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Jimmy Aggrey was a victim of the Chelsea racism scandal – now he wants to talk

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Jimmy Aggrey was a victim of the Chelsea racism scandal – now he wants to talk

He was the tallest player. Even at the age of 16, Jimmy Aggrey stood well over six feet. The big lads went at the back. Line up and smile for the camera, please.

Chelsea liked him. They thought he had a good chance of making it. For such a tall kid, Aggrey had quick, skilful feet. His future was bright at a time, in 1995, when Chelsea were re-establishing themselves among the most glamorous football clubs in England.

“When I joined Chelsea, Glenn Hoddle was the first-team manager,” says Aggrey. “Ruud Gullit arrived later. The place was full of superstars: Gianfranco Zola, Frank Leboeuf, Roberto Di Matteo. So I can understand why many people might think it’s a great photograph. They should have been the greatest times of my life.”

Aggrey was in his fourth year in Chelsea’s youth system when that photograph was taken at their home ground, Stamford Bridge. So how does it feel, all these years later, to look at it now?

“You can see it in my face,” he says. “It’s full of stress, there’s no joy. I’m not smiling.

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“I look at that boy and I just want to tell him, ‘You’re all right now, you got through it’. Because I know what he suffered. I wouldn’t want to go back to my life at that time.”


Jimmy Aggrey, circled in yellow, with Chelsea’s youth squad and the coaches who bullied him — Gwyn Williams (middle row, circled) and Graham Rix (bottom row, circled) (Courtesy of Jimmy Aggrey)

This is the first time Aggrey has spoken publicly about the culture of racism and bullying at Chelsea that led to an independent inquiry by children’s charity Barnardo’s and prompted the Football Association to bring in the police. It was, in Aggrey’s words, a “feral environment” in which he and other young black footballers were subjected to what the FA’s safeguarding investigation described as “vile abuse”.

In speaking to The Athletic, Aggrey has waived the anonymity that was granted to him by the High Court in 2018 as the first of four ex-players who launched civil action against Chelsea. On the night before it was due to go to trial, Chelsea agreed out-of-court settlements. The club do not accept liability but have apologised for “the terrible past experiences of some of our former players”. A number of players have received damages in follow-up cases.

The two perpetrators are on that team photograph, circled in red, and the most shocking part is that they were the coaches who had been entrusted to look after boys as young as nine.

One is Gwyn Williams, who spent 27 years at the club and was found by Barnardo’s to have subjected boys to a “daily tirade of racial abuse”. The other is Graham Rix, a former England international who was allowed to keep his job as Chelsea’s youth-team coach despite being sent to prison for under-age sex offences.

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“Between them, they took away a large part of my childhood,” says Aggrey. “They were a tag team, every bit as bad as one another. And yet, I look at them now and I just feel pity. I refuse to let them keep me in some kind of mental jail.”

He is 45 now, a father-of-three happily settled in a part of Devon, in England’s south west, that likes to call itself the English Riviera. He has a charity, which has the Chelsea Foundation as a partner. Life is good. Waiving his anonymity, he says, is another part of the healing process.

In 2018, Aggrey was listed only as AXM in the High Court action against Chelsea that exposed one of the worst racism scandals in English football. Three weeks ago, The Athletic successfully applied to the court to overturn the anonymity order, including a written submission from Aggrey and a supporting letter from Chelsea.

“I’m ready to talk,” he says. “I’m proud of who I am and the resilience within my DNA and soul. But it’s not just about me. It’s about trying to help others and, if telling my story helps only one person, I’ve done my job.”


Jimmy Aggrey has a new life in Devon (Daniel Taylor/The Athletic)

If you want just a tiny insight into the culture Aggrey had to endure, it can be found in the glossy pages of Chelsea’s matchday programme for their game against Ipswich Town on January 20, 2001.

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It was the day Zola made his 200th Chelsea appearance. Claudio Ranieri, the manager, paid tribute in his programme notes. So did Dennis Wise, as vice-captain, and chairman Ken Bates. Chelsea won 4-1 with Marcel Desailly and Jimmy Floyd Hasselbaink among the team’s A-listers.

On page 61, meanwhile, there was an article that briefly mentioned Aggrey, who had moved to Torquay United, and the observation from his time at Chelsea that he was “almost too nice to make it in football”. Aggrey, according to the author, was a “very tall, very lean, black guy who was the butt of a lot of jokes”.

