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If that was it for Simone Biles' Olympic career, let's all appreciate what we just saw

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If that was it for Simone Biles' Olympic career, let's all appreciate what we just saw

PARIS — Manila Esposito, the bronze medalist on the balance beam, stared like a deer in the headlights in a packed post-meet press conference. As she started to speak, her voice barely audible, Simone Biles reached over and adjusted Esposito’s microphone, nodding at the Italian gymnast that she was good to go. Later, after the moderator posed a question to Alice D’Amato, Esposito’s teammate, it took D’Amato a moment to respond. The moderator started to prompt her, when Biles gently reminded the moderator that the translation into the earpieces takes a little time to process.

Every now and again there comes a reminder: Simone Biles is 27 years old. This is not her first rodeo. She knows a thing or two about microphones and translations, succeeding and even a little bit about failing. Biles started competing internationally more than a decade ago, as a braces-wearing 16-year-old. She wasn’t old enough to drive. She wasn’t old enough to drink when she went to Rio in 2016.

Now she’s married but, like a new bride who is asked when she wants to start a family upon exiting the ceremony, Biles has been asked, even before she finished competition in Paris, how she feels about Los Angeles. She initially answered with a nonanswer. It would be lovely to compete on her home turf, she admitted, but she also acknowledged that age is not merely a number. “I’m old,” she said with a laugh.

Later she expressed her exasperation on X. “You guys really gotta stop asking athletes what’s next after they win a medal at the Olympics,” she tweeted, adding, “Let us soak up the moment we’ve worked our whole lives for.”

It is the crux of it, really, but in Biles’ case, it’s messaging that needs to be flipped. It is everyone else that needs to do the appreciating, instead of greedily wondering if we might get to enjoy more. This is what happens, of course. We get spoiled, and then desperate, desperate to not let go of a thing we probably took for granted. Biles is a constant, a near-sure thing in sports. Neither age nor injury, abuse or mental health demons, have defeated her. She comes back every time, and so we are left to fret: What if this is it?

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It very well could be. Her coach, Cecile Landi, is leaving to become the head coach at the University of Georgia. Her husband and Biles’ co-coach, Laurent, will follow in a year’s time after their daughter graduates from college. It seems like the ideal transition. She has nothing left to prove, but then again, that’s the tease. This stopped being about proving anything three years ago.

Then, done in by the twisties in Tokyo, Biles did the painful digging to excavate the root of her mental-health struggles. She admitted to abuse at the hands of Larry Nassar and courageously questioned USA Gymnastics’ role in it before the Senate Judiciary Committee. She questioned her own “why,” a scary proposition for all of us, confronting really what we want and what we’re all about. She then had the courage to admit she’d lost her direction, that she’d exchanged her love for gymnastics for answering a bell. More courageously, Biles went and fixed it, taking a year off from a sport in which time is already unforgiving.

“To do the work, the personal work to be here and to perform, it’s amazing,” Laurent Landi said. “It just shows how tough the mind is, and that if you heal it properly, you can be very, very successful.”

She is hardly fading. Biles spent the entire week here dealing with a nagging calf injury, originally injured before trials and tweaked here, during qualifications. Doctors wrapped her leg for the entirety of the competition, and while Biles downplayed the seriousness of it — “Y’all are nosy,” she jokingly chastised reporters when asked — Landi admitted it’s been a matter of managing the pain, not eliminating it. Medication, treatment, ice, the usual lineup, all to ensure that it “held up,” much different than healed. “It was bothering her, of course,” he said. “Was it impacting her performances? I don’t think so.”

Landi smirked then, as if to say, “You tell me.” Four medals, three of them gold, more than all but 22 countries competing in Paris to date.

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The final day, of course, was meant to be a coronation, a victory lap and an au revoir. Instead it revealed Biles’ humanity. She was tired. She’s competed in four of the five days possible here. And she was mentally drained. The pursuit of righting the Tokyo ship weighed heavily on her. The event finals felt weird, too. Instead of playing music while the gymnasts performed, Bercy Arena turned into a church, complete with would-be church ladies tsk-tsking people who dared to react when the gymnasts nailed a skill on beam.

“We asked several times if we could have some music or background noise,” Biles said. “So I’m not really sure what happened there.”

