Culture
Joel Embiid’s return gives Sixers hope again — but they’ve heard this song before
PHILADELPHIA — Not much changed in the ending.
The Philadelphia 76ers walked off their home floor again, with a bevy of New York fans again chanting “Let’s Go Knicks,” after another road win by Tom Thibodeau and company in the City of Brotherly Love. This time, Karl-Anthony Towns got the walk-off love as he left the court at Wells Fargo Center with his dad in tow, quickly followed by Josh Hart and Miles McBride.
Joel Embiid and his Sixers had long since left the floor.
Their season, already off to such a horrendous start, filled with injuries and doubts and an awful moment of confrontation, continued its spiral Tuesday in a 111-99 loss to the Knicks, dropping Philly to 2-8. But this is where Philadelphia hopes things bottom out.
Well, maybe that comes Wednesday, when the undefeated Cleveland Cavaliers play here.
For now, all the Sixers have to comfort themselves was Embiid’s return to action Tuesday after he missed the first six games of the season while continuing to rehab his left knee, followed by a three-game suspension levied by the NBA after Embiid shoved a Philadelphia Inquirer columnist during a postgame incident Nov. 2. The columnist had written several incendiary opinion pieces about Embiid’s conditioning but also referenced Embiid’s late brother Arthur and Embiid’s son, also named Arthur, in an Oct. 23 column. That set off the 30-year-old Embiid.
Tuesday, Embiid was far from his dominant self. He was rusty, finishing just 2-of-11 from the floor, scoring 13 points in 26 minutes. His old, and perhaps now former nemesis, Towns, had the upper hand all night, finishing with 21 points and 13 rebounds. Towns finished the game for New York, while Embiid sat the last few minutes to keep him from racking up more than the 25 to 30 minutes the Sixers had plotted for him pregame.
“You can do whatever you want in practice and scrimmage, but the game is a different story,” Embiid said afterward. “I’ll be fine.”
His words, a franchise’s worries.
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Embiid hasn’t been fine most springs, when championships are decided, after suffering injuries late in the regular season or in the playoffs. Last year, he missed two months with a meniscus injury in his left knee, then suffered a bout of Bell’s palsy during Philadelphia’s series loss to the Knicks. So the Sixers and their superstar agreed this season he’d be held out of a bunch of regular-season games to give him the best chance of getting to April and May healthy. The organization’s misrepresenting statements cost the Sixers $100,000, but one doubts they cared much. Embiid says playing is up to him, but of course, it isn’t, not really.
Yes, Embiid played for Team USA in the Olympics, including a huge game against Nikola Jokić and Serbia in the semifinals, showing up when the United States needed him most. But that stint was two-plus months before the start of training camp, and the time off showed.
Against New York on Tuesday, he missed his first five shots from the floor, not scoring a field goal until he hit a 3-pointer with nine minutes left in the third. Embiid, as ever, got to the line, making 8 of 8 free throws in the first half. But Embiid was noticeably lagging throughout the second half. He was pulling on his shorts after his first stint of the second half. And though he asked the crowd to rise up late in the third quarter, he couldn’t lift up Philly in the fourth, as New York pulled away.
“When he’s playing well, he’s kind of got command of the game at the offensive end,” Sixers coach Nick Nurse said afterward. “He’s either creating good shots for himself or creating a lot of defensive schemes against him, which is creating much easier shots for our guys. That’s part of rhythm, that’s part of conditioning, all that kind of stuff. He’s a great shooter. That’ll come back, too, I think.”
The Sixers now have to hot-wire their hopes of finding continuity with yet another new core group.
Paul George, the premier free-agent acquisition of the offseason, is just coming back himself from a preseason bone bruise that cost him the first five games of the season. He looked great Tuesday, though, looking exactly like the silky smooth scorer and facilitator the Sixers hope he can be, finishing with a game-high 29 points. But guard Tyrese Maxey, who took such a big step last season playing alongside Embiid, missed his third straight game with a pulled hamstring. It doesn’t leave Nurse a lot of time to evaluate who plays best with whom.
