Culture
How Sabrina Ionescu went from ‘dark days’ of injury to the brink of a WNBA championship
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NEW YORK — Sabrina Ionescu could barely walk during last season’s WNBA Finals. The New York Liberty star needed an injection into her aching hip to even take the floor in the early games of the series against the Las Vegas Aces. She struggled to score, and as the Aces were en route to clinching the championship in a one-point victory on the Liberty’s home court last October, Ionescu threw up into a sideline trash can.
The Liberty and Aces were billed as the WNBA’s super-teams last year because of their star power, including Ionescu. But Vegas made a statement and left a lasting scar for Ionescu.
“Losing,” she said, “motivates you.”
The Liberty had room for growth, and Ionescu recognized that included her. Before traveling home to California last fall, she met with New York’s coaching staff. They discussed in detail how she could improve. While she was good with the ball in her hand, they told her she was too easily defended off-ball. They stressed identifying and taking advantage of pick-and-roll situations. They wanted Ionescu to become a better cutter, play with different speeds and attack the basket more.
Once healthy, she got to work with no physical limitations or, apparently, without a ceiling on how hard she’d push herself.
“It’s just about wanting to be better all the time and not really being OK with being complacent,” Ionescu said.
She was in the gym constantly. She worked on her handle and quickness. She added various floaters to her game. She focused on pulling up out of different dribble variations and utilizing her strength. She played five-on-five against current and former Pac-12 players, WNBA players and overseas pros. “Nothing compares to defense and live reps,” she said.
That wasn’t even enough. Ionescu devised challenges to make difficult drills even tougher. Her trainer recalled a catch-and-shoot sequence in which Ionescu was tasked to make 20 deep 3-pointers, requiring the last five be consecutive. Ionescu added that each needed to be all net. After making 13 in a row, she called out that a few had barely grazed the rim. “No absolutely, not. These don’t count,” she said. She started the sequence again.
“Being able to go full blast was a whole different story,” said Breen Weeks, her basketball skills trainer the last two offseasons.
Another time, Ionescu made herself hit five one-dribble, same-handed, same-footed floaters, but she required the last three be banked in off the glass without using her right hand as a guide. “If she didn’t like the height on it, (it) doesn’t count,” Weeks said. “That’s how obsessive she is. That’s how locked in and detailed she is. I call her a cold-blooded competitor.”
Said Ionescu: “I know I can make a shot, but I want to continue to challenge myself to chase perfection. Sometimes that’s with a swish, sometimes that’s with a challenging move.”
Sabrina Ionescu turned up the heat in Game 4 🔥
With 22 points and 5-of-8 from beyond the arc, she lit up the court and energized the Liberty for the WIN #WelcometotheW pic.twitter.com/1zcSvivVlm
— WNBA (@WNBA) October 6, 2024
Taking difficult moments head on has been a theme through the early stages of Ionescu’s career, which has been marked with accomplishments but also injuries and shortcomings. But her competitive obsessiveness this offseason has elevated her game to new heights. She gets downhill more and is now New York’s primary ballhandler, averaging a career-high 18.2 points and 6.2 assists per game, and playing more minutes than ever.
It culminated in guiding the Liberty back to the WNBA Finals and to the doorstep of a franchise peak. Following its loss last season, New York — one of the WNBA’s original teams — is in position to win its first championship, taking on the Minnesota Lynx in Game 1 on Thursday.
“It’s been really rewarding to see my true self come out,” Ionescu said.
Those who know Ionescu best aren’t surprised that she lived in a gym all winter and spring. As a high school sophomore on the way to becoming one of the nation’s top recruits in Orinda, Calif., her coach gave her a key to the school’s gym. She practiced there late into the night so often that the school principal informed Miramonte High School’s janitorial staff to “just leave her alone and let her shoot,” her coach Kelly Sopak said.
When coach Kelly Graves recruited Ionescu to Oregon, he told her the university’s practice facility was open 24/7 for players, but she quickly learned that wasn’t necessarily true. Ionescu was booted out of the facility on her first night on campus by a security guard, the first of many times throughout her college career. “She was the only player that I’ve ever had that’s been kicked out of the practice facility,” Graves said.
That work ethic was vital as Ionescu’s celebrated entry to the WNBA was quickly marred by injuries. Ionescu was the No. 1 pick in the 2020 WNBA Draft, but she suffered a severe ankle sprain in her third WNBA game and she missed the remainder of her rookie season. Ankle pain lingered throughout the 2021 season, and it wasn’t until the 2022 campaign she said she was fully healed. Still, thoughts of injuries remained with her, later recalling those plagued stretches her “dark days.” Finishing an entire season healthy was a goal, in the same way as winning a championship.
“She just competes against herself,” Liberty general manager Jonathan Kolb said.