These are not excuses; they are realities. The beam turned into the Hunger Games, medals awarded to those who didn’t fall off. Three women, including Sunisa Lee, fell before Biles and two others had serious balance checks. Yet when Biles missed a landing on her back layout step out and fell, the arena gasped. Later, after the competition ended and Biles officially failed to medal, a mom in line at the Bercy Arena concessions stand bemoaned to her young daughter, “I feel so bad for Simone.” Her daughter, eyes wide, replied, “She fell,” as if she’d just watched DaVinci paint outside of the lines or Beethoven miss a chord.


Whatever Simone Biles decides to do next, her legacy will be one of gymnastics excellence and, more importantly, leadership and courage off the mat. (Naomi Baker / Getty Images)

In her defense, the girl couldn’t have been any older than 8, and in her lifetime, Biles has been Olympic perfection. Until this beam final, Biles had competed in nine different Olympic events in her career, including team, all-around and event finals. She’d medaled in each and every one, earning gold in seven.

Then her very humanity had the audacity to strike again. Two hours after her beam foible, Biles returned for the floor exercise, an event she’s never lost in either the Olympics or worlds. She landed awkwardly during warmups, appearing to tweak that same calf injury. Tended to briefly, Biles nonetheless went out and landed her first tumbling pass, restoring order to the universe. But on the second and the fourth, Biles twice stepped out of bounds, costing her precious tenths of a point, just enough to slot her second to Brazil’s Rebeca Andrade.

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It should be noted — she messed up two moves named after her, that no one else even tries. This is Biles’ definition of failure.

Her definition of success? If you ask Biles, it’s not in the medals, her power. It’s in the very thing that showed itself on the last day of competition: her realness. She is proud of what she’s accomplished, but she’s more proud of who she’s become and the people she believes — accurately — she’s helped.

“Putting your mental health first, and taking time for yourself, whether you’re in sports or not, it’s about longevity,” she said. “Longevity in sports, specifically, but also just for a better, healthier lifestyle.”

Not far from where Biles competed, a woman walked down a Parisian sidewalk, following behind her friendly Australian shetland sheepdog. Indulging dog lovers in need of a fix, she stopped to chat. She is French, but in Paris to enjoy the Olympics and upon learning her new dog friends were from the U.S. said immediately how much she enjoyed the “American gymnast.” She had watched Biles’ documentary on Netflix and commended her for opening the dialogue on mental health.

“I am not an athlete,” she said, adding that she was nonetheless grateful that Biles made it OK to “talk about” your personal struggles. “I appreciate that.”

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If this is the end, we should all appreciate Simone Biles.

(Top photo of Simone Biles with her gold medal from the vault competition: Tom Weller / VOIGT / GettyImages)

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Finding Wisdom in a Poem by Wendy Cope

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Finding Wisdom in a Poem by Wendy Cope

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Where do you turn when you need advice? A chatbot? A life coach? A wise and trusted friend?

How about a poet? Poets may not be famous for making the best life choices, but because they subject the mess of human existence to the discipline of language, they can be as helpful as any therapist or mentor.

Good poets know the rules and when to break them, which is something they can teach the rest of us.

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To wit:

Giving advice is a peculiar literary undertaking. It flourishes in certain popular genres — graduation speeches, newspaper columns, country and western songs and poems like this one — but what, in these contexts, is it really for?

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I’m thinking of situations when you don’t urgently need help but nonetheless enjoy reading answers to questions you may not have thought to ask. What interests you isn’t the content of the advice — you could get all the life hacks you want from A.I. — so much as the voice of the person dispensing it.

Wendy Cope is an English poet, born in 1945, who has been a fixture of her country’s literary scene since the 1980s. More recently, her short, buoyant poem “The Orange” has been widely memed online, bringing her to the attention of new readers beyond Britain.

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Cope favors rhyme, meter, brisk jokes and tart aperçus. She addresses romance, friendship and the petty absurdities of modern life with disarming good humor. The last line of “The Orange” is “I love you. I’m glad I exist.” Somehow she makes it the opposite of cringe.

This isn’t the kind of poetry you would describe as “confessional.” And yet …

Want to learn this poem by heart? We’ll help.

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Fill in the missing words below. You can always refer to the reading by A.O. Scott and full
text above.

Question 1/7

Let’s start with the first stanza.

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Stop, if the car is going clunk 

Or if the sun has made you blind. 

Dont answer emails when youre drunk. 

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Tap a word above to fill in the highlighted blank.

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Can You Match the Places These Authors Lived With Settings in Their Books?

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Can You Match the Places These Authors Lived With Settings in Their Books?

A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself. This week’s literary geography quiz highlights places where authors were born (or lived) that later became locations in their books. 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 works if you’d like to do further reading.

