Culture
In a Sick World, Choosing Between Freedom and Restriction
COMPANION PIECE, by Ali Smith
In a pandemic-ravaged and post-Brexit Britain, our narrator, Sandy Grey, who’s something however grey, character-wise, although in her current state of private and political despondency she may properly really feel she is, receives an sudden name from one Martina Pelf, previously Martina Inglis, a college acquaintance who has just lately been held for seven and a half hours at border management, an officer aggravated by her twin citizenship (“Is one nation not sufficient for you?”), and Martina is looking to share this with Sandy, and to ask Sandy a query — and so begins Ali Smith’s 18th e-book, the excellent novel “Companion Piece.”
Martina was held and questioned whereas transporting the centuries-old Boothby Lock for the museum the place she works. “It’s actually lovely,” Martina tells Sandy. “It’s actually crafty too. You might by no means inform by taking a look at it that it’s even a lock, or that it has any mechanism in any respect inside it, by no means thoughts discover how or the place the important thing goes into it to open it.” Which is, in fact, a fantastic description of this novel, itself a lock, crafted by a smith, that’s, by A. Smith, demanding within the engagement it requires, and rewarding of that engagement, as one picks away on the phrases she has used to construct it.
Choosing a lock of phrases is the truth is why Martina has known as Sandy, for whereas caught alone in that room at border management she hears a mysterious voice. “Curlew or curfew,” it says, “you select.” Martina is unable to cease fascinated about this. What on earth can it imply? At residence she lies in mattress, perplexed. However she has nobody she feels she will converse to. Her husband is, properly, her husband, a time period she makes use of in a method that makes Sandy suspect “some form of marital inadequacy quarrel.” And as for her youngsters: “One would giggle. The opposite would name me a cis terf, which apparently I’m.”
So Martina has turned to Sandy. “You had been actually good at sounding such as you knew what a line of poetry meant,” Martina says. “You simply knew what issues meant.” And Sandy, shocked, and a bit suspicious, doesn’t disappoint. “There’s a selection,” she tells Martina, puzzling it over, immersing herself. “A curlew is a fowl, and a curfew is a time of day after which individuals formally aren’t, by authority, permitted to be out and about.” She goes on, feeling her method in. “And if we take into consideration the proffered selection, curlew or curfew, between nature and an authoritarian shaping of time, which is a human invention. …” Martina stops her, happy. “You haven’t modified a bit,” she says to Sandy. And Sandy blushes with out, she tells us, understanding why.
Curlew or curfew. You select. From these phrases arises the construction of the novel, which is split into three elements. Within the first, titled “You Select,” Sandy is grappling with despair. Her father is in poor health. The entire world, it appears, is in poor health too. The illness just isn’t solely Covid: A illness of hatred and injustice and oppression is spreading in every single place. “I didn’t care what season it was,” Sandy tells us. Smith’s earlier 4 novels had been a quartet named after the seasons, and we hear Smith in Sandy as she continues, “all my life I’d liked language, it was my predominant character, me its everlasting loyal sidekick.” However now, “even phrases and the whole lot they may and couldn’t do” are repugnant. Sandy is an artist who’s shedding, in a harsh epoch, her religion within the energy of artwork.
However the story of the lock has unlocked one thing in Sandy, she realizes, and her ideas are borne again in time: to hours in the past, years in the past, a long time in the past. She remembers college, the place she went out with folks of each genders, which “was seen as deeply dodgy, then, although not fairly as dodgy as simply being homosexual which is what I most likely was/am,” and the place she encountered a younger Martina, stumped by a poem and determined, determined for assist, for one thing. As Sandy emerges from these reveries, on a stroll within the forest, she realizes she’s misplaced: numb, alone, with no concept the place to go. However she feels, all of the sudden, that she has a selection. “What I knew was my very own absence. What I sensed, clear as unruined air, was the ghost of an opportunity, a unique presence.”