It was a strange choice of words — why even mention the player’s colour? — and it would need a warped mind to portray what Aggrey encountered as innocent humour.

“I’d never experienced racism before,” says Aggrey. “I knew it existed. I’d seen it on TV and heard my parents speaking about it, but nothing had ever been said directly to me. Then I arrived for my first day at Chelsea and my first encounter with Gwyn Williams. His first words were, ‘Who’s this lanky f*****g c**n?’. That was my welcome to Chelsea. I was 12 years old.”

Aggrey, the youngest of three children, had been raised by Ghanaian parents a short distance from Griffin Park, Brentford’s old ground. He went to the same boys’ school, Isleworth & Syon, as Mo Farah, the future Olympic and world champion runner, and started attracting attention from football scouts while playing for West Middlesex Colts under-12s.

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Football was his dream, but even at a young age he also knew it was a way to help his family to a better life. His mother was a cleaner, working long hours to provide for her children. His father ran a security company based in Wembley, north-west London.


Jimmy Aggrey, aged 11, with his youth football team Middlesex Colts (Courtesy of Jimmy Aggrey)

So the young Aggrey realised, early on, that if he wanted to fulfil his dreams he may have to learn how to deal with the abuse from his own coaches.

“How does a 12-year-old boy react to an adult in that position of power? He (Williams) calls you a lanky black b*****d. He refers to how dark you are. ‘Can you run like Linford Christie (the British sprinter)? Do you rob grannies on your estate? Are you keeping fit so you run drugs round the tower blocks?’. He would look at me in this way I’d never experienced from anyone. I didn’t know how to deal with it. All I wanted was to play football.”

Williams joined Chelsea in 1979, running their youth system for 20 years and taking huge influence at all levels of the club. He was racist, hard-faced and so divisive there were times when he arranged whites-v-blacks training matches. It was, to quote one player, like a “mini Apartheid state”.

Yet Williams somehow managed to keep it away from some of the key personnel at Chelsea even when, in Aggrey’s words, “we had a manager (Ruud Gullit) rocking dreadlocks”. Williams went on to become assistant manager to Ranieri and formed part of Jose Mourinho’s scouting staff before leaving Chelsea in 2006.

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“I used to dread getting picked up for training,” says Aggrey. “We would go into the changing room. He’d walk in: ‘Hey, look at the f*****g blackies in here … f*****g rubber lips’. Let me tell you something, that was the most demoralising feeling you could ever have.

“I remember walking to the training ground and I’d be thinking, ‘Oh my god, what am I doing? I can’t wait for this day to be over’.

“It was relentless, and it got physical, too. Gwyn would give you a slap. He’d flick your scrotum. Or if he was really mad and thought you’d had a bad game, he’d give you a crack round the side of the head. It was hard, a man hit. ‘You little black b*****d… you w*g’. I was 13. It took a lot out of me. He addressed me that way every single time he saw me.”


Gwyn Williams, then Chelsea’s assistant manager, at the 2000 FA Cup final (Neal Simpson/EMPICS via Getty Images)

Some people might wonder why the players never reported it at the time. Why, Aggrey is asked, did he not speak out? But that would be to underestimate Williams’ position at Chelsea and the sport as a whole.

“That guy had power. You’re scared of people with power. It was said he had the biggest black book in London,” says Aggrey. “There was no proper safeguarding back then, anyway. If I said I wanted to raise an issue, guess where I would have been told to go: Graham Rix or Gwyn Williams. Go to the top of the club? But that was Ken Bates, the chairman, and Williams was his right-hand man. So you’re helpless, you’re cannon fodder. I was a minor. And that guy (Williams) was the governor.

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“He could make or break you, not just at Chelsea, but break you when you leave — ring another manager and say, ‘Don’t touch him, he’s just another aggressive black guy’. I wouldn’t have had a career.”

Aged 15, Aggrey tried to find another way. He got a number for the FA, rang it from his home phone and asked to speak to the chief executive, Graham Kelly.

“I told the person on the other end of the line what it was about. She said, ’Can you hold the line?’. Then she came back a few moments later. ‘No, he’s too busy to speak to you today’. It was a brush-off.”

Terrorised by his own coaches, Aggrey started to develop a stutter. He was playing, he says, with “strings of confidence”. Every day was an ordeal.

