Culture
Inside the women’s hockey powerhouse led by ‘Miracle on Ice’ legend Mark Johnson

MADISON, Wis. — Three hours before the Wisconsin Badgers were set to practice on a Tuesday afternoon in late January, the best coach in the history of women’s college hockey was telling a story about a deer.
“I’d like to get in the mindset of a deer,” Mark Johnson said during a coaches meeting inside the team offices at LaBahn Arena.
He talked for several minutes, trying to empathize with the deer that had jumped in front of his car — and then ran off — while Johnson was driving home from the rink a few days prior. He couldn’t quite figure out why the deer did what it did.
Johnson, 67, is always trying to see things from another perspective, whether it’s a deer on the road or the people around him.
“We’ve got these hockey players and we’re trying to figure them out,” he said.
That goal — trying to understand his players’ mindset — never leaves the foreground for Johnson and his coaching staff.
On that Tuesday, coming off a 2-2 tie against St. Cloud State — one of only three games the Badgers failed to win in regulation all season — Johnson decided not to break down video with the team. “Look ahead,” he urged them. The coaching staff planned drills with their next opponent, the University of Minnesota Duluth, in mind. And knowing it had been a long season with the most important hockey still to come, Johnson said the team would play several mini-games to end practice on a fun — yet competitive — note.
“He wants to make (practice) the best part of their day,” said Dan Koch, an associate coach at the University of Wisconsin. “If coming to the rink feels like work, or they’re getting bored, we’re not going to get anything out of it. … He has a great feel for (what the players need).”
It’s just one of the trademarks of a coach who has built one of the greatest women’s hockey programs the sport has ever seen.
In 22 years as head coach of the Badgers, Johnson has become the winningest coach in NCAA Division I women’s hockey history and the only coach to eclipse 600 wins. No program has won more than Wisconsin’s seven national championships, all celebrated with Johnson behind the bench.
And this year’s roster is one of the deepest and most skilled in the program’s history, with four players nominated for the 2025 Patty Kazmaier Award, given to the best women’s hockey player in the nation. The Badgers lost only one game in regulation this season — against the reigning champion Ohio State Buckeyes — and are coming off another WCHA conference title with a 4-3 win over the Minnesota Golden Gophers.
Now, the Badgers enter the NCAA Tournament, which begins on Thursday afternoon, as the No. 1 team in the nation — and the favorite to win another national title. Can they deliver on expectations?
The program’s rise to dominance begins with Johnson.
The son of legendary coach “Badger Bob” Johnson — who built the Wisconsin men’s hockey program and led the Pittsburgh Penguins to their first Stanley Cup — Mark grew up in Madison and is one of the all-time greatest players to ever suit up for the Badgers.
He’s well known for winning a gold medal at the 1980 Olympics and scoring two goals in the “Miracle on Ice” semifinal game against the Soviet Union. He went on to play 11 seasons in the NHL before retiring in 1992. By 1996, after a few high school coaching stints, Johnson was back in Madison as an assistant coach for the Badgers.
After six years, the head coaching job opened up. Johnson applied, but the job went to one of his former teammates, Mike Eaves, instead. Johnson had a decision to make: He could continue as an assistant for one of his friends, or he could return to the NHL to work as an assistant in the top professional league.
“I had kids at the time, and had been traded a few times in the NHL,” he said. “I didn’t want to go back to that lifestyle if I had a choice.”
As it turned out, there was an opening for the upstart Wisconsin women’s hockey program that had just played its first season in 1999. At the time, the job was considered something of a risk. If Johnson left the men’s game, would he be able to cross back over?
Johnson’s desire to keep his family in Madison and run his own program won out; he was named head coach of the women’s hockey team ahead of the 2002-03 season.
“It was this leap of faith,” he said. “Like, I’m going to take this jump and I don’t know where I’m going to land.”
At an introductory news conference, Johnson laid out his vision for the program and promised to provide stability for a team that had gone through two coaches in its first three seasons. Skeptics didn’t believe that a legendary men’s player would stick in the women’s game; they assumed Johnson would jump at the first job at a men’s program or an NHL team.