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Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.

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Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.

AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries, by Eddie S. Glaude Jr.


For those of us in the national memory-keeping business, anniversaries hold near-totemic power. Satisfyingly round units of time, ideally bearing fancy, Latin-derived names, serve as the overburdened pegs on which to hang think pieces and museum exhibits, revisionist documentaries and maudlin public ceremonies. The arbitrary nature of such occasions is precisely what gives them their charge, inviting us to set aside complacency and submit to a comprehensive check-in.

In his new book, “America, U.S.A.,” Eddie S. Glaude Jr. presents an intriguing variation on the genre, seeing the country’s 250th birthday as an anniversary of anniversaries: 50 years since the malaise-ridden, schlock-heavy Bicentennial. A century since the subdued Prohibition-era Sesquicentennial. A century and a half since telegraphed reports of George Armstrong Custer’s defeat by the Lakota and Cheyenne at Little Bighorn rudely interrupted the Gilded Age Republic’s 100th birthday party.

If an anniversary offers a snapshot of a moment, the core of Glaude’s book is an old-timey photo album, a collection of notable episodes from earlier national reckonings, long-ago glances in the mirror. An estimable scholar of Black history, politics and religion at Princeton — best known for “Begin Again,” his 2020 meditation on James Baldwin’s relevance for our times — Glaude focuses, as his subtitle puts it, on “how race shadows the nation’s anniversaries.”

Such celebrations, he contends, have never really been the moments for honest self-reflection they are often advertised to be. Instead, the nation usually shatters the mirror, refusing to accept what it prefers not to see. “American anniversaries are often moments to turn a blind eye to the evils of the past and the present,” Glaude writes, “to suppress the fact of America’s divided soul.”

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It’s a clever concept, and, needless to say, perfectly timed. Last year, Glaude notes, the Trump administration executed a hostile takeover of the government’s studiously bipartisan 250th anniversary planning. It is now preparing a program that is certain to conceal more than it reveals about the country ostensibly being celebrated.

Glaude, in no mood for celebration, argues that such omissions and evasions also defined commemorations in the past. In 1875, Frederick Douglass predicted “one grand Centennial hosannah of peace and good will to all the white race of this country.” He was right: The nation reached 100 years old at a crucial moment in the post-Civil War fight over racial equality, with white Northerners ready to give up on Southern Reconstruction. The occasion would help the once-warring sections to reunite around a shared commitment to white supremacy. On May 10, 1876, at the opening of the Centennial Exposition in Philadelphia, the police tried to bar Douglass from the grandstand, until a white politician vouched for him.

The 150th anniversary came soon after a resurgent Ku Klux Klan successfully pushed for a restrictive immigration law aimed at keeping America a “Nordic” nation. At the lavishly funded, lightly attended celebrations in Philadelphia, Black veterans of World War I were excluded from marching in the opening parade. A writer with The Associated Negro Press wondered “what was in the breast of those black men who fought to make America safe for Democracy and on Monday stood on the sidelines, forgotten, as the Nordic strode by in all his vain pride.”

By 1976, when the nation marked its Bicentennial, the violence of the ’60s had destroyed any semblance of consensus. Vietnam and Watergate had eroded trust in the government. The commission initially tasked with organizing the anniversary was disbanded amid reports of corruption. Corporations filled the vacuum, Glaude explains, with “star-spangled whoopee cushions; patriotic toilet seats; Liberty hamburgers; red, white and blue beer cans.” The author, around 8 years old at the time, dimly remembers donning a pair of tricolor trousers.

A half-century later, Glaude is refreshingly honest about the depths of his despair. “I do not love America, and never have, especially now,” he writes in one of the more startling opening sentences I’ve read in some time. He dismisses this year’s Semiquincentennial as reaching back “to a storybook America that requires either the banishment of Black people from view or the reduction of our role in the country’s history, so as to affirm America’s ongoing quest to be a more perfect union.”

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Undoubtedly true. But Trump doesn’t own the country, at least not yet, nor the 250th anniversary of one of the most radically liberatory and confusingly contradictory events in world history — an inspiration, as Glaude shows, even to critical observers of the American experiment, like Douglass. Far from the revanchist MAGA-palooza in Washington, I suspect this summer’s unasked-for invitation to national soul-searching may surprise us yet.

Despite his despair, Glaude concludes that “the past still offers resources for us to freedom-dream.” So, too, does this book.


AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries | By Eddie S. Glaude Jr. | Crown | 270 pp. | $31

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