’s most famous sonnet believes the poem creates the beloved, ‘So long as men can breathe or eyes can see, / So long lives this, and this gives life to thee.’ (Sonnet 18). In Rilke’s expressive declarations of yearning, the beloved remains elusive. Wherever the speaker looks or travels, she marks his world by her absence. I find this deeply moving.”
“Clifton faced many obstacles, including cancer, a kidney transplant and the loss of her husband and two of her children. Through it all, she crafted a long career as a pre-eminent American poet,” says Jackson. “Her poem ‘won’t you celebrate with me’ is a war cry, an invitation to share in her victories against life’s persistent challenges. The poem is meaningful to all who have had to stare down death in a hospital or had to bereave the passing of close relations. But, even for those who have yet to mourn life’s vicissitudes, the poem is instructive in cultivating resilience and a persevering attitude. I keep coming back to the image of the speaker’s hands and the spirit of steadying oneself in the face of unspeakable storms. She asks in a perfectly attuned gorgeously metrical line, ‘what did i see to be except myself?’”
‘Sonnet 94’ (1609) by William Shakespeare
They that have power to hurt and will do none,
That do not do the thing they most do show,
Who, moving others, are themselves as stone,
Unmovèd, cold, and to temptation slow,
They rightly do inherit heaven’s graces
And husband nature’s riches from expense;
They are the lords and owners of their faces,
Others but stewards of their excellence.
The summer’s flower is to the summer sweet,
Though to itself it only live and die;
But if that flower with base infection meet,
The basest weed outbraves his dignity.
For sweetest things turn sourest by their deeds;
Lilies that fester smell far worse than weeds.
“It’s one of the moments of Western consciousness,” says Frederick Seidel, 90, the author of more than a dozen collections of poetry, including “So What” (2024). “Shakespeare knows and says what he knows.”
“It trombones magnificent, unbearable sorrow,” says Seidel.
“It’s smartass and bitter and bright,” says Seidel.
These interviews have been edited and condensed.
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