“I’ve got diaries that I wrote at the age of 13, 14 and 15 and they’re harrowing. It’s a cry for help from someone who didn’t want to be alive. I was coming home quiet, all my confidence stripped away. It affected my life, my self-worth, my self-love. Even in my twenties, it affected my relationships. I didn’t really care about whether I lived or died until my kids came along.”

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A former schoolteacher, Williams’ working relationship with Bates was so strong he followed him to Leeds United, taking on the role of technical director, in the years after Roman Abramovich’s 2003 takeover of Chelsea.

Williams, credited with discovering the young John Terry, ended up being sacked by Leeds for gross misconduct after he emailed pornographic images to colleagues, including a female member of staff. He had three years scouting for Hull City and, now 76, he is permanently banned from the sport after a FA safeguarding investigation into the bullying and racism claims ruled he posed “a risk of harm to children within affiliated football”.

Although he denies ever assaulting a player, Williams has accepted that he used extreme racial language. In his evidence to the High Court, he said it was never his intention to cause any hurt or offence, on the basis that “it was just the typical banter that would have been found in almost any male environment at that time”.

As for Rix, he was sentenced to a year in prison, serving six months, and put on the sex offenders’ register after admitting, in March 1999, two charges of unlawful sex with a 15-year-old girl.

Rix was reinstated by Chelsea immediately after his release. He was the first-team coach when Chelsea, under Gianluca Vialli’s management, won the FA Cup in 2000 and had a spell as caretaker manager after the Italian’s sacking later that year.

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Rix, who won 17 England caps as a player for Arsenal, was suspended for two years while the FA investigated the complaints of bullying and racism. He was allowed back on condition he attended a series of educational courses. Up until a fortnight ago, Rix, 66, was the manager of Fareham Town in the Wessex League, but banned for life from under 18s’ girls’ football.


Graham Rix (right) with Gwyn Williams at Chelsea’s 2000 FA Cup final against Aston Villa (Mark Leech/Offside/Getty Images).

“How that man is still in football, I will never know,” says Aggrey. “What other profession do you know where someone can be put on a paedophile register and go back to work in that industry within six months? It’s scary. I find it hard to understand how he’s still allowed in football.”

Rix has always denied any form of racial, physical or emotional abuse. A seven-month police investigation concluded without him or Williams facing charges and the Barnardo’s report, published in 2019, concluded that Rix could be “aggressive and bullying” but, on the evidence presented to its inquiry, not racially abusive.

Aggrey’s evidence to the High Court, however, depicted Rix as a racist bully with violent tendencies.

On one occasion, Aggrey says he was cleaning one of the first-team player’s boots when Rix started abusing him and, according to court documents, threatened to “lynch (his) black arse”. Tired of the constant harassment, Aggrey made a retaliatory comment. Rix’s response, he says, was to go red with anger and throw a cup of hot coffee into his face.

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Rix, he says, assaulted him more than once, with punches and kicks and one incident in a training match when the ball went out for a throw-in.

“They (Rix and Williams) had this stereotypical idea that a big black guy should be mouthy and forever smashing people,” says Aggrey. “They thought I was soft. I liked to read, I could write poetry. I was a gentle person. My feet were my gifts.


Jimmy Aggrey, aged 17, featured in a Chelsea matchday programme (Courtesy of Jimmy Aggrey)

“I was 16, in the first week of my YTS (youth-training scheme), and Rix used to join in with training. He went to take a quick throw and I was standing directly in front of him. So he has just gone — bang — and thrown it as hard as he could into my face.

“There was no reason for it, just all that anger and hate inside him. Those balls were pumped up hard. My nose popped, there was blood everywhere. I was on the floor and Rix was shouting for me to ‘f*****g get up’.”


It was a month after his release from Chelsea that Aggrey tried to take his own life. He was 18 and free, finally, of the two men who had made football so hard and unforgiving. But he was lost, broken.

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“I had a massive argument with my dad. He felt I’d wasted my life and that I could have gone to university. I went to my sister’s, bought two bottles of wine with whatever money I had, and got smashed. I was there, drunk, and I saw some tablets on the side. I just thought, ‘F*** it’. I grabbed a load and dashed them down the back of my throat. Then I just went to sleep.”

His sister, Lillian, saved his life. “She had been out that night and came back to find me. She literally dragged me to the toilet and put her fingers down my throat. I didn’t know what I was doing. I was puking up. All I can remember is waking up and her saying we needed to go to hospital.”