When the Liberty reconvened in the spring, assistant coach Olaf Lange said he quickly noticed “the flashes were there in training camp.” Liberty head coach Sandy Brondello took note of Ionescu’s improved explosiveness.
By her 14th game, Ionescu had made more floaters than she did in all of 2023. Heading into the finals, 37.2 percent of her shot attempts had been runners or at the rim, up from 26.3 percent last year, according to Synergy Sports. “When she’s aggressive like that it kind of opens things up for everyone else,” Liberty teammate Breanna Stewart said.
Stewart and Jonquel Jones are New York’s lone players with MVP awards on their resumés, but Ionescu is arguably the franchise’s motor. Aces coach Becky Hammon said the 5-foot-11 guard is “what makes (New York) go with her pace, her ability to read, her ability to put defenses in different dilemmas.” Hammon called her the Liberty’s “head of the snake.”
“I love her shooting, everything that she brings to the game. Even just her finishing around the rim, I think has been a bit better,” Hammon said. “It’s tough when you take really, really good players, and they get better.”
Sabrina Ionescu has played with more confidence and strength this season, helping lead the Liberty back to the WNBA Finals. (Barry Gossage / NBAE via Getty Images)
It’s why Las Vegas sought to specifically shut her down in Game 3 (Ionescu’s four points were her second-lowest of the season). Stop Ionescu, the Aces believed, and they could get back into the semifinals. Then Game 4 happened. Ionescu scored 12 first-quarter points en route to an eventual team-high 22 to close the door on the Aces’ comeback attempt.
Stopping Ionescu consistently this season has proved challenging, not just statistically, but because of the new confidence she is playing with. “Sometimes early in her career, I thought when she feels the crowd, she just wants to make a play and force the issue,” Lange said. “As of late, she lets it come to her.”
As Sopak watches Ionescu throughout New York’s postseason run, he has had constant flashbacks. He recalled a middle school contest when she hit a late runner off the glass that reminded him very much of a late-game shot over A’ja Wilson in New York’s Game 2 win over the Aces. With the Liberty leading by only one point with 11.6 seconds left, Ionescu approached the free-throw line looking to close out the win. She missed the first free throw, however, and from his home in California, Sopak said, “St. Mary’s–Stockton.”
The meaning dates back to Ionescu’s freshman year of high school, when Ionescu was fouled and went to the line for a one-and-one against what Sopak said was a top-10 program. She missed the front-end, and Miramonte lost by a point. The loss motivated Ionescu to avoid being in that position again.
“You can’t sugar coat it with Sabrina,” Sopak said. He said he told her after that game: “If you’re to be a great player, you’re going to have to be prepared for failure. If you’re not willing to lose that game and take the consequences of it, then you’re never going to win it.”
Ionescu doesn’t shy away from key moments. It’s why Sopak had no doubt she would make the second free throw. She embraces trying to win games, not just avoiding losing them. “She’s not proving anything anymore,” Sopak said.
Over the last three weeks, Ionescu has dapped up Spike Lee, fallen into Carmelo Anthony’s lap and sung with Alicia Keys. She fist-pumped after making 3-pointers, waved her hands to amp up Barclays Center crowds and iced playoff wins at the free-throw line.
Amid all the fanfare and the victories, Ionescu’s drive has been evident. After she tied New York’s franchise playoff-record with 36 points to close out its first-round series with the Atlanta Dream, she sat in a corner of the Liberty locker room and took a rare breath.
“Good f— job,” Ionescu said to her teammates as she fixed her headband. “This game wasn’t perfect, but we played hard. We played hard for 40 minutes and we just chipped away.”
Sabrina Ionescu: “Spike Lee gave me a high five … and I felt like New York was just injected into my veins at that moment. I was like, ‘We’re winning this.’” 😂pic.twitter.com/bnevwhIz0Z
— Dime (@DimeUPROXX) September 25, 2024
Healthy, focused and confident, Ionescu said she’s felt more comfortable with being vocal and showing who she is. “People have been able to see a little bit more of my personality this year, who I am as a person,” she said. “Because I’ve just felt more confident in myself.”
She is in the ear of coaches about what she can do to score and how she wants to help her teammates succeed. At a recent practice, she urged the staff to continue repping out-of-bounds plays instead of taking a water break. Every minute, and every drill, matters.
Winning a ring is paramount, she said. She said she’s thought about what it would feel like to be victorious, and what it would mean for her teammates, for a Liberty franchise that has lost its five prior trips to the finals, and for New York City, which hasn’t won a basketball title since the 1970s.
“I’ve been thinking about a championship since we lost last year,” Ionescu said.
(Illustration: Daniel Goldfarb / The Athletic; Top photo of Sabrina Ionescu: Evan Yu / NBAE, Mitchell Leff / Getty)
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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