The second a part of the novel, known as “Curlew,” takes as its recurrent theme freedom, and as its motif the V that’s fashioned after we make our easiest drawings of a fowl. The title of every of its sections (“Goodbye v hey,” “Story v lies”) explores the winged prospects of a juxtaposition. And in these sections we be taught that Martina has disappeared after talking with Sandy, that Martina’s youngsters suppose Sandy is having an affair with their mom, that they really feel Sandy has destroyed their household, that they’re adrift, and that they consider she bears some accountability for his or her unmooring. They arrive at her residence like refugees, and Sandy, who needs them gone, doesn’t have it in her to pressure them away, and they also start to occupy, they keep. They take refuge. “So what if one thing or somebody occurred to mess with or destroy an image I’d been engaged on for over a yr?” Sandy muses, contemplating these refugees, in one of many breathtakingly radical passages that flash so brightly on this radical e-book. “There’d all the time be extra paint. I might begin once more.”
In “You Select,” we’re left with “the ghost of an opportunity,” and in “Curlew,” a ghost certainly seems, within the type of a wierd lady with a curlew who turns up in Sandy’s home. We be taught who she could have been within the ultimate a part of the novel, “Curfew,” which grapples with the restrictions we place on each other. It recounts, partly, the story of a woman who’s probably related to the making of the Boothby Lock and is apprenticed to a smith within the distant previous. The smith is an older lady who owns a forge and is excellent at her work, however who dies all of the sudden, leaving the proficient lady weak to males who need the forge for themselves. A child fowl retains her firm by way of the horrors the world has in retailer for her. She is finally arrested and marked as a vagrant: A model of the letter V, a model the lady herself had as soon as made, is heated and seared into her flesh. This was a mandated punishment in these days, for the poor weren’t allowed to wander as they wished in Britain: Labor was saved motionless by legislation, registered and tethered to a spot, a lot as poor folks from the World South are registered and saved tethered immediately. However the lady, now branded, wanders on. She just isn’t forsaken by her fowl.
“I’m not going to inform you what occurred ultimately to the lady,” our narrator informs us, “besides that she went the way in which of all women.” And, again within the current day, Sandy, out strolling her father’s canine, her father higher although nonetheless within the hospital, meets a woman on a bicycle who used to come across Sandy’s father on his each day canine walks. The lady asks after him and “heads off swift as a swift.” However then she stops and turns. She sees Sandy. And she or he calls out to her, a hey. A hey gorgeous, on the finish of this exceptional novel, in its hopefulness and risk.
Mohsin Hamid’s fifth novel, “The Final White Man,” can be printed this summer time.
COMPANION PIECE | By Ali Smith | 230 pp. | Pantheon Books. | $28.
Culture
The Books We’re Excited About in Early 2025
Subscribe: Apple Podcasts | Spotify | How to Listen
A new year means new books to look forward to, and 2025 already promises a bounty — from the first volume of Bill Gates’s memoirs to a new novel by the reigning Nobel laureate, Han Kang, to a biography of Rosemary Woodruff Leary, the wife and psychedelic collaborator of the counterculture pioneer Timothy Leary.
On this week’s episode, Gilbert Cruz and Joumana Khatib talk about some of the upcoming books they’re most anticipating over the next several months.
Books discussed:
“Stone Yard Devotional,” by Charlotte Wood
“Silence,” by Pico Iyer
“Onyx Storm,” by Rebecca Yarros
“Gliff,” by Ali Smith
“The Dream Hotel,” by Laila Lalami
“The Colony,” by Annika Norlin
“We Do Not Part,” by Han Kang
“Playworld,” by Adam Ross
“Death of the Author,” by Nnedi Okorafor
“The Acid Queen: The Psychedelic Life and Counterculture Rebellion of Rosemary Woodruff Leary,” by Susannah Cahalan
“Tilt,” by Emma Pattee
“Dream Count,” by Chimamanda Ngozi Adichie
“Hope: The Autobiography,” by Pope Francis
“Jesus Wept: Seven Popes and the Battle for the Soul of the Catholic Church,” by Philip Shenon
“The Antidote,” by Karen Russell
“Source Code,” by Bill Gates
“Great Big Beautiful Life,” by Emily Henry
“Sunrise on the Reaping,” by Suzanne Collins
We would love to hear your thoughts about this episode, and about the Book Review’s podcast in general. You can send them to books@nytimes.com.
