Culture
How tennis couples like ‘Tsitsidosa’ navigate what it’s like to date a tennis player
Follow live coverage of Day 7 at the 2024 US Open
NEW YORK — In the late afternoon sunshine Friday, spectators were forced to stand in the bleachers of a packed Court 11 at the Billie Jean King National Tennis Centre. Outside, more queued to get in. Ben Shelton and Frances Tiafoe, two superstars of American tennis, were busy slugging it out on Arthur Ashe Stadium, but a first-round, mixed-doubles match on the outside courts was the hottest ticket at the U.S. Open.
This is the pull of Paula Badosa and Stefanos Tsitsipas, more familiarly known as “Tsitsidosa.”
Badosa and Tsitsipas, both 26, are the most talked-about couple in tennis. Like any celebrity couple, there are TikToks. There are fan cams. There are hashtags. Unlike nearly any celebrity couple, there are Grand Slam tennis tournaments to play in together.
In their first ever competitive match, they ended up losing, 7-6(3), 6-4 to Mexican pair Giuliana Olmos and Santiago Gonzalez.
Then, on Sunday, Badosa, who is the No. 26 seed in the women’s singles, beat Wang Yafan of China 6-1, 6-2 to reach the quarterfinals of a Grand Slam tournament for the first time since 2021. She had never been past the second round in New York before.
Tsitsipas, the men’s No. 11 seed here, sat and watched. He had lost to Thanasi Kokkinakis, the Australian, on day one.
A few weeks ago, the 2024 Olympics in Paris were abuzz with are they/aren’t they speculation around mixed doubles gold medallists Katerina Siniakova and Tomas Machac. Siniakova announced the couple’s split on social media before the Games, but they seemed pretty close when they won the final. Since then, they have been coy about their relationship status. Siniakova even told a press conference that “we like to make you a bit confused”.
Machac and Siniakova won Olympic gold in mixed doubles after breaking up — so they say. (Daniela Porcelli / Eurasia Sport Images via Getty Images)
A month earlier, Alex de Minaur sped across the Wimbledon grounds in the name of love.
As soon as he finished his second-round match against Jaume Munar on Court 3, he jumped on the exercise bike, downed a protein shake, showered, and then sprinted over to Court 1, to see his girlfriend Katie Boulter in action against her British compatriot Harriet Dart. After being directed to the wrong entrance, he eventually found his seat — to endure the agony of watching Boulter lose a final set tiebreak.
It’s been another summer of love in tennis.
World No. 1 Jannik Sinner and world No. 15 Anna Kalinskaya recently started dating; there are married couples, including Elina Svitolina and Gael Monfils, who was in the stands watching his wife lose to Coco Gauff on Friday. There are likely many more under the radar.
These relationships are as different as the individuals involved; they are both relatable and difficult to imagine. Most people can envisage dating someone who does the same job or works for the same company. But most people’s jobs don’t involve travelling the world to play a very selfish sport in front of thousands of people, sometimes with — or even against — your partner.
Like every relationship, tennis romances have as many upsides as they do challenges. And wrapped up in all of them is that cursed question: What happens if you guys break up?
There have always been relationships in tennis.
Love is a key part of the tennis vernacular (even if it’s actually a derivative of the French “l’oeuf,” meaning egg). A scene from the 2012 film “Diary of a Wimpy Kid,” in which the main male character replies, “Whatever you say, love” to a girl just calling the score, has recently given this connection new life. It’s been used as a sound on TikTok, with real couples reenacting the video on real courts.
In the 1970s, the romance between American golden couple Chris Evert and Jimmy Connors became an obsession; 22-time Grand Slam champion Steffi Graf started dating eight-time winner Andre Agassi soon after her retirement in 1999. They are now close to their silver wedding anniversary and have two children, Jaz Elle and Jaden. A film about their relationship, Perfect Match, was released on Amazon’s German streaming platforms this year.
Agassi documented much of their courtship, which was on-and-off for nine years, in his autobiography, Open, including having his hopes of dancing with Graf at the 1992 Wimbledon champions’ ball spurned when organizers cancelled the event.
The early 2000s saw two of the young stars of the game, Lleyton Hewitt and Kim Clijsters, date before their split in 2004, while 2015 U.S. Open champion Flavia Pennetta and one-time world No. 8 Fabio Fognini married eight years ago and now have three kids.
Tennis relationships have become even more commonplace in the last few years, and that’s just going off the couples that the wider world knows about. Tennis insiders put this down partly to the proliferation of combined events.
Most tournaments now host men’s and women’s events, but the picture was very different even as late as the mid-1990s. Back then, the Miami Open and the Sydney International were the only combined tournaments outside the four majors.
There are other, more technological reasons for the tennis love boom.
“My theory is that it’s because of social media that players are now a bit more straightforward. Sliding into each others’ DMs and things like that,” says Andrea Petkovic, the retired former world No. 9, who earlier this year wrote an enlightening blog post about the challenges of dating as a tennis player.