Only a few months into the job, Colorado Avalanche coach Tony Granato offered Johnson a position as an assistant, which he declined. There have been other opportunities over the years, too, but since 2002, Johnson has been all in.
Over the first few years, Johnson mostly laid the foundation of the program. He established a team-first culture and a strong, relatively simple on-ice identity.
“He’s a teacher of the game,” said Koch. “He’s somebody that feels if you can skate, pass, shoot, stick handle better than the other team, your percentages of winning are going to go up.”
Laila Edwards, who became the first Black woman to play for the U.S. women’s national team at a world championship in April 2024, said head coach Mark Johnson is “hands off, but not too hands off to a point where we’re a mess.” (Ashley Landis / AP Photo)
Johnson continued recruiting and developing the talent he had inherited, such as future Canadian Olympic defender Carla MacLeod, U.S. Olympian Molly Engstrom and Meghan Hunter, who is now an assistant GM of the Chicago Blackhawks. He also challenged the school’s administration to move the team from a community rink in the suburbs to the Kohl Center — home of the men’s hockey team — until LaBahn Arena opened in 2012.
“He just came in and provided stability,” said assistant coach Jackie Crum. “You had this startup program and this legendary Badger came in, everyone respected him, he knows hockey, and his style of coaching just fits for a female hockey player.
“He’s not a yeller, he’s not a screamer. He’s not a swearer. He’s not berating. You watch those inside the NHL documentaries and they’re all ‘bleeps’ and ‘bleeps’ and that’s not him. Nor do I think that would work for 18- to 22-year-old females.”
The Badgers made their first NCAA tournament appearance in Johnson’s third season (2004-05), and won back-to-back national titles in 2006 and 2007 — the first DI program not in the state of Minnesota to win an NCAA women’s hockey championship.
Wisconsin quickly became a destination for elite hockey players, including future Hockey Hall of Fame inductees Meghan Duggan, Hilary Knight and Brianna Decker, who all won championships with the Badgers. It helps the Badgers that so many influential alumni have passed through the halls. Young players who look up to Knight or Duggan might want to chart the same path that leads through Madison.
But if you ask the players, it all goes back to the head coach.
“(Mark has) built that program to where it is,” said Knight. “It’s a dynasty.”
If you get to a Badgers women’s hockey game an hour before puck drop, you’re already late. At least if you want one of the best seats in the house.
At LaBahn — with general admission seating — the die-hard fans arrive hours in advance to secure their favorite spot.
“Sometimes they get here before I do,” said Edwards.
After games, when players go to see their friends or family, they’ll mingle with the fans who are waiting in the concourse.
“It’s the most special thing,” said captain Casey O’Brien. “It gives you something more to play for. You want to do well for them because they invest so much in us and we kind of want to pay it back.”
The Badgers have averaged the top attendance in NCAA women’s hockey this season with around 3,500 fans per game — including a massively attended double-header with the men’s team at Wrigley Field in January. Outside of the University of Minnesota, no other program’s fan base is close.
Wisconsin has hosted the six most-attended women’s college hockey games ever, including a record 15,359 at a “Fill the Bowl” game hosted at the Kohl Center in 2017.
The fan base is just one part of the Wisconsin experience. The $34 million LaBahn Arena was built to provide professional-level facilities for its sports teams. And when it was built in 2012, it was only the second women’s hockey specific rink built in the country after Ridder Arena in Minnesota.
The Wisconsin women’s hockey facility has a big locker room, training facilities, therapy pools — hot tub, cold tub and sauna — and a team lounge, which serves as a central spot for players to hang out between class and practices. Lately, the team has gotten into watching “Deal or No Deal.”
“I don’t know why, but game shows are always on,” said O’Brien. “And we get way too into it.”
At Wisconsin, the resources match what can be expected for a Big Ten sports school that has a self-sufficient athletic department, which means it funds its operation through its own revenue rather than relying on university money. This season, the athletics budget was set at over $170 million, a record high for the department.
