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‘Make the complex simple’ and adapt on the fly: How Kevin O’Connell leads electric Vikings

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‘Make the complex simple’ and adapt on the fly: How Kevin O’Connell leads electric Vikings

Long after Los Angeles Rams practices in the late summer of 2021, Kevin O’Connell lingered on the field in a huddle with head coach Sean McVay, receiver Cooper Kupp and quarterback Matthew Stafford. Sweat poured off of each man and dripped into the grass as the players scuffed at it with their cleats. They gestured and debated with one another, the coaches writing notes on salt-slicked play cards.

McVay’s offense led the NFL when he became the youngest head coach in league history in 2017, but it had stalled over the previous two seasons. He and O’Connell were rebuilding it together.

O’Connell, a former star quarterback at San Diego State and then an NFL journeyman, translated Stafford’s 12 NFL seasons of football knowledge and married elements of what worked with McVay’s playbook. The head coach was drawn to O’Connell’s creativity and understanding of quarterbacks when he hired him as offensive coordinator in 2020, and after trading for Stafford in 2021 they charted new schematic territory.

Every day that summer was about adjusting tiny details with Stafford and Kupp. O’Connell wanted to prepare them for any potential problem a defense might present. “You try to give them the answers to the test before they have to take it,” he told The Athletic this summer. “There’s no such thing as a great game plan without the ability to adapt on the fly.”

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In Super Bowl LVI, they all lived that.

McVay, battling an illness in the days leading up to the game, grew hoarse at times, so O’Connell quietly prepared in case he might have to actually call the game. He was also deep in the interview process with the Minnesota Vikings for their head coaching position. Star receiver Odell Beckham Jr. was supposed to be the central element of the passing game against the Cincinnati Bengals but went down before halftime with a knee injury. No. 3 receiver Van Jefferson was playing hurt, and running back Cam Akers had just returned from an Achilles repair. The ground game wasn’t working. Stafford’s cast of skill players had changed dramatically from the first quarter, and so too had the Rams’ game plan.

It was, some players and executives recalled, as if McVay, O’Connell, Kupp and Stafford had resorted to drawing up plays on the sideline in the second half.

Late in the fourth quarter, the Rams’ fate hinged on a player who had hardly ever seen the field. Down four points, the offense faced fourth-and-1 from their own 30-yard line. Voices flooded into a wide-eyed McVay’s headset as he prepared the call.

Stafford and Kupp were about to run a play that had failed when they tried it together in practice over the two weeks of preparation for the game, a play they workshopped all the way up to the bus ride to the stadium. It was a sweep handoff to Kupp that started with a stutter-step motion from the left side of the formation. Kupp was supposed to cut the sweep short after he got the ball in order to scoot behind a crucial block on the right edge, then get upfield through that hole.

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The block now would be assigned to second-year tight end Brycen Hopkins, a former fourth-round pick who was only in the game because the starters and backups were injured. There was no time to doubt whether he could do it.

It worked. The handoff, the block, the improbable conversion became one of the defining plays of the Rams’ championship.

O’Connell realizes now, as a third-year head coach whose 4-0 Vikings are the talk of the league, how similar the last two quarters of the Super Bowl were to the hot, grueling days of training camp. Then, he would sometimes daydream about one day installing his own offense as a head coach. He thought about the language he would use, how he would collaborate with his own assistants and players, how he would create answers to their questions.

Hours after winning the Super Bowl, O’Connell accepted Minnesota’s head coaching job. Later that week, he stepped off a parade bus sticky with beer and confetti and into his future. He brimmed with positivity, a sunbeam pouring into Vikings offices still cloaked in winter.

O’Connell had a vision. He had a plan. He had a playbook and a sound teaching process.

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Yet he couldn’t have predicted how often he’d be reminded of football’s inherent chaos — and how crucial his knack for adaptation would be — over the next two seasons.


O’Connell’s young children are really into Legos. He and his wife, Leah, have a massive tub in their home containing hundreds of the little multi-colored bricks from dozens of separate sets.