Culture
Grand Slam prize money is enormous. The economics of tennis tournaments is complicated
Four times a year, one of the biggest and most important tennis tournaments in the world sends out an announcement full of dollar signs and zeroes with the words “record prize money” scattered liberally.
The four Grand Slams, the first of which begins Sunday in Melbourne, are the high points of the tennis calendar. Players at the 2025 Australian Open will compete for $59million (£47m) this year — over $6.2m more than last year. In 2024, the four tournaments paid out over $250m between them, while their leaders spent the year aligning themselves with the players who make their events unmissable, whose gravity pulls in the broadcast deals and sponsorships, with their own dollar signs and zeroes.
Led by Australian Open chief Craig Tiley, the Grand Slams led the movement for a so-called premium tour which would pare down the overloaded tennis calendar and guarantee top players always being in the same events, let alone time zones. It would also lock swaths of the globe out of the worldwide spectacle that tennis represents.
The great irony is that despite the largesse and the cozy relationship, the players get a smaller cut of the money at the Grand Slams than they do in most of the rest of the rest of that hectic, endless season — and a fraction of what the best athletes in other sports collect from their events. The Australian Open’s prize pool amounts to about a 15-20 percent cut of the overall revenues of Tennis Australia, the organization that owns and stages the tournament, which accounts for nearly all of its annual revenue. The exact numbers at the French Open, Wimbledon and U.S. Open vary, but that essential split is roughly a constant. The 2023 U.S. Open had a prize pool of $65m against earned revenue from the tournament that came out at just over $514m, putting the cut at about 12 percent. The U.S. Open accounted for just under 90 percent of USTA revenues that year.
The explanations from the Grand Slams, which collectively generate over $1.5bn (£1.2bn) a year, run the gamut. They need to dedicate hundreds of millions of dollars each year to fund junior tennis development and other, less profitable tournaments in their respective nations — an obligation pro sports leagues don’t have. There is a constant need to upgrade their facilities, in the silent race for prestige and primacy of which the constant prize money one-upmanship is just one element.
That dynamic is not lost on players — least of all Novak Djokovic, the top men’s player of the modern era and a co-founder of the five-year-old Professional Tennis Players Association (PTPA).
“I’m just going to state a fact,” Djokovic said during a post-match news conference in Brisbane last week. “The pie split between the governing bodies in major sports, all major American sports, like NFL, NBA, baseball, NHL, is 50 percent. Maybe more, maybe less, but around 50 percent.
“Ours is way lower than that.”
Since 1968, the first year in which the four majors offered prize money as part of the Open Era’s embrace of professional tennis players, the purses have only grown. The 1968 French Open was the first to offer prize money, with Ken Rosewall earning just over $3,000 for beating Rod Laver in the final. The women’s singles champion, Nancy Richey, was still an amateur player, so could not claim her $1,000 prize. By 1973, lobbying from Billie Jean King helped convince the U.S. Open to make prize money equal for men and women through the draws; it took another 28 years for the Australian Open to do so year in, year out. Venus Williams’ intervention helped force the French Open and Wimbledon to follow suit in 2007.
GO DEEPER
‘I think we deserve better’: How and why tennis lets women down
Fifty years after Rosewall’s triumph in Paris, the 2018 men’s champion Rafael Nadal took home $2.35million, an increase of over 73,000 percent. The year-on-year increases at each major are more modest, usually between 10 and 12 percent, but that percentage of tournament revenue remains steadfast, if not entirely immovable.