Jimmy Aggrey with his sister, Lillian, who found him after his suicide attempt (Courtesy of Jimmy Aggrey)

Aggrey was taken on by Fulham, then a fourth-division side, where the manager, Micky Adams, could never understand why a talented and dedicated midfielder from one of England’s top clubs had been “stripped of self-confidence”.

Adams submitted a written report as part of Aggrey’s legal submissions to the High Court. Aggrey, he wrote, was “a good professional with a beaming smile, but I always felt behind that smile was a person who clearly had his confidence knocked out of him at Chelsea. Whoever was responsible for that, I don’t know. He never gave me a problem. He was always on time and always gave his all”.

Aggrey moved to Torquay where he reinvented himself as a centre-half and won the supporters’ player-of-the-year award in 2001. Life on the south coast suited him. But the trauma was still there. There were nightmares, flashbacks and panic attacks, waking up drenched in sweat, swinging punches in his sleep.

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He played with fire burning behind his eyes. “If I came up against an opposition player who had the same accent as Rix, or spoke like Williams, they were triggers. I’d try to take them out, two-foot them. I ended up being one of the most booked players in Torquay’s history. I was trying to play the role of henchman because they (Rix and Williams) used to say I was too nice.”


Jimmy Aggrey with a player of the trophy award at Torquay (Courtesy of Jimmy Aggrey)

Over time, he came to realise he had post-traumatic stress disorder. It is the same for a lot of the kids at Chelsea who understand why Barnardo’s referred to a culture in which “the ongoing and repeated use of racially abusive language appears to have created an atmosphere in which abuse was normalised”.

These kids are now in their forties and fifties. Some find it too difficult to watch Chelsea on television. Others cannot go anywhere near Stamford Bridge. Aggrey has learned how to manage his own issues. But he can remember how “unnerving” it felt when he was invited to the ground in 2019 to meet Bruce Buck, then Chelsea’s chairman.

A psychiatric report, presented to the High Court, talks of him, as a younger man, experiencing “very severe distress and feelings of isolation and humiliation, all of which totally undermined his confidence in his footballing ability and as a young person at a critical age”.

He spent the rest of his playing career drifting through a variety of non-League clubs. There was an enjoyable spell with Welsh club TNS, lining up against Manchester City in a UEFA Cup qualifier in 2003. Overall, though, Aggrey’s love for football had diminished in his youth. He retired at the age of 27.

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“I felt relieved,” he says. “But as a father of young children and, with the 2008 financial crash around the corner, the timing couldn’t have been any worse.”


To spend time in his company now is to find a man who is entirely comfortable in his own skin. Aggrey has a big smile and a big personality. The thought occurs more than once that football’s anti-racism organisations should want to tap into his knowledge and experience.

But it is only in the last 10 years, he says, that he has been able to shift the “heavyweight burden of unpacked mental trauma”. It was a long battle to get through “the internal, intrusive day-to-day thoughts that played on a loop. ‘What could I have done? Why did I let them do that to me?’. The self-blame, guilt and anger”.

There were other issues, too. Aggrey never earned the money associated with Premier League footballers. At the age of 28, his house was repossessed due to being unable to keep up with mortgage payments and arrears.

“One of my friends let me use his car, a Volvo S40, and that became my house. I’d find car parks where I wouldn’t be recognised and I’d sleep in the back seat. I spent my 32nd birthday sleeping in my car.”

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Other friends gave him food. If he was in London, he would go to Brentford leisure centre for a shower. The woman at reception knew him from when he was a boy and waved him through. Or returning to Torquay, he would go to the Grand Hotel on the seafront and sit in an alcove where he knew there was an electricity point.

“I’d plug in my phone, ask for a glass of water and make it last, sometimes four or five hours. Then I’d get back in the car, park round the corner and try to keep warm and get some sleep. This went on for months. I felt like a failure. But these experiences have helped make me what I am today.”

It is an extraordinary story even before we mention that Aggrey has worked as a football agent, had a role in the Sky One series Dream Team and has written an eight-part TV series of his own. ‘Jimmy’ tells the story of his life — powerful, gritty, yet also uplifting.

His foundation, set up with the backing of the Professional Footballers’ Association, is dedicated to helping young people in marginalised, poverty-hit communities. TNS are one of the partners via his friendship with the club’s owner, Mike Harris, and their kits have been distributed to kids as part of one project in Cape Town, South Africa.

It is easy to understand why Aggrey talks so passionately about the Homeless World Cup, which will be held in South Korea in September. He became involved via his friend, Kasali Casal, a former Fulham player who became the football director for TV series Ted Lasso.

