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Inside Draymond Green’s defensive mind, which seeks to ‘completely destroy’ you

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Inside Draymond Green’s defensive mind, which seeks to ‘completely destroy’ you

The Golden State Warriors’ regular season will end on a Sunday afternoon at Chase Center in one of Draymond Green’s favorite matchups. Against the LA Clippers. It will likely have postseason implications, so Green will no doubt be intense.

But it’s not one of his favorites for the matchup against Ivica Zubac, the bruising center he’ll have to face. Or Kawhi Leonard. Or James Harden. No, Green loves the matchup because of opposing head coach Ty Lue.

“When I’m playing against his teams,” Green said, “I feel like it’s a chess match with me and him.”

It’s a window into why Green is here, at 35 years old, still playing stellar enough defensively to be worthy of Defensive Player of the Year consideration. He’s not as fast as he once was, not as explosive as when he last won the award in 2017. His body has endured, is enduring, the typical wear and tear of a career over a thousand games long.

But Green compensates with his mind. Always a high-IQ player, Green’s advanced knowledge, accrued through six NBA Finals trips and four championships, has evolved him into an algorithmic deconstructor of offenses.

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He still has some tangible strengths. He’s strong. He remains spry. He also has a 7-foot-2 wingspan he wields like a weapon. It compensates for him being only 6-foot-6. Sometimes, he’ll guard people with one hand in the air, like a fly swatter.

But the activation of these tools is his special trick. It ain’t checkers. Not to Green. He doesn’t want to win matchups; he wants to disrupt whole schemes. He doesn’t see his battle with the players on the court but with the aim of what they want to accomplish.

“Every offense in the NBA is built to put (defensive) players in a rotation,” Green said. “So if I know that, and I know the rotation … if I see that y’all are doing this or y’all (are) doing this to get to that? Great. I’m going to stand right there and f— this whole play up.

“I want everything that y’all thought y’all was going to come in this game and do, I want to take all of that s— off the table. That’s why I talk to the coaches so much. … This is my little battle with the coach. I want to f— your s— up. It’s no hard feelings. I’m always bantering and talking. But I want you to know that your offensive game plan, I wanna f— it up. … Completely destroy your offensive game plan, and then I want to let you know about it.”

What goes into the monkey-wrenching of defenses? Green sat down and broke down five plays from this season that give a window into his defensive mind. Watch the videos to hear Green’s detailed explanation.

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Warriors vs. Pelicans | Oct. 30 | Chase Center

Zion Williamson went 5 of 20 in this early season showdown, back when he was healthy and spry. Green frustrated him into a rough night. He explained how he did it, using this sequence as an example.

Williamson caught the pass as he was curling into the lane. But Green, after having watched Williamson score 31 points on 12-of-19 shooting the previous night against the Warriors, altered his approach: Give Williamson space.

“I want to give myself a little distance because he’s fast and powerful. You know, quick,” Green said. “But I don’t want to give too much distance to where the momentum of the bump that he’s going to deliver, it’s gon’ move me.”

Against taller players, such as Nikola Jokić and Anthony Davis, Green has to be close enough to get a good contest. Williamson is just 6-6. So Green could give him space and still contest thanks to his wingspan.

Williamson settled for the midrange jumper and missed badly. Wide left. He managed to get the ball back, but Green hunted him down with his fly swatter and challenged his shot. He calls it the deflector hand.

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“It’s the deflector,” he said. “I need the deflector going. I’ve got to get this hand up because I’m not 7 feet. If my hand goes up late, it’s a wrap. I’m 6-5.”


Warriors vs. Mavericks | Nov. 12 | Chase Center

Two plays — one early in the first quarter, another late in the fourth quarter — revealed the nuance of the chess Green plays.

Then-Dallas star Luka Dončić ran a pick-and-roll with Dallas Mavericks center Daniel Gafford on the left wing. Andrew Wiggins and Trayce Jackson-Davis trapped Dončić on the sideline. Green defended Naji Marshall. But he left Marshall to go cover Gafford.

 

The rotational scheme called for Green to pass off Gafford once he got below the free-throw line. Straying too far from his man would give Dončić an easy pass to an open shooter. But Green didn’t mind that shot.

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“I tag Gafford because if you don’t tag Gafford, what Luka gon’ do? He’s gon’ probe, probe, he gon’ throw it right to the front of the rim to Gafford for a lob. So I’m tagging him all the way down. But I know I have a non-shooter. I know I can get back here.”

Sticking with Gafford did two things. One, it kept Stephen Curry out of rotation. He was the low man responsible for cutting off the diving big man. Since Green discouraged the pass to Gafford, preventing the roll, Curry didn’t need to rotate and could stay tethered to Klay Thompson in the weakside corner. And then-Warrior De’Anthony Melton could stick with Kyrie Irving instead of zoning up to cover both Thompson and Irving — if Curry had to rotate.

Dončić, with his roll man covered, dribbled around Jackson-Davis and drove baseline. The double-team stayed with him, and Dončić ended up under the rim. Thompson was covered by Curry, Irving by Melton and Gafford by Green.

Dončić, being such an exceptional passer, knew his lone option — though it was behind him. He wrapped a no-look, two-hand pass from the right low block to the left wing, where Marshall was wide open.

Notice Green’s back was to Dončić, whose back was to the shooter. Yet, Green had already diagnosed what Dončić would do. The ball was barely out of Dončić’s hands when Green made his move toward Marshall on the wing.

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So Green freelanced the defensive scheme, baited Dončić to throw the ball where he wanted, then “jumped the route” and got one of his patented blocked 3-pointers — which was relatively easy.

Green said most defenders, when they see an open player, run toward the open man with their hands up. Since defenders are trained to get a hand up on shooters, they instinctively raise their arms while closing out. But Green said that slows the defender down.