LaBahn is adjacent to the Kohl Center, which recently underwent around $48 million in renovations. The two buildings are connected through a series of hallways, which give players direct access to more shared facilities with the men’s hockey, basketball and volleyball teams, such as study rooms, cafeterias and a brand-new 10,000 square-foot gym.
“The facilities are second to none here,” said defender Caroline Harvey.
And then there’s the appeal of playing for a highly decorated coach whose style extends beyond his even-tempered demeanor. Wisconsin does well to recruit elite players, and Johnson allows them to shine on the ice.
“He’s hands off, but not too hands off to a point where we’re a mess,” said Edwards. “His job, as he’s taken it on, is giving us the systems, trust and confidence and just letting us go out and play.”
The top team in the land.
The #Badgers are the No. 1 seed in the @NCAAIceHockey Women’s Tournament! pic.twitter.com/b2MbLgWL3Q
— Wisconsin Hockey (@BadgerWHockey) March 9, 2025
That coaching style has worked well for the 2024-25 Badgers roster that is full of talent up and down the lineup.
“It plays a lot into our playing style,” said Harvey. “If he was more rigid, we’d probably be holding our sticks too tight. … You’re able to expand and grow and try new things here, and you’re not punished for that or any (mistakes).”
Naturally, none of the 2024-25 Badgers were alive when Johnson was scoring big goals on the international stage. But it helps that his players know Johnson has “been there and done that” at every level. That Crum was in their shoes, playing for Johnson’s Badgers, helps players too, giving them an older sister figure who knows exactly what they’re going through. Not to mention, the trio of Crum, Koch and Johnson are in their 15th year coaching the program together.
“Everything that happens with the team, we’ve been there, we’ve done it,” said Crum. “We’ve been around the block. I know where they go on a Friday night because I was there once too.”
Edwards and Harvey were freshmen the first time they experienced winning at Wisconsin in 2023. Last season, the Badgers lost 1-0 to Ohio State in the championship game.
“We want to win it all,” said Harvey, now a junior. “We don’t want to be in the same position we were last year.”
The 2024-25 Badgers are the tournament favorites. They are four lines deep, with great defenders and solid goaltending. Five players have been named to the U.S. national team for the upcoming women’s world championships. And on Wednesday, three players (O’Brien, Harvey and Edwards) were announced as the finalists for the Patty Kazmaier.

Mark Johnson, famous for his role in the “Miracle on Ice,” could win his eighth national championship with the Badgers this month. Last year, Wisconsin lost to the Ohio State Buckeyes 1-0 in the championship game. (Mark Stewart / Milwaukee Journal Sentinel / USA Today Network)
O’Brien, Edwards, Kirsten Simms and Harvey are four of the top five scorers in the NCAA. The last time the Badgers dominated the rankings like this was the 2010-11 national championship team with Duggan, Decker and Knight going 1-2-3 in scoring.
Still, Knight calls this current roster a “super team.” And coaches will agree.
“Going off of the skill, it’s probably the deepest we’ve ever been,” said Crum.
O’Brien in particular is putting together a masterful season in her final year on campus. She has scored a nation-leading 83 points in only 38 games and is the favorite to win the Patty Kazmaier Award. Last week, she had three points in the conference championship and was named player of the tournament. She also became the all-time leading scorer in Badgers hockey history (men’s or women’s) with her 269 career points.
“She’s been good for us for a long time,” said Johnson after the WCHA Final, calling her “the best player in college hockey this year by far.”
With so much talent, the expectation for the Badgers, like most years, is to win. But Ohio State is ranked No. 2 and is building its own dynasty under head coach Nadine Muzerall, who has won two national titles in the last three years. No. 4-ranked Minnesota will have home-ice advantage as tournament host.
Some veterans on this year’s Badgers, such as Edwards and Harvey, have experienced the highs and lows of winning and losing in the final game. Others, such as O’Brien, are trying to win a third championship. And sophomores, such as Cassie Hall or Kelly Gorbatenko, will try to erase the sting of a loss.
“They’re on a mission,” said Johnson.