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“Playing football after being homeless is dear to these people,” says Aggrey, “and it matters to me greatly after everything I have experienced.”

His father, James Sr, died in 2021. So much went unspoken and it will always be a source of pain that they never healed a rift that, at its heart, stemmed from a boy trying to protect his family from the brutal realities of Chelsea’s youth system.

“He had dreams of me becoming a lawyer or a doctor,” says Aggrey. “Because I was strong academically, he didn’t understand why I was embarking on a journey to be in a sport where I wouldn’t be accepted.


Jimmy Aggrey, pictured aged 13, had anger issues as a result of his treatment at Chelsea (Courtesy of Jimmy Aggrey)

“I didn’t want to tell him what was happening. Mum, as well. That was a heavy coat to wear as a kid. But they weren’t ones to confront institutions, so it would have been internalised and affected the whole house.

“He saw the changes in me. I had temper issues, getting into fights. I was going out too much. I think he saw an unobliging kid who had wasted his gift of academia.”

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Life continues to have its challenges. Aggrey is coming to terms with the recent death of his aunt Irene. Last week, it was the funeral of Paul Holmes, his friend and ex-Torquay teammate.

Overall, though, he is in a good place, radiating warmth, signing off emails with “love and light”. He has learned to heal. And, in a strange way, it feels therapeutic for him to share his experiences, no longer living a secret.

“I feel blessed how my mind, my resilience and unwavering hope has kept me alive and going,” he says. “The line was thin and I can’t change the past. But I have to use my experiences for good and be grateful I’m still here.”

The Athletic asked Gwyn Williams and Graham Rix to comment, but neither has responded. Fareham Town have also failed to respond. Graham Kelly, who left the FA in 1998, said he could not recollect being told about the telephone call from Aggrey.

Whatever you’re going through, you can call the Samaritans in the UK free any time, from any phone, on 116 123.

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(Top photos: Daniel Taylor/The Athletic; courtesy of Jimmy Aggrey; design: John Bradford)

Culture

Poetry Challenge: Memorize “The More Loving One” by W.H. Auden

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Poetry Challenge: Memorize “The More Loving One” by W.H. Auden

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Let’s memorize a poem! Not because it’s good for us or because we think we should, but because it’s fun, a mental challenge with a solid aesthetic reward. You can amuse yourself, impress your friends and maybe discover that your way of thinking about the world — or even, as you’ll see, the universe — has shifted a bit.

Over the next five days, we’ll look closely at a great poem by one of our favorite poets, and we’ll have games, readings and lots of encouragement to help you learn it by heart. Some of you know how this works: Last year more Times readers than we could count memorized a jaunty 18-line recap of an all-night ferry ride. (If you missed that adventure, it’s not too late to embark. The ticket is still valid.)

This time, we’re training our telescopes on W.H. Auden’s “The More Loving One” — a clever, compact meditation on love, disappointment and the night sky.

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Here’s the first of its four stanzas, read for us by Matthew McConaughey:

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The More Loving One by W.H. Auden 

Looking up at the stars, I know quite well 

That, for all they care, I can go to hell, 

But on earth indifference is the least 

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We have to dread from man or beast. 

Matthew McConaughey, actor and poet

In four short lines we get a brisk, cynical tour of the universe: hell and the heavens, people and animals, coldness and cruelty. Commonplace observations — that the stars are distant; that life can be dangerous — are wound into a charming, provocative insight. The tone is conversational, mixing decorum and mild profanity in a manner that makes it a pleasure to keep reading.

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Here’s Tracy K. Smith, a former U.S. poet laureate, with the second stanza:

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How should we like it were stars to burn 

With a passion for us we could not return? 

If equal affection cannot be, 

Let the more loving one be me. 

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Tracy K. Smith, poet

These lines abruptly shift the focus from astronomy to love, from the universal to the personal. Imagine how it would feel if the stars had massive, unrequited crushes on us! The speaker, couching his skepticism in a coy, hypothetical question, seems certain that we wouldn’t like this at all.

This certainty leads him to a remarkable confession, a moment of startling vulnerability. The poem’s title, “The More Loving One,” is restated with sweet, disarming frankness. Our friend is wearing his heart on his well-tailored sleeve.

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The poem could end right there: two stanzas, point and counterpoint, about how we appreciate the stars in spite of their indifference because we would rather love than be loved.

