Connect with us

Culture

Jordan Chiles, in an Olympic gymnastics comedy of errors, gets another raw deal

Published

on

Jordan Chiles, in an Olympic gymnastics comedy of errors, gets another raw deal

We ask a lot of our Olympic athletes — to perform with grace and humility, to carry the Olympic spirit even as they pursue their own individual goals; to abide by the rules, and to accept their fates, however they may go, with dignity.

Jordan Chiles has exemplified all of that in these Paris Olympic Games.

Is it so much to ask the people who hold her Olympic dreams in their hands to do the same?

What is happening — and has happened — to Chiles and, by extension, Romania’s Ana Bărbosu, is a travesty of borderline technical malfeasance that has toyed with the emotions of two women who have done nothing wrong.

On Monday afternoon at Bercy Arena, Chiles finished her floor routine in the event final, scoring a 13.666, just out of reach of the 13.700 awarded to Bărbosu and Sabrina Maneca-Voinea and off the medal podium. Bărbosu, whose execution score was higher than her teammate’s, was awarded the bronze. Cecile Landi, Chiles’ coach, however, asked the judges to review the difficulty for one of the elements in Chiles’ floor routine. The request went ahead to the technical chair who agreed that, upon review, Chiles was not scored appropriately. Immediately her 13.666 was upped to a 13.766. She was the bronze medalist, not Bărbosu.

Advertisement

While Chiles sobbed in joy and Simone Biles enveloped her in a bear hug, Bărbosu cried in agony, gutted by the review that demoted her to the dreaded fourth position. It was the Olympic experience writ large, in all of its pain and glory.

Now it turns out, the U.S. failed to beat the buzzer, according to a Court of Arbitration for Sport ruling revealed Saturday. Inquiries, by rule, must be filed within a minute of the conclusion of a routine. Landi asked too late — four seconds too late, according to a USA Gymnastics source. Which, hey, that’s more than fair — even in a subjective sport such as gymnastics, a deadline is a deadline.

But the trail to that result is a comedy of errors, none perpetuated by the gymnasts involved, and yet they are the only ones made to suffer.

Consider the lunacy: Chiles’ difficulty was erroneously scored and corrected only because a coach suggested the judges take a second look, but that judging mistake has since been disregarded because the Romanians realized that someone else failed to keep his or her eye on a clock, and allowed an inquiry to go forward when it shouldn’t have. The result: Chiles is back to a 13.666 (even though her difficulty should have made it a 13.766 in the first place), and the Court of Arbitration for Sport punted the whole thing, asking FIG, the international gymnastics governing body, to figure out who gets the bronze. The Romanians asked that all three gymnasts share the bronze, which seems fair, but at best requires an asterisk next to their names.

This all took five days to sort out. Five glorious days for Chiles, who already had been made to endure the rollercoaster of gymnastics rule foolishness. On the first day of competition, during the qualification round, Chiles finished fourth in the overall all-around standings. The top 24 women quality; except Chiles, while fourth overall, was third on the U.S. team, and Olympic gymnastics apparently likes to treat itself more like 4-year-old Sunday afternoon soccer, where everyone gets to participate. Each delegation can only send two women forward to the final, which meant that Chiles’ teammate, Sunisa Lee, who topped Chiles by 0.067, got the nod and Chiles did not.

Advertisement

Simone Biles and Jordan Chiles celebrate after Chiles’ floor routine difficulty score was changed to make her the bronze medalist. Now, that’s all in question. (Naomi Baker / Getty Images)

A devastated Chiles spent two days licking her wounds but then, in a real-time show of the Olympic spirit, returned to help the U.S. secure a team gold two days later. She later showed up to cheer on Lee and Simone Biles in the all-around, while focusing her own energies on the event final, in search of her first personal medal.

Chiles competed last in the floor final and will be the first to admit she could have hit her routine more cleanly. She was packing up her things as Landi put in the inquiry and when the announcer flashed her new score, she finally was given her moment. But Chiles instead opted to celebrate her peers and not herself. From her side of the podium, Chiles caught Biles’ eye hatching a plan, and when Brazil’s Rebeca Andrade stepped to the podium for her gold medal, Chiles and Biles bowed.

It was an extraordinary act of grace conceived by a woman who had shown nothing but grace all week. For five glorious days, Chiles felt the beautiful weight of an Olympic medal around her neck, and did the very American version of a victory lap, visiting Disneyland Paris and making the morning-show circuit. She was, as she declared herself, That Girl.

That Girl just announced she’s taking a break from social media to concentrate on her mental health. The people in charge seem to have finally done what nothing else could: douse Jordan Chiles’ Olympic spirit. Her last post: a string of broken-hearted emojis.

(Top photo of Jordan Chiles after the floor routine at the Paris Olympics: Jamie Squire / Getty Images)

Advertisement

Culture

Finding Wisdom in a Poem by Wendy Cope

Published

on

Finding Wisdom in a Poem by Wendy Cope

Advertisement

Where do you turn when you need advice? A chatbot? A life coach? A wise and trusted friend?

How about a poet? Poets may not be famous for making the best life choices, but because they subject the mess of human existence to the discipline of language, they can be as helpful as any therapist or mentor.

Good poets know the rules and when to break them, which is something they can teach the rest of us.

Advertisement

To wit:

Giving advice is a peculiar literary undertaking. It flourishes in certain popular genres — graduation speeches, newspaper columns, country and western songs and poems like this one — but what, in these contexts, is it really for?

Advertisement

I’m thinking of situations when you don’t urgently need help but nonetheless enjoy reading answers to questions you may not have thought to ask. What interests you isn’t the content of the advice — you could get all the life hacks you want from A.I. — so much as the voice of the person dispensing it.