The tub has no rules, nor order — the manuals for each set were thrown out long ago. The kids grab pieces — a couple of blocks from a disassembled “Cars” character, a few more from a “Star Wars” ship — and build whatever is in their imagination.

It drives O’Connell a little nuts. Building something real requires a plan, and part of him wants to know what all of the pieces do, or the different ways they might fasten to each other, before he starts to build. But the other part of him loves that his kids are having a blast creating like this, so he happily sits on the floor and fastens a racecar tire to a TIE Fighter.

He admits his two most dominant qualities — obsession with process and detail, and empathy — compete with one another, but in an NFL quarterback room one is needed just as much as the other, often at the same time. It’s why O’Connell’s teaching method has resonated with players.

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As a play-caller, Kevin O’Connell specializes in providing answers for his players. (Stephen Maturen / Getty Images)

With quarterbacks, he implements a layered approach that first explains why a play or broader concept will manifest in a certain way. This defense has a rule that says they’ll react to this formation with this type of coverage, so we will change our formation spacing to force them out of their rule and create our advantage instead of, we are lining up this way.

O’Connell installs a core alphabet for his system. Then he builds out the playbook and week-to-week game plans by tying a word players recognize in a concept or play to another word which brings them into a family of plays and eventually grows into an entire system. The player can easily jump between plays within a family and into the broader system because the words he recognizes escort him there. The point is to avoid rote memorization; everything links to something else. O’Connell calls it “dot-connecting.”

“Maybe it’s a concept that you take from an existing concept, and you say, ‘Here’s how we’re gonna change it, here’s how we’re gonna name it,” O’Connell explained. “It’s in a family of names that have sameness and likeness — big cats, sports cars — whatever it is, you name it, we’ve got a category for it. And if we don’t, we’ll have one soon enough.”

O’Connell asks his players for detailed feedback during the installation of his offense and subsequent practices. If a receiver feels more comfortable adjusting his route off a third inside step instead of a fourth, or if the quarterback wants to swap out one route for another while attacking the same space on the field, O’Connell changes his play.

“I’m not the one out there running the play,” O’Connell said. “If it doesn’t infringe upon the play-caller’s intent or the design of the play, ‘It’s yours, guys.’ I think that there is power in that, in this day and age … when they feel like they are a voice at the table, not just someone being talked to.”

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“The way he connects, the way he talks with us, the way he understands us as players, I feel like it’s a really good characteristic as a coach,” said Vikings All-Pro receiver Justin Jefferson.

Plus, when players feel like they have a say in the details of the plays they run, O’Connell is comfortable asking them to trust him when he adjusts the plan in real-time. He does this often and for good reason. Defenses come up with bespoke plans — at times outside their typical system — to try to slow down Jefferson. There sometimes is no precedent for how a specific opponent will try to mitigate him until they show their strategy in a game’s first few series.

When that happens, O’Connell and his staff workshop their own offensive counters on the sidelines and in the locker room at halftime. They come up with a list of “what-if’s”: If a defense does X, how will the Vikings respond?

“I think the best coaches see it live. They can make those in-game adjustments, they don’t have to wait until after the fact to do that,” said McVay, who watches cut-ups of Minnesota’s game film every week. “I’ve seen Kevin do that in his tenure there.”

O’Connell’s adaptability beyond game-planning has been tested. While his 2022 team won 13 games — 11 by one score — they were ultimately undone by a defense that ranked near the bottom of the league and lost in the wild-card round. To fix it, O’Connell hired former Miami Dolphins head coach Brian Flores, known for his complicated, aggressive, pressure-diverse scheme. A former quarterback hired a modern quarterback’s biggest fear.

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How Brian Flores and the Vikings built such a ‘wild’ and ‘different’ NFL defense

The Vikings lost their first three games in 2023, but just as veteran quarterback Kirk Cousins and the offense began to find their rhythm and put together a string of wins, chaos struck again.

Cousins tore his Achilles against the Green Bay Packers in Week 8. Minnesota traded for journeyman Josh Dobbs, but after starter Jaren Hall suffered a concussion the following week, O’Connell was essentially forced to install a playbook for Dobbs on the fly. The Vikings won that game and the next, but Dobbs’ production did not last. Minnesota rotated quarterbacks through the last several games of the season, and O’Connell stretched himself thin managing the different players and game plans while keeping the building encouraged about the future.