But the third stanza takes it all back. Here’s Alison Bechdel reading it:

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Admirer as I think I am 

Of stars that do not give a damn, 

I cannot, now I see them, say 

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I missed one terribly all day. 

Alison Bechdel, graphic novelist

The speaker downgrades his foolish devotion to qualified admiration. No sooner has he established himself as “the more loving one” than he gives us — and perhaps himself — reason to doubt his ardor. He likes the stars fine, he guesses, but not so much as to think about them when they aren’t around.

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The fourth and final stanza, read by Yiyun Li, takes this disenchantment even further:

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Were all stars to disappear or die, 

I should learn to look at an empty sky 

And feel its total dark sublime, 

Though this might take me a little time. 

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Yiyun Li, author

Wounded defiance gives way to a more rueful, resigned state of mind. If the universe were to snuff out its lights entirely, the speaker reckons he would find beauty in the void. A starless sky would make him just as happy.

Though perhaps, like so many spurned lovers before and after, he protests a little too much. Every fan of popular music knows that a song about how you don’t care that your baby left you is usually saying the opposite.

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The last line puts a brave face on heartbreak.

So there you have it. In just 16 lines, this poem manages to be somber and funny, transparent and elusive. But there’s more to it than that. There is, for one thing, a voice — a thinking, feeling person behind those lines.

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W.H. Auden in 1962. Sam Falk/The New York Times

When he wrote “The More Loving One,” in the 1950s, Wystan Hugh Auden was among the most beloved writers in the English-speaking world. Before this week is over there will be more to say about Auden, but like most poets he would have preferred that we give our primary attention to the poem.

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Its structure is straightforward and ingenious. Each of the four stanzas is virtually a poem unto itself — a complete thought expressed in one or two sentences tied up in a neat pair of couplets. Every quatrain is a concise, witty observation: what literary scholars call an epigram.

This makes the work of memorization seem less daunting. We can take “The More Loving One” one epigram at a time, marvelling at how the four add up to something stranger, deeper and more complex than might first appear.

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So let’s go back to the beginning and try to memorize that insouciant, knowing first stanza. Below you’ll find a game we made to get you started. Give it a shot, and come back tomorrow for more!

Your first task: Learn the first four lines!

Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.

Question 1/6

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Let’s start with the first couplet. Fill in the rhyming words.

Looking up at the stars, I know quite well 

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That, for all they care, I can go to hell, 

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Tap a word above to fill in the highlighted blank.

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Ready for another round? Try your hand at the 2025 Poetry Challenge.

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Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.

Illustrations by Daniel Barreto.

Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.

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Culture

Famous Authors’ Less Famous Books

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Famous Authors’ Less Famous Books

Literature

‘Romola’ (1863) by George Eliot

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Karl Leitz for Anthony Cotsifas Studio

Who knew that there’s a major George Eliot novel that neither I nor any of my friends had ever heard of?

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“Romola” was Eliot’s fourth novel, published between “The Mill on the Floss” (1860) and “Middlemarch” (1870-71). If my friends and I didn’t get this particular memo, and “Romola” is familiar to every Eliot fan but us, please skip the following.

“Romola” isn’t some fluky misfire better left unmentioned in light of Eliot’s greater work. It’s her only historical novel, set in Florence during the Italian Renaissance. It embraces big subjects like power, religion, art and social upheaval, but it’s not dry or overly intellectual. Its central character is a gifted, freethinking young woman named Romola, who enters a marriage so disastrous as to make Anna Karenina’s look relatively good.

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It probably matters that many of Eliot’s other books have been adapted into movies or TV series, with actors like Hugh Dancy, Ben Kingsley, Emily Watson and Rufus Sewell. The BBC may be doing even more than we thought to keep classic literature alive. (In 1924, “Romola” was made into a silent movie starring Lillian Gish. It doesn’t seem to have made much difference.)

Anthony Trollope, among others, loved “Romola.” He did, however, warn Eliot against aiming over her readers’ heads, which may help explain its obscurity.

All I can say, really, is that it’s a mystery why some great books stay with us and others don’t.

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‘Quiet Dell’ (2013) by Jayne Anne Phillips

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Karl Leitz for Anthony Cotsifas Studio

This was an Oprah Book of the Week, which probably disqualifies it from B-side status, but it’s not nearly as well known as Phillips’s debut story collection, “Black Tickets” (1979), or her most recent novel, “Night Watch” (2023), which won her a long-overdue Pulitzer Prize.