“When I see the ball passed, I take off and sprint. At the last second, I get my hand up. Before my hand goes up, I’m on a dead sprint.”

With a bead on the play, a sprinting closeout and a 7-2 wingspan, this was an easy block of Marshall’s 3-pointer.

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Oddly enough, the biggest defensive play of this game happened because Green made the opposite choice with Gafford and left the Mavericks big man open on purpose.

The Warriors were down a point with 2:21 left and needed a stop. Dončić was running a pick-and-roll with then-Maverick Quentin Grimes, trying to get Curry on Dončić. Green tried baiting Dončić into passing to Gafford. Green parked at the free-throw line in the middle, negating Grimes’ roll to the basket.

Green was aware of Gafford behind him. He wanted Dončić to feed him the ball. They’ve been in this situation before.

It worked. Dončić passed behind Green to Gafford on the baseline. Green didn’t get in front of Gafford. Instead, he essentially gave Gafford the lane to the rim.

“Because I know I can get the ball on the back side,” Green said. “… If I come to him and get my body in front of him, he’s too big. He’s just going to shoo me off and just lay it here. Me getting my body in front of him at that point, I’m at a disadvantage. My advantage is to elude his body and get the ball on the other side.”

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Warriors at Rockets | Dec. 11 | Toyota Center

Houston’s Alperen Şengün had Green in the paint isolated and decided to post up the smaller Warrior. The Rockets’ big man is 6-11, 235 pounds and one of the best in the NBA with his back to the basket. But Green made quick work of him in the paint. He used his hands to keep Şengün from getting into his body.

Şengün got into the low post on the left block. But Green anticipated his move and, using the baseline as a defender, angled his body to be in the way when Şengün attempted to turn back to the middle.

“He always wants to spin,” Green said. “So when he’s going left, guess where he’s going? He’s spinning back right. So now I just need to pin him that way. I can’t let you spin back to your right hand, and you’re too deep. You’re under the backboard.”

An off-balance Şengün was easy prey. Green stripped the ball, and the Warriors were off the other way.


Warriors vs. Knicks | March 15 | Chase Center

Midway through the fourth quarter, the Warriors had taken control of the game. Green started the play on New York’s Josh Hart, a non-shooter who allowed Green to play center field. When Mikal Bridges curled off a screen, Green left Hart to stop Bridges. Green knows Bridges likes to get to his midrange pullup.

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“As soon as I see him coming off the screen with a little bit of space, I’m already knowing, like, ‘Oh, I need to jump up. Because if I don’t, he’s gon’ shoot that. That’s his pet shot. So I need to put this fire out right away.”

Instead of taking his midrange shot, Bridges lofted a pass to the left wing for Knicks forward OG Anunoby. Karl-Anthony Towns set a screen on Warriors forward Gui Santos, who shadowed Anunoby. Then Towns rolled out of the screen and warded off Jimmy Butler, who was on Towns.

This resulted in a clear path to the rim for Anunoby.

Bridges, after making the pass, floated to the top. But Green didn’t follow him. He abandoned Bridges, leaving him alone behind the arc.

“I don’t think he can make this pass,” Green said. “He can’t make that pass. He don’t even see it. … He got a drive to the rim. He ain’t passing. And he was playing well? Go put the fire out.”

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Ever the freelancer, Green beat Moses Moody and Butler to the rotation and cut off Anunoby on the baseline. When the Knicks forward leapt toward the front of the rim for a layup, Green blocked it to complete the play.

So Green started on Hart, switched onto Bridges, then thwarted Anunoby.


Warriors vs. Bucks | March 18 | Chase Center

The Warriors were one stop away from sealing the game. Green was on Giannis Antetokounmpo.

Antetokounmpo did a dribble-handoff (DHO) with forward Kyle Kuzma into a pick-and-roll. Buddy Hield, chasing Kuzma, zipped around Giannis to stay connected to his man. He found himself behind a screen by Giannis.

But Green didn’t drop back to cover Giannis.

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“My thought process here is I’m gonna be up at the level of the screen,” Green said. “Because I’ve got to take the 3 away. We’re up 11 points with 51 seconds to go. I’ve gotta take this 3 away.”

So Green immediately ate the space between him and Kuzma. For one, he wanted to speed up Kuzma. He also wanted to make the pass harder for Kuzma. And Green already knew he couldn’t let Kuzma turn the corner and have a two-man game with Giannis rolling to the basket in open space.

 

“Look where Kuz catches the ball,” Green said. “He’s in a prime trap spot. He’s got the sideline. He’s got nowhere to go. … I’ve got him dead right here. Once he turns his back, I can get out now.”

Green hustled back to Giannis. Butler had rotated over to cover for Green, but now Green sent him away. He was ready for his second effort on the defensive possession.

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With Giannis catching the ball farther out, Green was in a better position to defend.

“So now I can beat (Giannis) to the spot, and I can prepare myself for the shoulder because I know the shoulder is coming,” Green said. “I can take the hit.”

Green indeed absorbed Giannis’ shoulder and impeded a shot attempt. Giannis passed to Damian Lillard in the weakside corner. Green remained connected to Giannis, who drifted to the left side. But when the ball reversed to the opposite corner, Green had to give a third effort.

He sprinted out to contest an open 3 from Taurean Prince. Green closed out well enough to make Prince pump fake and step away from Green. The change was enough to disrupt Prince, and he missed.

The play began with him blowing up their pick-and-roll plans and ended with a good contest. Ball game.

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(Illustration: Demetrius Robinson / The Athletic; Photos: Jed Jacobsohn / NBAE, Elsa, Thearon W. Henderson / 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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