Connect with us

Culture

Is this Christian Pulisic the best ever Christian Pulisic?

Published

on

Is this Christian Pulisic the best ever Christian Pulisic?

It looked like a play from the NFL.

Christian Pulisic tussled with his blocker and former team-mate, Yacine Adli, then ran a route from inside to out. He got open for Theo Hernandez’s looping ball to the far post, leapt and executed a magnificent volley back across goal in the style of AC Milan great Marco van Basten.

It was from an acute angle. Both feet were off the ground and Pulisic somehow contrived to beat a goalkeeper in David de Gea who, otherwise, seemed unbeatable in Florence. 

The goal should have been the main story. But Milan lost 2-1 to Fiorentina. It was their second defeat in a row in all competitions. 

Advertisement

The usually unflappable Paulo Fonseca didn’t want to talk about the referee at the Artemio Franchi. At least not in specifics. “I love this game,” the Milan head coach said, “and don’t wish to contribute to this circus.” The referee had pointed to the spot in favour of Fiorentina and then awarded Milan two penalties. Pulisic, as Milan’s designated taker, could have ended the night with a hat-trick. 

But he didn’t take either of them. Theo Hernandez, who was skippering Milan, stepped up for the first one, hoping to make it 1-1 on the stroke of half-time. It was his birthday and if he had scored, he would have become the highest-scoring defender in Milan’s history. De Gea thwarted him. 

Then Fikayo Tomori caught the ball and handed it to his best friend Tammy Abraham to have a go at the next one. This did not come as a complete surprise. Back in September, Milan were given a couple of penalties against Venezia, too. Pulisic put the first one away then allowed Abraham to take the second. The Englishman had recently joined on loan from Roma and his team-mates wanted to see him get off the mark. Unlike in Florence, where Milan were still seeking an equaliser, they were, on that occasion, 3-0 up at San Siro against a winless promoted side.  

Abraham opened his account against Venezia. But De Gea stopped him from adding to it at the weekend. 

While Pulisic’s volley drew Milan level shortly afterwards, Fiorentina went on to win and Fonseca couldn’t hide his disappointment at his players disregarding team orders. “Obviously I’ve told the players this can’t happen again. The player who should be taking them is Christian. And I’m pissed off about it.” 

Advertisement

The result, the penalty farrago and Hernandez’s late red card dominated the headlines, which could, with a different outcome, been stolen by Pulisic. He won’t forget his goal in a hurry. It was technically his best since his move to Italy a year ago, although he might make a case for his debut strike in Bologna, the one against Frosinone when he brought down a Mike Maignan goal-kick with a velcro-like first touch or his far corner curlers against Monza and Lecce.

Pulisic’s most important goal, no doubt, came last month when he became the first ever American to score in the Derby della Madonnina and stopped a six-game losing streak against Inter, as Milan beat their rivals for the first time in two years.


Pulisic celebrates his goal against Inter (Emmanuele Ciancaglini/Ciancaphoto Studio/Getty Images)

It means that the Pulisic flying home for Mauricio Pochettino’s first games in charge of the USMNT is arguably the best ever Pulisic.

Speaking ahead of matches against Panama on Saturday and Mexico on Tuesday, the 26-year-old said: “Yeah, it’s tough to explain (his form). I think you have moments in your career where it feels like everything you touch goes in, and you have other times when it feels like you’re trying everything and the ball just won’t go in. As an attacking player, we’ve all gone through it. So, I’m just trying to live in that moment right now, when things seem to be going well and just continue like this. It’s a result of all the work I’ve put in my whole life. So it shouldn’t be a surprise. I know I have this ability and I’m just going to ride that high, I guess.”

His new USMNT coach is pleased too, describing Pulisic as “a great, great player, fantastic player, a player that is going to help now and in the future to put the team in a place that we want. He’s one of the best offensive players in the world.”

Advertisement

But there was also some concern about Pulisic overexerting himself. “He is playing every single game, every single minute. That is also, I think, that we are a little bit worried that sometimes we need to protect (him). We’ll see. Because he arrived a little bit tired. But that is a thing that I told (you) before, is to build a very good relationship with the club and try to help and when we really need him, he needs to be in form happy, strong.”

No one in Serie A has been involved in more goals (21 + 12 assists) in Pulisic’s time in the league; not Khvicha Kvaratskhelia, not Lautaro Martinez, nor team-mate Rafael Leao. 

Those who doubted his durability must reckon with the fact he started 44 games for Milan last season and played more than 4,000 minutes for club and country. Initially signed as a No 10 who could cover the wing positions when needed, he kept Samuel Chukwueze out of the side when Stefano Pioli instead opted to play him on the right. 


Pulisic is in excellent form (Katie Stratman-Imagn Images)

This season, he is threatening to become Milan’s best overall player. Theo and Leao remain the most talented. But they both blow hot and cold. Pulisic, meanwhile, continues to deliver. He has scored in four consecutive league games for the first time in Europe’s top five leagues, a level of consistency that has, in part, been hidden by Milan’s up-and-down start to the season. 

Yunus Musah, his team-mate for club and country, says this is exactly what Pulisic is capable of. “It’s no surprise,” he said on Friday, “but it’s always nice to see him score, helping the team. He’s our (Milan’s) best attacking player right now, and I hope he carries on like that.”

Advertisement

Granted, not every goalscoring performance has been a complete performance. Pulisic scored in the defeat at Parma and then faded, as did the rest of the team. But he played as if possessed against Inter. Pulisic repeatedly drove at their defence, stole the ball off Henrikh Mkhitaryan for his goal, shushed the team’s critics and later nutmegged Alessandro Bastoni, which led the Italy international to then push him to the ground. 

“Christian’s participation in our play is more effective,” Fonseca explained to DAZN. It has come about for a number of reasons. 

On the one hand, he is maturing and knows the league and his team-mates better. On the other, Milan’s new coaching staff have slightly tweaked his position. In the defeat by Liverpool, Fonseca tried out a different system. Out of possession, Milan played 4-2-4 with a very narrow forward line. It meant that if and when they won the ball back high up the pitch, as happened a few days later against Inter, Pulisic was more central, closer to goal and more dangerous.

Advertisement

“It’s not like he’s only playing inside,” Fonseca elaborated. “There are times when he goes wide too. This way he is closer to goal, to shooting and assisting. He knows how to play between the lines and that’s important for me. He has also scored goals like a No 9.” 

If only he’d take more penalties. If only he had better support from full-back than Emerson Royal, Milan could get even more bang for their buck. But the €20million (£16.7m; $21.9m) they paid for Pulisic a year ago looks better and better value with each passing game.

The move has worked out for them, for him and, as the World Cup approaches, USMNT. 

(Additional contributor: Paul Tenorio)

(Top image: Photo Agency/Getty Images)

Advertisement

Culture

I Think This Poem Is Kind of Into You

Published

on

I Think This Poem Is Kind of Into You

Advertisement

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.

Advertisement

“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.

Advertisement

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.

Advertisement

Louise Glück in 1975.

Gerard Malanga

Advertisement

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.

Advertisement

“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.

Advertisement

Continue Reading

Culture

Can You Identify Where the Winter Scenes in These Novels Took Place?

Published

on

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.

Continue Reading

Culture

From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel

Published

on

From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel

Inge Morath/Magnum Photos

Advertisement

Advertisement

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.

Advertisement

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.

Advertisement

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.

Advertisement

See the full list of the 10 Best Books of 2025 here.

Continue Reading

Trending