If the team wins, it will be Johnson’s eighth national championship and his fourth in six seasons. He said he’s still motivated by the challenge of building and coaching winning rosters, especially this year.
“The team is talented, it’s deep, but how do you keep them hungry? How do you keep them motivated?” he wondered. “Those types of challenges are why I get up and enjoy coming to the rink.”
There will come a time when Johnson won’t be at the rink to run a practice or stand behind the bench. He doesn’t know exactly when he’ll retire, but he has been considering what the next chapter of his life might look like.
Johnson and his wife, Leslie, are planning to open a therapeutic horse ranch in Verona, a suburb of Madison. The couple, who have been married for over 40 years, hope it can be a place of healing for children and families.
For now though, Johnson’s focus is on the path to winning another national championship. As the No. 1 seed, the Badgers won’t play on the opening day of the tournament on Thursday, but will await their Saturday afternoon opponent for the regional final.
With a win — against the winner of Clarkson vs. Boston University — the Badgers will head to their third straight Frozen Four, which begins March 21 in Minneapolis.
“We definitely have the group to win,” said Edwards. “But it doesn’t mean we’re going to. There’s still work to be done.”
(Illustration: Dan Goldfarb / The Athletic; Gil Talbot / NCAA Photos / Getty, Dave Kallmann / Milwaukee Journal Sentinel / USA Today Network via Imagn Images)

Culture
Poetry Challenge Day 2: Learning a Poem's Rhythm

If you’re joining us in memorizing Edna St. Vincent Millay’s “Recuerdo” this week, you probably already have the first two lines stuck in your head. (If you’re just discovering the Poetry Challenge, please check out yesterday’s introduction. It’s never too late to start!)
We were very tired, we were very merry—
We had gone back and forth all night on the ferry.
Ken Burns, filmmaker
Once you’ve got these, you’ve learned a third of the poem, since this repeating couplet functions as a mini-chorus at the start of each stanza.
That refrain tells the story in a nutshell. But this poem is more than just a report on one night on the ferry. It recreates the voyage through a flurry of sensory details, embedded in strikingly stylized language.
Those features — the imagery and the sound; what your mind’s eye sees and your physical ears hear — are what make “Recuerdo” a poem, and paying attention to how they work can help us learn it.
“Recuerdo” is a whole mood. Weary and buoyant, the poem captures how it felt to be on that boat. You can see the sky turning color as the morning air breezes up.
And the sky went wan, and the wind came cold,
Joy Harjo, poet
You can taste the fruits of the voyage.
And you ate an apple, and I ate a pear,
Tia Williams, novelist
Strain your ears just a little, and you can make out the sounds of boats in the harbor.
And the whistles kept blowing, and the dawn came soon.
Kevin Kwan, novelist
These impressions — and the vividness of Millay’s language — can help anchor the poem in your mind. But the secret to fixing it in your memory is to learn its structure, to listen to the musical patterns of its language.
Poetry is older than writing, and many of its features originated as aids to memory in an oral, pre-literate culture. It’s easier to find the word you’re looking for if you know it sounds like the other words around it. Rhyme, alliteration and rhythm are not only pleasing to the ear; they’re sticky.
Each line of “Recuerdo” is a poetic wave that breaks on the shore of a rhyme.
It was bare and bright, and smelled like a stable—
But we looked into a fire, we leaned across a table,
Reginald Dwayne Betts, poet
Rhyme is just one of the ways poets use repeating sounds to make their work memorable. Alliteration is another, and the English language has a fondness for it that goes back to its earliest literature. In the part of the poem we just heard, clusters of consonants in the middle of the lines knot them together and help you hold on to them.
It was bare and bright, and smelled like a stable—
But we looked into a fire, we leaned across a table,
Ayad Akhtar, playwright and novelist
The poem’s individual words and syllables bob like a string of harbor buoys. Every line is propelled by the cadence of stressed and unstressed syllables. Our ears hear four heavy beats.
We were very tired, we were very merry—
We had gone back and forth all night on the ferry.