For example: Philly brought in Guerschon Yabusele, who starred on the French national team in the Olympics, helping lead Les Bleus to a silver medal. He was sensational. The Sixers hoped he could play for them in small-ball units at center. And with Embiid out, they got a good long look at him. Through the first nine games, he shot better than 43 percent on 3s on decent volume. Now, though, Nurse will have to play Yabusele and Embiid together, with Yabusele playing more power forward. The shots are different. The rhythm is different. Whom Yabusele now guards at the other end is different.
Nurse got exactly what he wanted to see late in the first quarter, when Embiid returned after a few minutes on the bench, drew two Knicks to him at the top of the key and fed an open Yabusele on the wing for a 3. But that was the only shot Yabusele hit all night in seven attempts.
Still, it’s crystal clear how formidable the Sixers can be when Embiid gets back to his old self, flanked by a healthy George and Maxey; solid role players such as Kelly Oubre Jr., Yabusele, Caleb Martin; rookie Jared McCain, who’s utterly fearless; and vet stashes such as Reggie Jackson, Kyle Lowry and Andre Drummond. Philadelphia’s offensive potential is staggering once everyone is healthy, so the Sixers are doubly fortunate their awful start hasn’t buried their playoff chances in the less-than-fully-functional Eastern Conference; the Sixers entered play Tuesday just a game out of the Play-In round.
George knows the pressure Embiid is under. He was a franchise player for the Indiana Pacers and Oklahoma City Thunder, and then a co-franchisee with the LA Clippers alongside Kawhi Leonard. That weight of being the man feels like you’re wearing a burlap jersey and concrete Nikes.
“I think it’s no pressure for him,” George said. “He is the piece. He is The Process. I think he just finds his way, as he should. We’re here to kind of keep things going afloat until he gets back to himself. But I don’t think there’s pressure for him to do anything extra. He’ll find his rhythm as the games go on, as we learn how to play off of him and play around him. I’ve seen it in practice, so I know he’s not too far off.”
I asked Embiid if the urgency of the 2-8 start, and the ticking down of his prime years, is pushing him to come back sooner rather than working through the regular season more slowly, as had been the long-term plan. He recalled his rookie season, after he’d missed two years rehabbing following multiple foot surgeries. Embiid roared out of the gate, finishing third in Rookie of the Year voting — even though the Sixers held him out of all but one game of the second half of the season.
“We were still really competitive,” he said of what became a 28-54 season. “And even that year, if they would have let me finish the year, I thought we actually had a chance of making the playoffs. So, urgency, sure. But you’ve also got to understand, we haven’t been healthy. Everybody’s getting back. Like I said, based on how it’s gone the last couple of years, with us on the floor (together), I think we’ve got a pretty good chance.”
“Things fall apart; the centre cannot hold,” William Butler Yeats wrote a century ago, about something else entirely. But it’s up to Embiid to make sure people here don’t start seeing a connection.
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(Photo: David Dow / NBAE via Getty Images)
Culture
I Think This Poem Is Kind of Into You
A famous poet once observed that it is difficult to get the news from poems. The weather is a different story. April showers, summer sunshine and — maybe especially — the chill of winter provide an endless supply of moods and metaphors. Poets like to practice a double meteorology, looking out at the water and up at the sky for evidence of interior conditions of feeling.
The inner and outer forecasts don’t always match up. This short poem by Louise Glück starts out cold and stays that way for most of its 11 lines.
And then it bursts into flame.
“Early December in Croton-on-Hudson” comes from Glück’s debut collection, “Firstborn,” which was published in 1968. She wrote the poems in it between the ages of 18 and 23, but they bear many of the hallmarks of her mature style, including an approach to personal matters — sex, love, illness, family life — that is at once uncompromising and elusive. She doesn’t flinch. She also doesn’t explain.
Here, for example, Glück assembles fragments of experience that imply — but also obscure — a larger narrative. It’s almost as if a short story, or even a novel, had been smashed like a glass Christmas ornament, leaving the reader to infer the sphere from the shards.