One of the things these players value is having someone who understands exactly what they are going through.
“I can always reach out to my partner, who has spent the same amount of time that I have spent on the court trying to figure out the game,” Tsitsipas said of Badosa. “We both share the same passion and we both do the same thing in life.
“Outside of it, we still have times where we completely disconnect from tennis. It’s a great relationship, because we can combine from both worlds and we can, I feel like, understand each other’s lives so much better than any other type of relationship because we know the struggles of it and the rhythms.”
Siniakova, who is still in the women’s doubles here, expressed similar sentiments about Machac at the French Open in June.
“From my side, it’s totally different when someone is going through the same thing. It’s harder if someone is trying to support you but they have no idea how it feels on the court.”
Graf and Agassi at the Wimbledon champions’ ball — before they started dating. (AP Images)
Svitolina added that “when we have tough moments, we know what to say. After losses, I can be really moody for a couple of days, really difficult to handle. He knows how to treat me and how to comfort me. I let him play video games to release all these negative things that sometimes he has after the losses.”
After losing to Gauff on Friday, Svitolina said that it was strictly logistics when she spoke to Monfils, and the kind of admin every tennis player knows too well: sorting out flights so they can get home as quickly as possible.
For De Minaur, “It’s pretty simple, because we’re both in the same job, so we both understand what it is to be a tennis player.”
People close to De Minaur and Boulter say that both have improved as players since they began dating. Boulter believes the relationship has helped her game immeasurably, because she can share her concerns with someone both on her side and inside the top 10. Boulter, the No. 31 seed at this year’s U.S. Open, exited in the second round on Thursday; on Saturday night, De Minaur got through a fading Dan Evans in four sets to reach the fourth round.
Badosa and Tsitsipas have expressed similar sentiments. Badosa asks Tsitsipas for his tips and analysis of her opponents.
“Our primary goal is to help each other figure certain things out,” Tsitsipas says. “I feel like we’re equally as knowledgeable in our craft and hold a lot of understanding of how certain situations shall be dealt with. Paula keeps saying all the time that she wishes she had my forehand. Sometimes I also think, ‘Oh, gosh, I wish I had her returns’. She destroys the ball on the returns, and it seems so effortless from her side.”
On Friday, the pair were often deep in conversation during the change of ends, with Tsitsipas animatedly shadow-swinging.
Stefanos Tsitsipas and Paula Badosa have played exhibition events, but the U.S. Open marked their first tournament together. (Robert Prange / Getty Images)
Doing the thing you love with the person you love can be great. But tennis is a sport with one winner and one loser. One player might want to celebrate a win, while their partner is trying to process a crushing defeat. This has been the dynamic at the U.S. Open this week for Tsitsidosa, with Tsitsipas going out in the first round while Badosa builds on her recent form. Over the course of this summer, she has peaked while he has troughed. A tricky dynamic for any couple.
Meanwhile, one can only imagine the awkwardness one Sunday in June, when Sinner won a title in the German city of Halle. At the same time, Kalinskaya was in the middle of losing a final a couple of hours’ drive away in Berlin, squandering six championship points in the process.
“Hi, darling. So how was your day at work…?”
Petkovic says that this is one of the biggest challenges of going out with a fellow player.
“As the one bearing the loss, you don’t want to take the joy away from the one who has won,” she writes in her Finite Jest post about dating. “As the one bathing in triumph, you don’t want to rub the euphoria of winning in your partner’s face. So, you just circle around each other in subdued moods hoping to get through the day.”
Badosa said earlier this week that “to manage (this situation), you have to have a very good heart and zero ego. And he (Tsitsipas) has that, I have it. We manage that really well. We just want the best for us.”
The stress of watching each other’s matches is also an occupational hazard.
Machac, who plays Jack Draper in the U.S. Open fourth round tomorrow (Monday), said he was so tense watching Siniakova at the French Open that he “couldn’t look”. Badosa said this week that she and Tsitsipas “both suffer a lot” watching each other.
After reaching the fourth round by beating Elena-Gabriela Ruse in an excruciatingly tight match, Badosa revealed that Tsitsipas came running towards her and said, “I almost had a heart attack.”
Gael Monfils lives through Elina Svitolina’s matches, in every sense. (Andrej Isakovic / AFP via Getty Images)
Badosa knew it was coming. “When it was six-all in the (deciding) tie-break I was like, ‘Stef for sure is having a heart attack right now,” she laughed.
Unlike Monfils, Tsitsipas prefers not to be in the stands for his partner’s matches, as he finds it too stressful. Being on-site, and travelling the world together, can also be stressful enough. Tennis players have very tailored schedules, so couples can end up feeling like two ships passing in the night.