Jennifer Egan, novelist
This pattern of rhythm and sound — four-beat lines yoked in rhyming pairs — is a familiar one in English. You may have encountered it before you could read, depending on your exposure to Dr. Seuss:
Every Who down in Who-ville liked Christmas a lot
But the Grinch, who lived just north of Who-ville, did NOT!
Songwriters are fond of it, including Joni Mitchell:
Rows and floes of angel hair
And ice cream castles in the air.
If you paid attention in English class, you might know it from Andrew Marvell:
Had we but world enough and time
This coyness, lady, were no crime.
As these examples suggest, there’s a lot of variation within the basic pattern — longer or shorter lines, snappy or languorous pacing, playful or wistful emotional effects. Every voice will find its own music. This isn’t math or science, it’s art.
The variation is partly a matter of meter. This is the most technical part of poetry, with its own special jargon, but it’s also intuitive and physical — it lives in the bobbing of your head or tapping of your foot as you read.
A foot, as it happens, is what a unit of meter is called, and while most English poems (including “Recuerdo”) have varying feet, many have one that dominates, keeping time like a bass drum. In this poem, Millay often places her strong beats after two unstressed syllables: da-da-DUM. But like any good poet, she achieves both consistency and variety. In some lines, the syllables land like hammer blows:
And the sky went wan, and the wind came cold,
V. E. Schwab, novelist
In others they spatter like raindrops:
We hailed, “Good morrow, mother!” to a shawl–covered head,
Jenna Bush Hager, TV host and noted book lover
Words are more than sounds and syllables. They communicate emotion and meaning. The words in “Recuerdo” form a bouquet of arresting images and sensations, an experience that will be different for each reader. And even though, for the purposes of memorization, we have pulled apart some of the components of the poem, you can’t really separate sound from sense, or feeling from structure. They all happen at the same time, and work together to create something that resists summary. The poem is its own explanation.
What does a bucketful of gold look like to you? What face do you see when the shawl-covered head turns to acknowledge your greeting? As you answer these questions, you take possession of the poem. It becomes part of you.
Today’s game will help with that process. See how many of its words you already have!
Your task for today: Practice the rhythm.
Question 1/3
Fill in the missing words.
It was bare and bright, and smelled like a stable—
But we looked into a fire, we leaned across a table,
Tap a word above to fill in the highlighted blank. Need help? Click “See Full Poem
& Readings” at the top of the page.
Edited by Gregory Cowles, Alicia DeSantis, Nick Donofrio and Joumana Khatib. Additional editing by
Emily Eakin, Tina Jordan, Laura Thompson and Emma Lumeij. Design and development by Umi Syam and
Eden Weingart. Additional design by Victoria Pandeirada. Video production by Caroline Kim.
Additional video production by McKinnon de Kuyper. Photo editing by Erica Ackerberg. Illustration
art direction by Tala Safie.
Illustrations by Hannah Robinson.
Audio of “Recuerdo” from “Edna St. Vincent Millay in Readings From Her Poems” (1941, RCA); accompanying
photograph from Associated Press.
Culture
Valentin-Yves Mudimbe, 83, Dies; African Scholar Challenged the West

Mr. Mudimbe was unapologetic. “To the question ‘what is Africa?’ or ‘how to define African cultures?’ one today cannot but refer to a body of knowledge in which Africa has been subsumed by Western disciplines such as anthropology, history, theology or whatever other scientific discourse,” he told Callaloo. “And this is the level on which to situate my project.”
Valentin-Yves Mudimbe was born on Dec. 8, 1941, in Likasi, in the Katanga Province of what was then the Belgian Congo, to Gustave Tshiluila, a civil servant, and Victorine Ngalula. At a young age, he said in 1991, he “began living with Benedictine monks as a seminarist” in Kakanda, in pre-independence Congo. He had “no contact with the external world, even with my family, and indeed had no vacations.”
When he was 17 or 18, he recalled, he decided to become a monk, this time among the Benedictine “White Fathers” of Gihindamuyaga, in Rwanda. But in his early 20s, already “completely francophonized,” he abandoned the religious life and entered Lovanium University in Kinshasa, graduating in 1966 with a degree in Romance philology. In 1970 he received a doctorate in philosophy and literature from the Catholic University of Louvain, in Belgium. He then returned to Congo to teach.