Wendy Cope is an English poet, born in 1945, who has been a fixture of her country’s literary scene since the 1980s. More recently, her short, buoyant poem “The Orange” has been widely memed online, bringing her to the attention of new readers beyond Britain.

Advertisement

Cope favors rhyme, meter, brisk jokes and tart aperçus. She addresses romance, friendship and the petty absurdities of modern life with disarming good humor. The last line of “The Orange” is “I love you. I’m glad I exist.” Somehow she makes it the opposite of cringe.

This isn’t the kind of poetry you would describe as “confessional.” And yet …

Want to learn this poem by heart? We’ll help.

Advertisement

Fill in the missing words below. You can always refer to the reading by A.O. Scott and full
text above.

Question 1/7

Let’s start with the first stanza.

Advertisement

Stop, if the car is going clunk 

Or if the sun has made you blind. 

Dont answer emails when youre drunk. 

Advertisement

Tap a word above to fill in the highlighted blank.

Advertisement

Continue Reading

Culture

Can You Match the Places These Authors Lived With Settings in Their Books?

Published

on

Can You Match the Places These Authors Lived With Settings in Their Books?

A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself. This week’s literary geography quiz highlights places where authors were born (or lived) that later became locations in their books. 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 works if you’d like to do further reading.

Continue Reading

Culture

Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.

Published

on

Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.

AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries, by Eddie S. Glaude Jr.


For those of us in the national memory-keeping business, anniversaries hold near-totemic power. Satisfyingly round units of time, ideally bearing fancy, Latin-derived names, serve as the overburdened pegs on which to hang think pieces and museum exhibits, revisionist documentaries and maudlin public ceremonies. The arbitrary nature of such occasions is precisely what gives them their charge, inviting us to set aside complacency and submit to a comprehensive check-in.

In his new book, “America, U.S.A.,” Eddie S. Glaude Jr. presents an intriguing variation on the genre, seeing the country’s 250th birthday as an anniversary of anniversaries: 50 years since the malaise-ridden, schlock-heavy Bicentennial. A century since the subdued Prohibition-era Sesquicentennial. A century and a half since telegraphed reports of George Armstrong Custer’s defeat by the Lakota and Cheyenne at Little Bighorn rudely interrupted the Gilded Age Republic’s 100th birthday party.

If an anniversary offers a snapshot of a moment, the core of Glaude’s book is an old-timey photo album, a collection of notable episodes from earlier national reckonings, long-ago glances in the mirror. An estimable scholar of Black history, politics and religion at Princeton — best known for “Begin Again,” his 2020 meditation on James Baldwin’s relevance for our times — Glaude focuses, as his subtitle puts it, on “how race shadows the nation’s anniversaries.”

Such celebrations, he contends, have never really been the moments for honest self-reflection they are often advertised to be. Instead, the nation usually shatters the mirror, refusing to accept what it prefers not to see. “American anniversaries are often moments to turn a blind eye to the evils of the past and the present,” Glaude writes, “to suppress the fact of America’s divided soul.”

Advertisement

It’s a clever concept, and, needless to say, perfectly timed. Last year, Glaude notes, the Trump administration executed a hostile takeover of the government’s studiously bipartisan 250th anniversary planning. It is now preparing a program that is certain to conceal more than it reveals about the country ostensibly being celebrated.

Glaude, in no mood for celebration, argues that such omissions and evasions also defined commemorations in the past. In 1875, Frederick Douglass predicted “one grand Centennial hosannah of peace and good will to all the white race of this country.” He was right: The nation reached 100 years old at a crucial moment in the post-Civil War fight over racial equality, with white Northerners ready to give up on Southern Reconstruction. The occasion would help the once-warring sections to reunite around a shared commitment to white supremacy. On May 10, 1876, at the opening of the Centennial Exposition in Philadelphia, the police tried to bar Douglass from the grandstand, until a white politician vouched for him.

The 150th anniversary came soon after a resurgent Ku Klux Klan successfully pushed for a restrictive immigration law aimed at keeping America a “Nordic” nation. At the lavishly funded, lightly attended celebrations in Philadelphia, Black veterans of World War I were excluded from marching in the opening parade. A writer with The Associated Negro Press wondered “what was in the breast of those black men who fought to make America safe for Democracy and on Monday stood on the sidelines, forgotten, as the Nordic strode by in all his vain pride.”

By 1976, when the nation marked its Bicentennial, the violence of the ’60s had destroyed any semblance of consensus. Vietnam and Watergate had eroded trust in the government. The commission initially tasked with organizing the anniversary was disbanded amid reports of corruption. Corporations filled the vacuum, Glaude explains, with “star-spangled whoopee cushions; patriotic toilet seats; Liberty hamburgers; red, white and blue beer cans.” The author, around 8 years old at the time, dimly remembers donning a pair of tricolor trousers.

A half-century later, Glaude is refreshingly honest about the depths of his despair. “I do not love America, and never have, especially now,” he writes in one of the more startling opening sentences I’ve read in some time. He dismisses this year’s Semiquincentennial as reaching back “to a storybook America that requires either the banishment of Black people from view or the reduction of our role in the country’s history, so as to affirm America’s ongoing quest to be a more perfect union.”

Advertisement

Undoubtedly true. But Trump doesn’t own the country, at least not yet, nor the 250th anniversary of one of the most radically liberatory and confusingly contradictory events in world history — an inspiration, as Glaude shows, even to critical observers of the American experiment, like Douglass. Far from the revanchist MAGA-palooza in Washington, I suspect this summer’s unasked-for invitation to national soul-searching may surprise us yet.

Despite his despair, Glaude concludes that “the past still offers resources for us to freedom-dream.” So, too, does this book.


AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries | By Eddie S. Glaude Jr. | Crown | 270 pp. | $31

Continue Reading
Advertisement

Trending