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How the Las Vegas Aces guards came to life to stave off elimination

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How the Las Vegas Aces guards came to life to stave off elimination

LAS VEGAS — Becky Hammon has said all season that she has been waiting for the game when all of her Las Vegas guards click on all cylinders.

In 2023, the three-headed monster of Chelsea Gray, Jackie Young and Kelsey Plum was an unstoppable unit most nights, culminating in a WNBA Finals series when the perimeter trio convincingly outplayed its New York Liberty counterparts, even without Gray in the closeout win.

Fast forward a season, and Las Vegas has been mixing and matching. Despite the addition of Tiffany Hayes to an already talented guard group, the Aces have been lucky to get two of their quartet to pop off in any given game. If Young is scoring well, that often portends an off night for Plum, as was the case in Game 2 of the WNBA semifinals series against the Liberty when she notched 17 points and 6 points, respectively. Plum was on her A-game in the series opener with 24 points, but then Gray stumbled to four points and one assist in the loss.

“We’ve had two on a night have good nights,” Hammon said. “A’ja (Wilson has) been ridiculous, is ridiculous, she will continue to be ridiculous. But then after that, it’s all those other little pieces.”

On Friday, Hammon was finally dealt her long-awaited hand with four Aces delivering peak performances. Five players scored double digits in Friday night’s 95-81 Aces’ victory to stave off elimination and ensure Game 4 on Sunday to keep their three-peat championship quest alive.

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“Everything was just on point really with everybody,” Hammon said. “I thought that was probably our most complete game of the season. It’s the game I’ve been waiting for and believing in.”

The effort for the Las Vegas guard group started on defense. Liberty star Sabrina Ionescu had been the best perimeter player in the series, dicing up the Aces’ pick-and-roll coverages and scoring at will from all levels in addition to setting up her teammates for open shots.

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Hammon said after Game 2 that she wanted to get to a C-plus effort defending Ionescu because the defense hadn’t even been average in the first two games at Barclays Center. What that meant was simplifying the scheme and making it exceedingly clear what the principles were on Ionescu and which Liberty players to help off of.

Ionescu broke free of the defense on a couple occasions in the first quarter to get to her floater, but she wasn’t able to convert. Once the Aces tightened up coverages, Ionescu was repeatedly trapped far from the basket, unable to turn the corner or find outlets in the half court. She had as many assists as turnovers (five) and submitted the lowest-scoring playoff output of her career with four points on 1-of-7 shooting.

Hammon’s grade Friday? A-plus, no notes.

“She’s been playing great, so of course, they want to make it hard for her,” Liberty coach Sandy Brondello said. “They put her in action down the other end, they were being really aggressive in the pick-and-rolls this time. She wasn’t able to get downhill. It was more of a hard hedge and very active with their hands getting deflections.”

Without Ionescu running the show, the Liberty devolved into isolation basketball, a style of play incongruous with the movement and screening that defined them during the regular season, when they had the league’s best record.

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Meanwhile, the Aces’ defense propelled them into the offensive rhythm that was lacking earlier in the series.

“We always say our defense drives our offense,” Hayes said. “We know that we thrive on the defensive end, and even though we’re a little bit smaller, we got some dogs out there, and we’re able to get a lot done.”

New York’s starting perimeter trio of Ionescu, Leonie Fiebich and Betnijah Laney-Hamilton combined for 21 points. Young exceeded that on her own with 24. Plum added 20, Gray chipped in 10, and Hayes provided 11 off the bench.

Their collective might was on full display during a game-defining 16-0 run in the third quarter, as the Aces extended a four-point lead to 20. Plum got things started with a drive to the hoop off the dribble, then found Gray for the next score in early offense on a trailing 3-pointer. Gray followed that with a beautiful lob over the top to Wilson as Breanna Stewart fronted her in the post to push the lead to double digits.

Then it was Hayes’ turn. She faked left and drove to her weak hand, leaving Nyara Sabally in the dust. Plum had a 3-pointer off an offensive rebound, hit a technical free throw, and then added another 3-pointer off a drive-and-kick from Hayes. Fourteen points and three assists came from the guard group, while the Liberty missed nine shots and committed seven turnovers in that stretch.

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“I think our attention to detail defensively was super sharp,” Gray said. “They’re a good team but you want to make them take tough looks, and it was the same with Sabrina. We were just attentive to detail coming off the pick-and-roll, making sure she’s not comfortable. And it all starts in the defensive end so we can flow into our offense a little bit better.”

The Aces know that their advantage has to come in the backcourt, given the Liberty have two frontcourt MVPs in Stewart and Jonquel Jones. Wilson’s excellence is consistent, but the perimeter has been the separating factor during the last two title runs.

Wilson was confident that the desperation of the situation would bring out the best in her teammates. “One thing I know for sure is that sometimes when our backs are against the wall, that’s when we really break loose and shine the brightest,” she said.

A 14-point victory that was more lopsided than the margin would suggest, validating Wilson’s belief. The Aces finally executed defensively and set the tone. Their pace was infectious on offense, involving their guard quartet for the first time this season, enabling Las Vegas to play at least one more game and remain in pursuit of a three-peat.