In the 1970s Mr. Mudimbe published, among other writings, three novels, all translated into English: “Entre les Eaux” (1973), published in English as “Between the Waters”; “Le Bel Immonde” (“Before the Birth of the Moon,” 1976); and “L’Écart” (“The Rift,” 1979). The principal characters in these novels “find it impossible to tie themselves to anything solid,” the scholar Nadia Yala Kisukidi commented in Le Monde.
At the end of the 1970s, when the offer came from Mr. Mobutu to be “in charge of, I guess, ideology and things like that,” as Mr. Mudimbe put it to Callaloo, he reflected that “I didn’t think of myself and I still don’t think of myself as a politician.” After he established himself in the United States, his focus turned to essays and philosophy; among other books, he wrote “L’Odeur du Père” (1982), “Parables and Fables” (1991) and “Tales of Faith” (1997).
Culture
Poetry Challenge: Memorize ‘Recuerdo’ by Edna St. Vincent Millay

Someone once defined poetry as “memorable speech.” By that standard, each of us has committed at least some poetry to memory. Nursery rhymes, song lyrics and movie catchphrases all find their way into our heads, often without any effort on our part.
More formal memorization used to be a common classroom ritual. Schoolchildren would stand and recite approved works for their teachers and peers. That kind of learning has mostly gone out of fashion, which may be a sign of progress or a symptom of decline. Either way, school shouldn’t be the only place for poetry.
And learning a poem by heart doesn’t have to be drudgery. It can be a way of holding onto something beautiful, a morsel of verbal pleasure you can take out whenever you want. A poem recited under your breath or in your head can soothe your nerves, drive away the noise of everyday life or grant a moment of simple happiness.
At a time when we are flooded with texts, rants and A.I. slop, a poem occupies a quieter, less commodified corner of your consciousness. It’s a flower in the windowbox of your mind.
There are millions of them available, in every imaginable style, touching on every facet of experience. You could store a whole anthology in your brain.
But let’s start with one: “Recuerdo,” by Edna St. Vincent Millay.
“Recuerdo,” first published in 1919 in Poetry magazine, is the recollection of a night out on the town — or more precisely on the water, presumably the stretch of New York Harbor served by the Staten Island Ferry. We asked some friends of the Book Review — poets, novelists, playwrights, actors and other literature lovers — to recite it for us, and a bunch said yes.
Today, Ada Limón, Ina Garten and Ethan Hawke will introduce you to the poem. Here’s the first of the three stanzas.
Recuerdo
We were very tired, we were very merry—
We had gone back and forth all night on the ferry.
It was bare and bright, and smelled like a stable—
But we looked into a fire, we leaned across a table,
We lay on a hill–top underneath the moon;
And the whistles kept blowing, and the dawn came soon.
Ada Limón, U.S. poet laureate
Why did we pick “Recuerdo”? We combed through our shelves like Goldilocks, looking for a poem that was just right: not too difficult, but not too simple; not obscure but not a chestnut; not a downer but not frivolous either. We didn’t want a poem that was too long, and we thought something that rhymed would be more fun — and easier — to memorize than a cascade of free verse.
Millay, who was born in Maine in 1892 and was a fixture of the Greenwich Village bohemian scene in the 1920s, caught our eye for a few reasons. In her lifetime, she was a very famous poet.
She was a decidedly modern author who often wrote in traditional forms, and who has stayed popular through 100 years of fluctuating fashion. Her verse, while serious and sophisticated, carries its literary baggage lightly.
When you get to the second stanza of “Recuerdo,” read here by Ina Garten, you realize that it has a hook.
We were very tired, we were very merry—
We had gone back and forth all night on the ferry;
And you ate an apple, and I ate a pear,
From a dozen of each we had bought somewhere;
And the sky went wan, and the wind came cold,
And the sun rose dripping, a bucketful of gold.