Svitolina talked about this at Wimbledon in relation to her and Monfils, while at the French Open, Machac said that when he finally had an afternoon off, 11 days into the tournament, Siniakova was busy playing doubles. He added the pair had only seen each other for breakfast once, explaining “our schedules have been totally different, and you don’t wake up at 7 a.m. if you can sleep until 10 a.m”.
In a scene from the Netflix documentary Break Point, Matteo Berrettini is preparing to play in the Australian Open semifinals. He clashes with his then-girlfriend, Ajla Tomljanovic.
“I have to sleep. You go downstairs and ask for a room,” Berrettini says to Tomljanovic, who is getting up early the next morning to film a TV appearance from their hotel.
“I’m going to say on air that you kicked me out,” Tomljanovic replied, jokingly.
“But they’re going to agree with me,” Berrettini said. “I’m still in the Australian Open!”
The pair broke up a few weeks later.
Recently-retired Alison Van Uytvanck has a particularly informed perspective on breaking up as a tennis couple.
The former world No. 37 and French Open quarterfinalist played doubles with, and singles against Greet Minnen, her girlfriend of five years.
Van Uytvanck loved training together in their native Belgium, and becoming the first couple to play doubles together at Wimbledon in 2019 was a “dream come true”. But there were challenges too.
“There are some disadvantages that everything is a competition,” Van Uytvanck said. “Even without tennis. Let’s say you’re doing something physically, then it’s like, ‘I want to do better than you’. We were always talking about tennis, tennis, tennis, and there was nothing else. That was something not as nice, I would say.”
As they shared in each other’s successes and Minnen climbed up the rankings, they also had to do the thing they’d been dreading: Play against each other.
It happened in July 2019 at the Liqui Moly Open in Karlsruhe, Germany, a few weeks after they’d played doubles together at Wimbledon. Van Uytvanck won, as she did when they played again at an ITF event in Nottingham, England, a couple of years later.
“It wasn’t fun,” Van Uytvanck says. “We knew exactly how the other one was going to play, and it was tough to just focus on yourself.”
Van Uytvanck and Minnen, who remain on good terms, broke up a few months after that second meeting. But they still kept running into one another at tournaments. “At the beginning, it was a bit weird,” Van Uytvanck says.
Alison van Uytvanck (left) and Greet Minnen played the French Open together. (Ao Leilian-Molisaer / Xinhua via Getty Images)
“And then we were just like, ‘Hi. How are you doing?’ Some small talk.”
Both are with other partners now, though they do still share a dog back in Belgium.
Badosa and Tsitsipas have also broken up in the past, with their respective social media accounts turning into goldmines for fans-turned-sleuths trying to figure out if their romance would go from off to back on, as it has now.
Their on-court exploits aren’t always rosy either.
Tsitsipas smashed his racket into the court Friday, even though he said afterwards how much he’d enjoyed himself. During the match, the pair comforted each other following missed shots and earnestly talked tactics. They shared a warm embrace when Badosa couldn’t retrieve an Olmos smash to end the match and may play again together at the Australian Open.
Once the match was done, Badosa’s focus turned straight to Sunday, and her fourth-round encounter with Wang. She raced through, playing aggressive, confident tennis, as she has done all summer while her boyfriend’s form has taken a dive.
For Tsistipas, he had to endure the agony of watching, but came out with the joy of his partner’s success.
It’s the balance you have to strike to make it work as a tennis couple.
(Top photos: Getty Images; design: Demetrius Robinson)
Culture
What America’s Main Characters Tell Us
Literature
Oedipa Maas from ‘The Crying of Lot 49’ (1966) by Thomas Pynchon
“The unforgettable, cartoonish protagonist of this unusually short novel is a California housewife accidentally turned private investigator and literary interpreter, and the mystery she’s attempting to solve — or, more specifically, the conspiracy she stumbles upon — is nothing less than capitalism itself,” says Ngai, 54. “As Oedipa traces connections between various crackpots, the novel highlights the peculiarly asocial sociality of postwar U.S. society, which gets figured as a network of alienations.”
Sula Peace from ‘Sula’ (1973) by Toni Morrison
“Sula arguably begins to disappear as soon as she’s introduced — despite the fact that the novel bears her name. Other characters die quickly, or are noticeably flat. This raises the politically charged question of who gets to ‘develop’ or be a protagonist in American novels and who doesn’t. The novel’s unusual character system is part of its meditation on anti-Black racism and historical violence.”
The speaker of ‘Lunch Poems’ (1964) by Frank O’Hara
“Lyric poems are fundamentally different from narrative fiction in part because they have speakers as opposed to narrators. Perhaps it’s a stretch to nominate the speaker of ‘Lunch Poems’ as a main character, but this book changed things by highlighting the centrality of queer counterpublics to U.S. culture as a whole, and by exploring the joys and risks of everyday intimacy with strangers therein.”
This interview has been edited and condensed.
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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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