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How Uruguay vs Colombia descended into chaos – and the questions raised by the ugly scenes

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How Uruguay vs Colombia descended into chaos – and the questions raised by the ugly scenes

What should have been a showpiece game in the semi-final of the Copa America in Charlotte on Wednesday night descended into something more akin to a bar-room brawl as several Uruguay players, including Darwin Nunez and the captain Jose Maria Gimenez, clashed with Colombia supporters in the stands after the final whistle.

It was an ugly, chaotic and extraordinary scene that overshadowed a compelling match, raising serious questions about the security arrangements in place at the Bank of America Stadium as well as CONMEBOL’s decision to stage a game of this magnitude at a venue that was being used for the first time in the tournament.

Another match is taking place at the same stadium on Saturday, when Uruguay return for a third-place play-off against Canada, and there will surely need to be an investigation between now and then to establish the full chain of events that led to the unsavoury scenes that were circulating on social media in the aftermath of Colombia’s 1-0 victory.

Nunez was visibly upset after becoming embroiled in an incident in which punches were traded and objects were thrown in one of the blocks in the lower tier where the families and friends of the Uruguay players were located close to Colombia fans.


Darwin Nunez went into the stand after the match (Nick Tre. Smith/Icon Sportswire via Getty Images)

There was a mixture of anger and frustration in the voices of the Uruguay players afterwards.

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“It’s a total disaster,” Gimenez, the Uruguay captain, said. “There wasn’t a single police officer. They showed up half an hour later. A disaster. And we were there, standing up for ourselves, for our loved ones.

“Hopefully, organisers take a little more precautions with our families, with the people and those around the stadiums. Because this happens every game. Our families are suffering because of some people who have a few drinks and don’t know how to drink, who act like children.”

The Uruguayan Football Association (AUF) has said it will analyse all the footage before deciding whether to make an official complaint. But it is clear the AUF believes it was an oversight to put the players’ friends and families in the same area as Colombia supporters without any sort of partition.

“I think there should’ve been some kind of barrier, especially because it was known practically from the beginning of the tournament that the Colombian fans were going to purchase 95 per cent of the tickets and that area (of the stadium) could get complicated,” Ignacio Alonso, the AUF president, said.

As for the actions of Nunez, Gimenez and others, Alonso maintained what they did was only to be expected in the circumstances. “The Uruguayan players reacted instinctively to what is natural: which is to defend and protect the children that were in that part of the stand, the women who were being assaulted, the wives, fathers, children and brothers who were there. It’s an instinctive response of a father,” he added.

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The backdrop to all of this is that emotions had been running high at the stadium all night — Colombia played the entire second half with 10 men after Daniel Munoz was shown a red card just before the interval — but it was the final whistle, after seven minutes of stoppage time, that brought the first of two flashpoints.

Initially, there was a melee in the centre circle, where more than 40 players and staff congregated immediately after the game. Some Colombia and Uruguay players embraced one another while others — Uruguay’s Luis Suarez and Colombia’s Miguel Borja among them — became involved in an altercation. There was a lot of pushing and shoving elsewhere but, on the face of it, nothing more sinister than that.

Moments later, though, some of the Uruguay players started to sprint towards the touchline, in an area just to the right of their dugout. At first, it was unclear what was going on, other than that some children wearing Uruguay shirts were being carried out of the lower tier and onto the pitch.

The videos that emerged later provided a fuller picture and showed Nunez, along with Gimenez and the Barcelona defender Ronald Araujo, climbing up into the stand and angrily confronting Colombia supporters. As everything got more heated, Nunez appeared to be struck by one fan. The Liverpool striker also appeared to throw a punch back.

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“’Some of the players had wives, small children, their parents, older relatives… They went to see how they were doing,” Suarez said. “Then those things started to happen, the images that you’ve seen. They (Nunez, Gimenez and others) were trying to protect their families. From what I saw, there were a lot of relatives and children affected. You’re left powerless in that situation.”

Contrary to what Gimenez thought, police officers were present at the scene, albeit they took some time — more than 60 seconds — to get the situation under control and needed the help of security personnel.

Prior to that, it had threatened to turn into a free-for-all as other Uruguay players and staff got involved, clambering over seats. Video footage appears to show Rodrigo Bentancur throwing an object of some sort into that area.

As for Nunez, he was clearly still irate and deeply upset by everything that had happened when he got down from the stand. The forward picked up a chair, ran towards an area where Colombia fans were goading him, and threw it into the wall below, prompting some of the Uruguay substitutes to drag him away.

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Nunez looked extremely emotional at that point. He was consoled by one of the Uruguay backroom staff on the pitch and also by Suarez and Luis Diaz, the Colombia forward who plays alongside him for Liverpool.

As the dust started to settle and the fans spilt out of the stadium, there were Uruguay players still on the pitch holding their children. Matias Vina had a baby in his hands at one stage, Nicolas de la Cruz sat with his daughter on his knee on the floor, and Nunez was later pictured with a child on his shoulder.

The Uruguay players looked like they were in a state of shock as much as anything. “It was an ugly moment,” Sergio Rochet, the Uruguay goalkeeper, said. “It’s not nice to see these problems, especially when your family is only two metres away. We are sad to go out of the tournament and now we have to deal with this situation.

“From what I saw, they (the supporters) started throwing things. You try to stay away from that, but when you see that it’s your family, small children, it’s difficult. I was surprised by the lack of empathy from the Colombia players. I think they should have come to calm the waters.”

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Like a lot of people in the stadium, the Uruguay manager Marcelo Bielsa had no idea what was going on at first. He said he initially thought his players “were going to thank the Uruguayan fans for the support. But then I learned that there were other kinds of unfortunate difficulties.”

As for CONMEBOL, South American football’s governing body issued a statement that made no reference whatsoever to any issues around a lack of organisation at the stadium — something that was evident in so many ways on Wednesday night — or safety problems.

“CONMEBOL strongly condemns any act of violence that affects football,” it said. “Our work is based on the conviction that soccer connects and unites us through its positive values. There is no place for intolerance and violence on and off the field. We invite everyone in the remaining days to pour all their passion into cheering on their national teams and having an unforgettable party.”

(Top photo: Nick Tre. Smith/Icon Sportswire via Getty Images)

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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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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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