Ina Garten, cook and author
It’s a city poem, but one that incorporates some arresting nature imagery (the sun, the moon, the wan glow of dawn). It delivers a confidential message — addressed to a “you” who shares the memory of those moments by the fire and in the moonlight — while striking a convivial, sociable tone.
The poem concludes with an impulsive act of generosity that carries a hint of melancholy. Here’s Ethan Hawke, reading the third and final stanza.
We were very tired, we were very merry,
We had gone back and forth all night on the ferry.
We hailed, “Good morrow, mother!” to a shawl–covered head,
And bought a morning paper, which neither of us read;
And she wept, “God bless you!” for the apples and pears,
And we gave her all our money but our subway fares.
Ethan Hawke, actor
That’s it. The night is over; another day is here with its obligations and routines; we’re about to trade the open air of the ferry for the crowded underground platforms of the subway.
This poem stands up to repeated readings. It stays in your mind and your ear. It’s a fun poem about having fun, though of course there’s more to it than that. The poem expresses the desire to hold on to a fleeting experience, to fix it in words and images before it’s washed away on the tide of time.
“Recuerdo,” in Spanish, can mean recollection or souvenir, which is kind of perfect. The speaker summons bits and pieces of a memorable night, organizing them into verses that bring those hours back to life, even though they’re gone forever. We pick up those verses, and — impossibly but also unmistakably — we’re right there with her, inhaling the sea-kissed morning air.
So here is the challenge: Memorize this poem! Why? Because it’s unforgettable.
Below, you’ll find a game designed to help you learn “Recuerdo.” Today your goal is to master that wonderful refrain. (Once you’ve done that, you’ll have one third of the poem.) As the Challenge continues through the week, we’ll look closely at how the poem is made, at what it’s about and at the extraordinary woman who wrote it. There will be new games and videos every day, until we disembark on Friday, poem in hand. Bon voyage!
Your first task: Learn the first two lines!
Question 1/3
Let’s start with the refrain. Fill in the rhyming words.
We were very tired, we were very merry—
We had gone back and forth all night on the ferry.
Tap a word above to fill in the highlighted blank. Need help? Click “See Full Poem
& Readings” at the top of the page.
Monday
Learn a poem with us this week. Keep it for a lifetime.

Tuesday (Available tomorrow)
How rhythm and rhyme make a poem memorable.

Wednesday (Available Apr. 30)
This is a New York poem. After you learn it, you can take it anywhere.

Thursday (Available May 1)
This poem is about staying up all night. Use it to greet the day.

Friday (Available May 2)
We’ve learned a poem this week. Now it’s yours.
Edited by Gregory Cowles, Alicia DeSantis, Nick Donofrio and Joumana Khatib. Additional editing by
Emily Eakin, Tina Jordan, Laura Thompson and Emma Lumeij. Design and development by Umi Syam and
Eden Weingart. Additional design by Victoria Pandeirada. Video production by Caroline Kim.
Additional video production by McKinnon de Kuyper. Photo editing by Erica Ackerberg. Illustration
art direction by Tala Safie.
Illustrations by Hannah Robinson.
Audio of “Recuerdo” from “Edna St. Vincent Millay in Readings From Her Poems” (1941, RCA); accompanying
photograph from Associated Press.
-
News1 week ago
Harvard would be smart to follow Hillsdale’s playbook. Trump should avoid Biden’s. | Opinion
-
Politics1 week ago
Video: Hegseth Attacks the Media Amid New Signal Controversy
-
Culture6 days ago
New Poetry Books That Lean Into Calm and Joy Amid Life’s Chaos
-
News1 week ago
Maps: Where Do Federal Employees Work in America?
-
Technology1 week ago
Pete Hegseth reportedly spilled Yemen attack details in another Signal chat
-
Politics1 week ago
Pope Francis and US presidents: A look back at his legacy with the nation's leaders
-
World1 week ago
New Zealand’s minor gov’t party pushes to define women by biological sex
-
Politics1 week ago
JD Vance has ‘exchange of opinions’ on issues like deportations during meeting with top Vatican official