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Indiana Fever loss offers Caitlin Clark a chance to grow as a leader

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Indiana Fever loss offers Caitlin Clark a chance to grow as a leader
Caitlin Clark: Raising the Game

A commemoration of Caitlin Clark’s meteoric career at Iowa and evaluation of the start of her WNBA rookie season.

A commemoration of Caitlin Clark’s meteoric career at Iowa and evaluation of the start of her WNBA rookie season.

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INDIANAPOLIS — The game was going on, but Caitlin Clark chose not to be a part of it.

The Indiana Fever superstar wasn’t watching from the sideline Friday against the Minnesota Lynx; she wasn’t stuck in foul trouble or nursing an injury. She was in the middle of the action, lying on the court, and had simply given up. It was as if Clark was in a video game and the game player’s controller died. But this wasn’t virtual. This was the real thing.

This was a matchup — and a potential first-round playoff preview — between a pair of MVP candidates and their teams. Yet Clark’s composure had evaporated. After Lynx superstar Napheesa Collier blocked Clark’s shot and sent her to the floor, Clark didn’t get back up. She didn’t even try. Instead, she stared up at the Gainbridge Fieldhouse rafters for a couple of seconds while the Lynx played five-on-four on the other end, resulting in a midrange jumper by Courtney Williams that extended Minnesota’s lead to 10 points.

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Clark thought she’d been fouled. A foul wasn’t called. And the Fever’s disastrous third quarter continued as the Lynx held on for a 99-88 victory. That rage-filled sequence from Clark, one in which she vehemently complained to the refs and had to be subbed out, didn’t decide the outcome of the game. But it certainly wasn’t helpful.

“I think I could have done a little bit better job controlling my emotions,” said Clark, who finished with 25 points, 8 assists and 8 rebounds.

Fever coach Christie Sides, though appreciative of Clark’s fiery nature, was more direct.

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“It reminds me of Diana Taurasi,” Sides said. “So when she’s upset or mad, that’s what we’ve been working on, trying to figure out how to get past those moments. I was worried she was going to pick up a (technical foul) in that third quarter, and thank goodness she didn’t. But that’s growth, and she’s gotta learn that in those moments, I need my point guard to have a cool head.”

Clark wasn’t the only one.

Fever forward Aliyah Boston was assessed a technical foul early in the third quarter after she argued with an official over what she believed was a missed foul call. Of course, that didn’t change the ref’s mind, and Sides acknowledged that the Fever became too consumed by the officiating. The Lynx were quick to pounce on the Fever’s disarray, flipping a 5-point deficit at the beginning of the frame into a 12-point lead heading into the fourth quarter.

What could the Fever learn from their lack of composure? Kelsey Mitchell didn’t mince words.

“I think from a leadership standpoint, we huddle ourselves together as a group to say, ‘Shut up and work. Leave the refs out of it,’ obviously,” said Mitchell, the Fever’s longest-tenured player. “Get to the next play. Get to the next action. Get to the next set.”

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And, in theory, get to the next level.

Three nights ago, the Fever clinched a playoff berth for the first time since 2016, and from Sides’ perspective, Friday felt like a playoff atmosphere. The crowd was loud, and the play was physical. Nothing came easy, and in the fourth quarter, the Fever responded like a team that finally understood that.

Mitchell scored 8 of her 23 points in the final frame. Boston chipped in with 6 of her 20 points and recorded a block. However, it was Clark who emerged as the main catalyst in the last 10 minutes.

After she regained her equanimity, she changed the game. Clark scored or assisted on 14 points in the fourth quarter, helping the Fever pull within a point, but that was as far as Indiana would climb. With the Fever trailing 78-77, Clark blocked Alanna Smith’s jumper and secured the loose ball on the ensuing fast break, but she threw an ill-advised pass toward Temi Fagbenle that was easily intercepted by Natisha Hiedeman.

“Honestly, I thought we played really good in the fourth,” Clark said. “My turnover in transition is what I felt like really kind ended the momentum for us.”

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Williams responded on the other end with a 3-pointer to push the Lynx’s lead back to 4 points en route to handing the Fever their second defeat in nine post-Olympics games. Both of Indiana’s losses came at the hands of Minnesota and Collier, who was brilliant yet again. The four-time All-Star finished with a game-high 26 points, 10 rebounds and 2 blocks.

Clark called the Lynx “the hardest team in the league to guard” because of how well they move the ball, noting that it wasn’t just Collier who made big plays. Bridget Carleton nailed three 3-pointers in the fourth quarter to extinguish a potential Fever comeback.

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Mitchell said the Fever can learn from Minnesota’s play and the level-headedness it displayed at Gainbridge Fieldhouse, which doubled as a pressure cooker when Indiana made its late surge. The Lynx didn’t blink, and it’s a huge reason they’re now slated as the No. 2 seed in the WNBA playoff standings.

“(Minnesota) is the standard,” Mitchell said. “And if you want to compete at that next level and be a part of that playoff run — not just getting there, not just being a part of it, but making a run and making an impact — we’re gonna have to use this as leverage and know that they’re the best. And in order to beat the best, you gotta compete every night.”

And on every play.

Clark was reminded of that lesson Friday when, for a brief moment, she failed to compete to the fullest extent.

“Yeah, I think there’s a line and sometimes, your passion, your emotion can get to you,” Clark said. “But that’s never something I would ever change.”

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And as Sides said, the Fever aren’t asking her to change. They’re just asking her to grow.

(Photo: Emilee Chinn / 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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