The Grand Slams argue that there are plenty of hungry mouths at their table, many more than just the 128 players that enter each singles draw each year.
“Tennis Australia is a not-for-profit and a business model built on significant investment into delivering the event and promoting the sport to drive momentum on revenue and deliver consistently increasing prize money,” Darren Pearce, the organization’s chief spokesperson, said in a statement this week.
Money from the Australian Open also helps fund tournaments in Brisbane, Adelaide and Hobart, as well as the United Cup, the combined men’s and women’s event in Perth and Sydney. Pearce said the prize money increases outpace the revenue growth.
The Grand Slams also point to the millions of dollars they spend on player travel, housing, transportation and meals during tournaments, though team sport athletes receive those as well. Eloise Tyson, a spokesperson for the All England Lawn Tennis Club, which stages Wimbledon, noted that overall Grand Slam prize money had risen from $209million in 2022 to $254m last year, a 22 percent increase.
“Alongside increasing our player compensation year-on-year, we continue to make significant investment into the facilities and services available for players and their teams at The Championships,” Tyson wrote in an email.
Officials with France’s tennis federation, the FFT, which owns the French Open, did not respond to a request for comment.
Brendan McIntyre, a spokesman for the United States Tennis Association, which owns the U.S. Open, released a statement this week touting the USTA’s pride in its leadership on player compensation, including offering equal prize money and the largest combined purse in tennis history at the 2024 US Open. A first-round exit earned $100,000, up 72 percent from 2019. Just making the qualifying draw was good for $25,000.
“As the national governing body for tennis in the U.S, we have a broader financial obligation to the sport as a whole,” the organization said.
“The USTA’s mission is to grow tennis at all levels, both in the U.S. and globally, and to make the sport accessible to all individuals in order to inspire healthier people and communities.”
None of the organizations outlined a specific formula for determining the amount of prize money they offered each year, which is roughly the same as a percentage of their parent organizations overall revenues. That may be a coincidence, though the Grand Slams also have the benefit of not facing any threat to their primacy.
The USTA’s statement gestures at how the structure of tennis contributes to this financial irony. In soccer, countries and cities bid to host the Champions League and World Cup finals; the Olympics changes every four years and even the Super Bowl in the NFL moves around the United States, with cities and franchises trying to one-up one another.
The four Grand Slams, though, are the four Grand Slams. There are good reasons for this beyond prestige: the infrastructure, both physical and learned, required to host a two- or three-week event at the scale of a major year in, year out is available to a vanishingly small number of tennis facilities around the world. There is no opportunity for another organization or event to bid to replace one of the Grand Slams by offering a richer purse or other amenities.
GO DEEPER
A year ago, tennis was broken. It’s more broken now
This dynamic has been in place for years and has become more important in recent months. The PTPA has hired a group of antitrust lawyers to evaluate the structure of tennis. The lawyers are compiling a report on whether the the sport includes elements that are anti-competitive, preparing for a possible litigation with the potential to remake the sport.
The ATP and WTA Tours, which sanction 250-, 500- and 1000-level events as well as the end-of-season Tour Finals, give players a larger share of revenue. There is some disagreement between players and officials over how much it is and the methods of accounting; some player estimates hover around 25 percent, while tour estimates can be in the range of 40 percent. Both remain short of the team equivalents in the United States.
On the ATP Tour, the nine 1000-level tournaments have a profit-sharing agreement that, in addition to prize money, gives players 50 percent of the profits under an agreed-upon accounting formula that sets aside certain revenues and subtracts certain costs, including investments the tournaments make in their facilities. The WTA does not have such an agreement. It outlines a complex prize money formula in its rule book with pages of exceptions, not based on a guaranteed share of overall tour revenues.
The tours have argued that because media rights payments constitute a lower percentage of revenues than at the Grand Slams, and because the costs of putting on tournaments are so high, a 50-50 revenue share would simply turn some tournaments into loss-making entities and make tennis unsustainable as a sport.
