Culture
Inside a historic women’s hockey fight and why it changed PWHL rules: ‘We were battling out there’
For almost a decade, Jill Saulnier was an energy line forward for the Canadian women’s national team, winning two Olympic medals and a world championship.
Now she can add a new line to her resume: She threw the first real punches in the history of the Professional Women’s Hockey League, in a fight with Ottawa forward Tereza Vanišová.
“We were battling out there,” Saulnier told The Athletic. “She got a hold of my stick and dropped it down, and that was just kind of the green flag for me …. I said, ‘Let’s go.’”
The first legitimate fight in the #PWHL. 🥊 @PWHL_Boston’s Jill Saulnier & @PWHL_Ottawa’s Tereza Vanišová square off. #PWHL@jill_saulnier @VanisovaTereza pic.twitter.com/L6fr5biVmv
— Melissa Burgess (@_MelissaBurgess) February 21, 2025
The Feb. 20 fight during a game between the Boston Fleet and Ottawa Charge was the first-ever in the PWHL and one of the league’s most viral moments.
Fights aren’t entirely new to women’s hockey. There was a line brawl between Canada and the United States at a pre-tournament game ahead of the 2014 Olympics, and another in the now-defunct National Women’s Hockey League in 2016.
There are usually big hits and scrums after whistles at the professional and international level. But these moments — with fists flying — have been few and far between.
For the players involved in the PWHL’s first fight, it was just a natural part of the women’s game and a product of the increased physicality allowed in the league.
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“It’s a heated game, it’s a physical game, and we’re all very competitive,” said Saulnier, now a forward for Boston after a January trade from the New York Sirens. “It’s just the way that the chips kind of fell in the corner.”
The build-up to the fight included a hit and at least two extra crosschecks by Saulnier against Vanišová, one of Ottawa’s top scoring forwards. When Vanišová got up, she threw Saulnier’s stick to the ground.
“I felt like the warranted next move was a hard right,” Saulnier said. “In the moment, it was physical and that fight had to happen. It was right there and it was a message from each side.”
Neither player dropped their gloves, as is customary in men’s hockey, given women’s players wear full cages that protect their face — not visors like most NHLers wear, which leave most of their face exposed. In both leagues, players are not allowed to remove their helmets to fight.
“You’d just look silly to fully drop the gloves,” Saulnier said, given they’d be punching a cage with their bare hands.
The nearly 6,000 fans at TD Place Arena in Ottawa were on their feet. So were the players on each bench. Five minutes after the fight, Ottawa defender Ronja Savolainen scored to make the game 2-1 late in the third period. When Vanišová got out of the penalty box, she scored with only three seconds left in the game to send it to overtime and register the first unofficial “Gordie Howe hat trick” in the league’s history — when a player scores a goal, assists on a goal and fights in the same game.
“I thought it was awesome, it got the fans going,” Saulnier said. “I’m sure I’ll get a couple boos next time I go in there, but please know, it was all respectful and it was a lot of fun.”
Ottawa ultimately lost 3-2 in overtime and Saulnier and Vanišová shared a moment in the postgame handshake line to say, “Nice fight.”
“You see the intensity of the game and that’s the fun part of this league,” said Ottawa coach Carla MacLeod after the game. “Neither player backed down and I suspect there will be a little bit of buzz about it, which is never bad for the game either.”
The fight made worldwide news with headlines in TMZ and the Daily Mail, outlets that don’t typically cover women’s hockey. And it went viral on social media while 16 million people across North America were watching Canada and the United States in the 4 Nations Face-Off finale.
In the last week, fans have given Saulnier bracelets that spell out “Fight Club” in beads and T-shirts that say “Jill Saulnier Fight Club,” which one of her family members wore to Boston’s game against Montreal at the Bell Centre on Saturday.
“I think more people reached out than when we won a gold medal,” said Saulnier, a member of the 2022 Canadian Olympic team. “Obviously you shouldn’t fight every game, but I think it was actually good because it got more eyes on the league.”
The PWHL, which only officially started in January 2024, will take the exposure. The fight was also a nice bit of proof that the league is full of skilled players who can play with finesse and speed, but also embrace physicality. Still, fights aren’t something they want to be the norm.
The league’s rulebook clearly states that “fighting is not part of the PWHL’s game.” And before last month’s altercation, there wasn’t a ton of clarity on what penalties referees might impose other than that players who fight shall be penalized and may be ejected from the game.
Saulnier and Vanišová were only given roughing minors for their fight, which led to some confusion over the rules. Last week, the league clarified that a fight will now be penalized with a 5-minute major penalty and a game misconduct, with a possibility of further discipline following a review and taking into consideration repeat offenders.
According to Saulnier, Boston general manager Danielle Marmer calls it “the Jill Saulnier rule.”
The new rules should deter players from frequently fighting. In a short, 30-game season, players might not be willing to sit out an extra game just to give their team a boost of energy post-fight. The equipment barrier will also continue to be a natural deterrent for fighting in women’s hockey.
Beyond that, fighting is far from common at other levels of the women’s game. Even bodychecking has never been permitted in youth girls hockey, which means those skills are not typically taught. In boys hockey, bodychecking is introduced at the under-14 level and by the time a player gets to the professional level, fighting has very much been part of the game.
Saulnier doesn’t think her fight is going to open the floodgates to more moments like that in the future. But, she said, it certainly won’t be the last time we see a fight in women’s professional hockey.
“With the level of physicality, you’ll never not see it in the PWHL,” she said.
(Illustration: Demetrius Robinson / The Athletic; Photos: Troy Parla / Getty Images)
Culture
I Think This Poem Is Kind of Into You
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.
“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.
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.
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.
“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.
Culture
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.
Culture
From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel
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.
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.
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.
See the full list of the 10 Best Books of 2025 here.
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