Connect with us

Culture

Jordan Chiles says Olympic gymnastics controversy took away ‘the recognition of who I was’

Published

on

Jordan Chiles says Olympic gymnastics controversy took away ‘the recognition of who I was’

For 14 seconds, Jordan Chiles paused and looked down to collect her thoughts and emotions.

The question — about what Chiles felt she lost when the International Olympic Committee stripped her of her bronze medal in the Olympic women’s gymnastics floor exercise — forced her to stop mid-answer. The audience at the Forbes Power Women’s Summit in New York applauded her as she regrouped and held the microphone back up to her mouth.

Holding back tears, Chiles said she lost more than a bronze medal through the controversy that dominated the end of last month’s Paris Games. The controversy “wasn’t about the medal,” she said, but other realities that made her feel “stripped.”

“The biggest thing that was taken from me was the recognition of who I was, not just my sport, but the person I am,” Chiles said.

“It’s about my skin color,” Chiles added. “It’s about the fact there were things that have led up to this position of being an athlete.”

Advertisement

The on-stage interview Wednesday — which occurred before Chiles appeared at MTV’s Video Music Awards at night — marked the gymnast’s most extensive comments since the IOC said it would reallocate Chiles’ bronze to Romania’s Ana Bărbosu following an appeal by the Romanian Gymnastics Federation.

At the floor final on Aug. 5, Chiles originally finished fifth but rose to third after her coach, Cecile Landi, submitted a successful inquiry to raise her score by one-tenth of a point. Five days later, the Court of Arbitration for Sport ruled that Landi’s inquiry should be invalidated because it came four seconds after the one-minute window for such an appeal. After the ruling, the International Gymnastics Federation dropped Chiles to fifth, and the IOC reallocated the medal. USA Gymnastics has said it is appealing the CAS decision to the Swiss Federal Tribunal.

Chiles said she felt “left in the dark” and unsupported during the controversy. She felt her voice wasn’t heard during the appeal process and compared her emotions to 2018, when she said an emotionally and verbally abusive coach caused her to lose her love for gymnastics.

“No one was listening to the fact that there are things that we have in place,” Chiles said. “There are things that we have that should’ve been seen but weren’t taken for realization.”

USA Gymnastics has argued that it has video evidence showing Landi made the appeal 47 seconds after Chiles’ score was posted, 13 seconds before the inquiry window closed, and that it did not have enough time to properly make its case to CAS.

Chiles previously referred to the decision as “unjust.”

“(It) comes as a significant blow, not just to me, but to everyone who has championed my journey,” Chiles said in a post on X on Aug. 15. “To add to the heartbreak, the unprompted racially driven attacks on social media are wrong and extremely hurtful.”

Almost a month later, Chiles maintains that she and her coach followed the rules and did “everything that was totally and completely right” in the floor exercise competition.

Advertisement

“I made history and I will always continue to make history,” said Chiles, who won gold in the Olympic women’s team competition.

Chiles, who will return to UCLA for the upcoming college gymnastics season, received a bronze clock at the VMAs as a gift from Flavor Flav, who promised to make her one after her medal was stripped.


Chiles receives a bronze clock from Flavor Flav on Wednesday. (Noam Galai / Getty Images for MTV)

Required reading

(Photo: Steven Ferdman / 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