“We’re the Aces,” Hammon said. “We’re not going to fold.”

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(Photo, from left, of Chelsea Gray, Jonquel Jones and Kelsey Plum: Ethan Miller / Getty Images)

Culture

I Think This Poem Is Kind of Into You

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I Think This Poem Is Kind of Into You

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A famous poet once observed that it is difficult to get the news from poems. The weather is a different story. April showers, summer sunshine and — maybe especially — the chill of winter provide an endless supply of moods and metaphors. Poets like to practice a double meteorology, looking out at the water and up at the sky for evidence of interior conditions of feeling.

The inner and outer forecasts don’t always match up. This short poem by Louise Glück starts out cold and stays that way for most of its 11 lines.

And then it bursts into flame.

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“Early December in Croton-on-Hudson” comes from Glück’s debut collection, “Firstborn,” which was published in 1968. She wrote the poems in it between the ages of 18 and 23, but they bear many of the hallmarks of her mature style, including an approach to personal matters — sex, love, illness, family life — that is at once uncompromising and elusive. She doesn’t flinch. She also doesn’t explain.

Here, for example, Glück assembles fragments of experience that imply — but also obscure — a larger narrative. It’s almost as if a short story, or even a novel, had been smashed like a glass Christmas ornament, leaving the reader to infer the sphere from the shards.

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We know there was a couple with a flat tire, and that a year later at least one of them still has feelings for the other. It’s hard not to wonder if they’re still together, or where they were going with those Christmas presents.

To some extent, those questions can be addressed with the help of biographical clues. The version of “Early December in Croton-on-Hudson” that appeared in The Atlantic in 1967 was dedicated to Charles Hertz, a Columbia University graduate student who was Glück’s first husband. They divorced a few years later. Glück, who died in 2023, was never shy about putting her life into her work.

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Louise Glück in 1975.

Gerard Malanga

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But the poem we are reading now is not just the record of a passion that has long since cooled. More than 50 years after “Firstborn,” on the occasion of receiving the Nobel Prize for literature, Glück celebrated the “intimate, seductive, often furtive or clandestine” relations between poets and their readers. Recalling her childhood discovery of William Blake and Emily Dickinson, she declared her lifelong ardor for “poems to which the listener or reader makes an essential contribution, as recipient of a confidence or an outcry, sometimes as co-conspirator.”

That’s the kind of poem she wrote.

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

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

What happens next? That’s up to you.

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Culture

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

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

Cold weather can serve as a plot point or emphasize the mood of a scene, and this week’s literary geography quiz highlights the locations of recent novels that work winter conditions right into the story. Even if you aren’t familiar with the book, the questions offer an additional hint about the setting. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the books if you’d like to do further reading.

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Culture

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

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

Inge Morath/Magnum Photos

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When a writer is praised for having a sense of place, it usually means one specific place — a postage stamp of familiar ground rendered in loving, knowing detail. But Kiran Desai, in her latest novel, “The Loneliness of Sonia and Sunny,” has a sense of places.

This 670-page book, about the star-crossed lovers of the title and several dozen of their friends, relatives, exes and servants (there’s a chart in the front to help you keep track), does anything but stay put. If “The Loneliness of Sonia and Sunny” were an old-fashioned steamer trunk, it would be papered with shipping labels: from Allahabad (now known as Prayagraj), Goa and Delhi; from Queens, Kansas and Vermont; from Mexico City and, perhaps most delightfully, from Venice.

There, in Marco Polo’s hometown, the titular travelers alight for two chapters, enduring one of several crises in their passionate, complicated, on-again, off-again relationship. One of Venice’s nicknames is La Serenissima — “the most serene” — but in Desai’s hands it’s the opposite: a gloriously hectic backdrop for Sonia and Sunny’s romantic confusion.

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Their first impressions fill a nearly page-long paragraph. Here’s how it begins.

Sonia is a (struggling) fiction writer. Sunny is a (struggling) journalist. It’s notable that, of the two of them, it is she who is better able to perceive the immediate reality of things, while he tends to read facts through screens of theory and ideology, finding sociological meaning in everyday occurrences. He isn’t exactly wrong, and Desai is hardly oblivious to the larger narratives that shape the fates of Sunny, Sonia and their families — including the economic and political changes affecting young Indians of their generation.

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But “The Loneliness of Sonia and Sunny” is about more than that. It’s a defense of the very idea of more, and thus a rebuke to the austerity that defines so much recent literary fiction. Many of Desai’s peers favor careful, restricted third-person narration, or else a measured, low-affect “I.” The bookstores are full of skinny novels about the emotional and psychological thinness of contemporary life. This book is an antidote: thick, sloppy, fleshy, all over the place.

It also takes exception to the postmodern dogma that we only know reality through representations of it, through pre-existing concepts of the kind to which intellectuals like Sunny are attached. The point of fiction is to assert that the world is true, and to remind us that it is vast, strange and astonishing.

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

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