Phillips has no parallel in her use of potent, stylized language to shine a light into the darkest of corners. In “Quiet Dell,” her only true-crime novel, she’s at the height of her powers, which are particularly apparent when she aims her language laser at horrific events that actually occurred. Her gift for transforming skeevy little lives into what I can only call “Blade Runner” mythology is consistently stunning.

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Consider this passage from the opening chapter of “Quiet Dell”:

“Up high the bells are ringing for everyone alive. There are silver and gold and glass bells you can see through, and sleigh bells a hundred years old. My grandmother said there was a whisper for each one dead that year, and a feather drifting for each one waiting to be born.”

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The book is full of language like that — and of complex, often chillingly perverse characters. It’s a dark, underrecognized beauty.

‘Solaris’ (1961) by Stanislaw Lem

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Karl Leitz for Anthony Cotsifas Studio

You could argue that, in America, at least, the Polish writer Stanislaw Lem didn’t produce any A-side novels. You could just as easily argue that that makes all his novels both A-side and B-side.

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It’s science fiction. All right?

I love science and speculative fiction, but I know a lot of literary types who take pride in their utter lack of interest in it. I always urge those people to read “Solaris,” which might change their opinions about a vast number of popular books they dismiss as trivial. As far as I know, no one has yet taken me up on that.

“Solaris” involves the crew of a space station continuing the study of an aquatic planet that has long defied analysis by the astrophysicists of Earth. Part of what sets the book apart from a lot of other science-fiction novels is Lem’s respect for enigma. He doesn’t offer contrived explanations in an attempt to seduce readers into suspending disbelief. The crew members start to experience … manifestations? … drawn from their lives and memories. If the planet has any intentions, however, they remain mysterious. All anyone can tell is that their desires and their fears, some of which are summoned from their subconsciousness, are being received and reflected back to them so vividly that it becomes difficult to tell the real from the projected. “Solaris” has the peculiar distinction of having been made into not one but two bad movies. Read the book instead.

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‘Fox 8’ (2013) by George Saunders

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Karl Leitz for Anthony Cotsifas Studio

If one of the most significant living American writers had become hypervisible with his 2017 novel, “Lincoln in the Bardo,” we’d go back and read his earlier work, wouldn’t we? Yes, and we may very well have already done so with the story collections “Tenth of December” (2013) and “Pastoralia” (2000). But what if we hadn’t yet read Saunders’s 2013 novella, “Fox 8,” about an unusually intelligent fox who, by listening to a family from outside their windows at night, has learned to understand, and write, in fox-English?: “One day, walking neer one of your Yuman houses, smelling all the interest with snout, I herd, from inside, the most amazing sound. Turns out, what that sound is, was: the Yuman voice, making werds. They sounded grate! They sounded like prety music! I listened to those music werds until the sun went down.”

Once Saunders became more visible to more of us, we’d want to read a book that ventures into the consciousness of a different species (novels tend to be about human beings), that maps the differences and the overlaps in human and animal consciousness, explores the effects of language on consciousness and is great fun.

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We’d all have read it by now — right?

‘Between the Acts’ (1941) by Virginia Woolf

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Karl Leitz for Anthony Cotsifas Studio

You could argue that Woolf didn’t have any B-sides, and yet it’s hard to deny that more people have read “Mrs. Dalloway” (1925) and “To the Lighthouse” (1927) than have read “The Voyage Out” (1915) or “Monday or Tuesday” (1921). Those, along with “Orlando” (1928) and “The Waves” (1931), are Woolf’s most prominent novels.

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Four momentous novels is a considerable number for any writer, even a great one. That said, “Between the Acts,” her last novel, really should be considered the fifth of her significant books. The phrase “embarrassment of riches” comes to mind.

Five great novels by the same author is a lot for any reader to take on. Our reading time is finite. We won’t live long enough to read all the important books, no matter how old we get to be. I don’t expect many readers to be as devoted to Woolf as are the cohort of us who consider her to have been some sort of dark saint of literature and will snatch up any relic we can find. Fanatics like me will have read “Between the Acts” as well as “The Voyage Out,” “Monday or Tuesday” and “Flush” (1933), the story of Elizabeth Barrett Browning’s cocker spaniel. Speaking for myself, I don’t blame anyone who hasn’t gotten to those.

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I merely want to add “Between the Acts” to the A-side, lest anyone who’s either new to Woolf or a tourist in Woolf-landia fail to rank it along with the other four contenders.