We know there was a couple with a flat tire, and that a year later at least one of them still has feelings for the other. It’s hard not to wonder if they’re still together, or where they were going with those Christmas presents.
To some extent, those questions can be addressed with the help of biographical clues. The version of “Early December in Croton-on-Hudson” that appeared in The Atlantic in 1967 was dedicated to Charles Hertz, a Columbia University graduate student who was Glück’s first husband. They divorced a few years later. Glück, who died in 2023, was never shy about putting her life into her work.
But the poem we are reading now is not just the record of a passion that has long since cooled. More than 50 years after “Firstborn,” on the occasion of receiving the Nobel Prize for literature, Glück celebrated the “intimate, seductive, often furtive or clandestine” relations between poets and their readers. Recalling her childhood discovery of William Blake and Emily Dickinson, she declared her lifelong ardor for “poems to which the listener or reader makes an essential contribution, as recipient of a confidence or an outcry, sometimes as co-conspirator.”
That’s the kind of poem she wrote.
“Confidence” can have two meanings, both of which apply to “Early December in Croton-on-Hudson.” Reading it, you are privy to a secret, something meant for your ears only. You are also in the presence of an assertive, self-possessed voice.
Where there is power, there’s also risk. To give voice to desire — to whisper or cry “I want you” — is to issue a challenge and admit vulnerability. It’s a declaration of conquest and a promise of surrender.
What happens next? That’s up to you.
Culture
Can You Identify Where the Winter Scenes in These Novels Took Place?
Cold weather can serve as a plot point or emphasize the mood of a scene, and this week’s literary geography quiz highlights the locations of recent novels that work winter conditions right into the story. Even if you aren’t familiar with the book, the questions offer an additional hint about the setting. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the books if you’d like to do further reading.
Culture
From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel
When a writer is praised for having a sense of place, it usually means one specific place — a postage stamp of familiar ground rendered in loving, knowing detail. But Kiran Desai, in her latest novel, “The Loneliness of Sonia and Sunny,” has a sense of places.
This 670-page book, about the star-crossed lovers of the title and several dozen of their friends, relatives, exes and servants (there’s a chart in the front to help you keep track), does anything but stay put. If “The Loneliness of Sonia and Sunny” were an old-fashioned steamer trunk, it would be papered with shipping labels: from Allahabad (now known as Prayagraj), Goa and Delhi; from Queens, Kansas and Vermont; from Mexico City and, perhaps most delightfully, from Venice.
There, in Marco Polo’s hometown, the titular travelers alight for two chapters, enduring one of several crises in their passionate, complicated, on-again, off-again relationship. One of Venice’s nicknames is La Serenissima — “the most serene” — but in Desai’s hands it’s the opposite: a gloriously hectic backdrop for Sonia and Sunny’s romantic confusion.
Their first impressions fill a nearly page-long paragraph. Here’s how it begins.
Sonia is a (struggling) fiction writer. Sunny is a (struggling) journalist. It’s notable that, of the two of them, it is she who is better able to perceive the immediate reality of things, while he tends to read facts through screens of theory and ideology, finding sociological meaning in everyday occurrences. He isn’t exactly wrong, and Desai is hardly oblivious to the larger narratives that shape the fates of Sunny, Sonia and their families — including the economic and political changes affecting young Indians of their generation.
But “The Loneliness of Sonia and Sunny” is about more than that. It’s a defense of the very idea of more, and thus a rebuke to the austerity that defines so much recent literary fiction. Many of Desai’s peers favor careful, restricted third-person narration, or else a measured, low-affect “I.” The bookstores are full of skinny novels about the emotional and psychological thinness of contemporary life. This book is an antidote: thick, sloppy, fleshy, all over the place.
It also takes exception to the postmodern dogma that we only know reality through representations of it, through pre-existing concepts of the kind to which intellectuals like Sunny are attached. The point of fiction is to assert that the world is true, and to remind us that it is vast, strange and astonishing.
See the full list of the 10 Best Books of 2025 here.
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