James Quinn, one of the antitrust lawyers hired by the PTPA, said he saw serious problems with the model, describing a structure that prevents competition from rival tournaments.
Some events outside the 52-week program of tournaments — which see players earn ranking points as well as money — have official status (the Laver Cup is sanctioned by the ATP). But the remainder, such as the Six Kings Slam in Riyadh, which debuted this year and offered record prize money of over $6million to the winner, are not sanctioned, for now providing only a peripheral form of competition to ruling bodies’ control of the sport.
The Grand Slams, ATP and WTA insist this is for the best. They see themselves as caretakers of global sport trying to bring some order where chaos might otherwise reign.
Djokovic doesn’t totally disagree. He understands tennis is different from the NBA. He’s led the Player Council at the ATP, which represents male professionals, and he has seen how the sausage gets made and how complicated it is with so many tournaments of all shapes and sizes in so many countries. At the end of the day, he still thinks players deserve more than a 20-percent cut, especially since the Grand Slams don’t make the kinds of contributions to player pension plans or end-of-the-year bonus pools that the ATP does, nor do they provide the year-round support of the WTA.
“It’s not easy to get everybody in the same room and say, ‘OK, let’s agree on a certain percentage,’” he said of the leaders of tournaments.
“We want more money, (but) they maybe don’t want to give us as much money when we talk about the prize money. There are so many different layers of the prize money that you have to look into. It’s not that simple.”
(Photos: Kelly Delfina / Getty Images, Steven / PA via Getty Images; design: Dan Goldfarb)
Culture
6 New Books We Recommend This Week
Our recommended books this week tilt heavily toward European culture and history, with a new history of the Vikings, a group biography of the Tudor queens’ ladies-in-waiting, a collection of letters from the Romanian-born French poet Paul Celan and a biography of the great German writer Johann Wolfgang von Goethe. We also recommend a fascinating true-crime memoir (written by the criminal in question) and, in fiction, Rebecca Kauffman’s warmhearted new novel about a complicated family. Happy reading. — Gregory Cowles
One of Europe’s most important postwar poets, Celan remains as intriguing as he is perplexing more than 50 years after his death. The autobiographical underpinnings of his work were beyond the reach of general readers until the 1990s, when the thousands of pages of Celan’s letters began to appear. The scholar Bertrand Badiou compiled the poet’s correspondence with his wife, the French graphic artist Gisèle Lestrange-Celan, and that collection is now available for the first time in English, translated by Jason Kavett.
NYRB Poets | Paperback, $28
Wilson’s biography of the German polymath Johann Wolfgang von Goethe (1749-1832) approaches its subject through his masterpiece and life’s work, the verse drama “Faust” — widely considered perhaps the single greatest work of German literature, stuffed to its limits with philosophical and earthy meditations on human existence.
Bloomsbury Continuum | $35
Through a series of vignettes, Kauffman’s fifth novel centers on a woman determined to spend Christmas with her extended family, including her future grandchild and ex-husband, and swivels to take in the perspectives of each family member in turn.
People love the blood-soaked sagas that chronicle the deeds of Viking raiders. But Barraclough, a British historian and broadcaster, looks beyond those soap-opera stories to uncover lesser-known details of Old Norse civilization beginning in A.D. 750 or so.
Norton | $29
Fifteen years ago, Ferrell gained a dubious fame after The New York Observer identified her as the “hipster grifter” who had prowled the Brooklyn bar scene scamming unsuspecting men even as she was wanted in Utah on felony fraud charges. Now older, wiser and released from jail, Ferrell emerges in this captivating, sharp and very funny memoir to detail her path from internet notoriety to self-knowledge.
St. Martin’s | $29
In her lively and vivid group biography of the women who served Henry VIII’s queens, Clarke, a British author and historian, finds a compelling side entrance into the Tudor industrial complex, showing that behind all the grandeur the royal court was human-size and small.
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