As briefly as possible: It focuses on an annual village pageant that attempts to convey all of English history in a single evening. The pageant itself interweaves subtly, brilliantly, with the lives of the villagers playing the parts.

It’s one of Woolf’s most lusciously lyrical novels. And it’s a crash course, of sorts, in her genius for conjuring worlds in which the molehill matters as much as the mountain, never mind their differences in size.

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It’s also the most accessible of her greatest books. It could work for some as an entry point, in more or less the way William Faulkner’s “As I Lay Dying” (1930) can be the starter book before you go on to “The Sound and the Fury” (1929) or “Absalom, Absalom!” (1936).

As noted, there’s too much for us to read. We do the best we can.

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6 Poems You Should Know by Heart

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6 Poems You Should Know by Heart

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‘Prayer’ (1985) by Galway Kinnell

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Whatever happens. Whatever
what is is is what
I want. Only that. But that.

Galway Kinnell in 1970. Photo by LaVerne Harrell Clark, © 1970 Arizona Board of Regents. Courtesy of the University of Arizona Poetry Center

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“I typically say Kinnell’s words at the start of my day, as I’m pedaling a traffic-laden path to my office,” says Major Jackson, 57, the author of six books of poetry, including “Razzle Dazzle” (2023). “The poem encourages a calm acceptance of the day’s events but also wants us to embrace the misapprehension and oblivion of life, to avoid probing too deeply for answers to inscrutable questions. I admire what Kinnell does with only 14 words; the repetition of ‘what,’ ‘that’ and ‘is’ would seem to limit the poem’s sentiment but, paradoxically, the poem opens widely to contain all manner of human experience. The three ‘is’es in the middle line give it a symmetry that makes its message feel part of a natural order, and even more convincing. Thanks to the skillful punctuation, pauses and staccato rhythm, a tonal quality of interior reflection emerges. Much like a haiku, it continues after its last words, lingering like the last note played on a piano that slowly fades.”

“Just as I was entering young adulthood, probably slow to claim romantic feelings, a girlfriend copied out a poem by Pablo Neruda and slipped it into an envelope with red lipstick kisses all over it. In turn, I recited this poem. It took me the remainder of that winter to memorize its lines,” says Jackson. “The poem captures the pitch of longing that defines love at its most intense. The speaker in Shakespeare’s most famous sonnet believes the poem creates the beloved, ‘So long as men can breathe or eyes can see, / So long lives this, and this gives life to thee.’ (Sonnet 18). In Rilke’s expressive declarations of yearning, the beloved remains elusive. Wherever the speaker looks or travels, she marks his world by her absence. I find this deeply moving.”

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Lucille Clifton in 1995. Afro American Newspapers/Gado/Getty Images

“Clifton faced many obstacles, including cancer, a kidney transplant and the loss of her husband and two of her children. Through it all, she crafted a long career as a pre-eminent American poet,” says Jackson. “Her poem ‘won’t you celebrate with me’ is a war cry, an invitation to share in her victories against life’s persistent challenges. The poem is meaningful to all who have had to stare down death in a hospital or had to bereave the passing of close relations. But, even for those who have yet to mourn life’s vicissitudes, the poem is instructive in cultivating resilience and a persevering attitude. I keep coming back to the image of the speaker’s hands and the spirit of steadying oneself in the face of unspeakable storms. She asks in a perfectly attuned gorgeously metrical line, ‘what did i see to be except myself?’”

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‘Sonnet 94’ (1609) by William Shakespeare

They that have power to hurt and will do none,
That do not do the thing they most do show,
Who, moving others, are themselves as stone,
Unmovèd, cold, and to temptation slow,
They rightly do inherit heaven’s graces
And husband nature’s riches from expense;
They are the lords and owners of their faces,
Others but stewards of their excellence.
The summer’s flower is to the summer sweet,
Though to itself it only live and die;
But if that flower with base infection meet,
The basest weed outbraves his dignity.
For sweetest things turn sourest by their deeds;
Lilies that fester smell far worse than weeds.

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“It’s one of the moments of Western consciousness,” says Frederick Seidel, 90, the author of more than a dozen collections of poetry, including “So What” (2024). “Shakespeare knows and says what he knows.”

“It trombones magnificent, unbearable sorrow,” says Seidel.

“It’s smartass and bitter and bright,” says Seidel.

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These interviews have been edited and condensed.

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