“It speaks to the whole of building a culture, systems, schemes, how he works with people, how he creates an environment for guys to grow together,” game management coordinator and pass game specialist Ryan Cordell said. “Last year, we’re battling injuries, and he didn’t change. He was the same guy.”

The Vikings parted with Cousins in free agency last summer with the plan to draft and develop their next quarterback. They also signed free agent Sam Darnold, the third pick in the 2018 draft who pinballed from dysfunctional to dysfunction until he repaired his bad habits and nursed his bruised confidence last season in San Francisco.

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O’Connell leveled with Darnold and Vikings fans after Minnesota selected Michigan star J.J. McCarthy with the 10th pick in April’s draft. While McCarthy would be the future, O’Connell would still do whatever he could to help Darnold compete for the starting role in 2024 on a one-year deal, to reset the narrative and give him tools to help fulfill the potential many believed he’d never reach. All the better if that gave McCarthy — who, at just 21 was the same age as Darnold when the New York Jets drafted him — more time to develop as an NFL player.

O’Connell structured most of the first-team summer reps around Darnold to help him adjust to his new system while gradually increasing McCarthy’s workload and preparing him to play in the preseason. O’Connell was mulish that he would not put McCarthy in a position he wasn’t ready for — at times bristling at questions about the rookie’s timeline.


A third-round pick of the Patriots in 2008, O’Connell’s NFL playing career fizzled out before it ever really began. (Jim Rogash / Getty Images)

That adamance (and how O’Connell expressed it) stemmed from his own tumultuous experience as an NFL backup. He understood how quickly a quarterback’s vibe can sour. O’Connell was an athletically gifted and smart prospect when he was drafted by the Patriots in the 2008 third round to back up Tom Brady. But New England cut O’Connell in 2009 and he bounced around several teams for the next three years, with a labrum surgery thrown in for good measure in 2010.

He used to view his playing career with some regret, but that perspective has shifted, especially as he got into coaching. He studied behind a future Hall of Famer in Brady and alongside blossoming young stars such as Stafford and shared position rooms with amiable teammates like Matt Cassel and Mark Sanchez. O’Connell understood what a young quarterback can learn when a position room is built thoughtfully. His experience ultimately helped inform him as a teacher and a manager of people.

That was also part of why the Vikings brought in Darnold — to show McCarthy what pro preparation and study habits look like, to give him a collaborator and to make sure a uniquely isolated position did not feel that way.

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“I think back on different interactions and being able to be around some great players, coaches and humans throughout my NFL journey. I think about how I can shape our team, and my messaging to our team and our quarterbacks, to really do two things: challenge them but ultimately let them know that I have their backs and that everything I’m trying to accomplish is for them in conjunction with them achieving success,” O’Connell said.

On July 6, Vikings rookie cornerback Khyree Jackson was killed in a car accident in Maryland. “It has been a significant time in our organization, losing a player,” O’Connell said. “You are personally working through your process of dealing with something like that — while also knowing that my role is to be there… for anyone that might need support, and love, and guidance.”

Players were away from the facility during the brief break in the NFL’s calendar. O’Connell got on the phone with anybody who needed to talk, checking on players and coaches and grieving privately.

“He has a heart for people,” said McVay. “He really pays close attention to what people need, (and) he’s that for them.”

The Vikings contributed $20,000 to funeral expenses and paid out Jackson’s signing bonus to his estate. O’Connell spoke at the funeral in Jackson’s hometown, and the team also had a private memorial service with Jackson’s family in Minnesota. They keep Jackson’s locker open, and players wear decals of his initials on their helmets. O’Connell wears a pin above his heart that says “KJ.”

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O’Connell told the team what he had learned through two years as a head coach and decades as an assistant and player before that: Life is a combination of success, adversity and chaos. They would all mourn as football’s unforgiving clock ticked on.

The season approached. In August, after the Vikings’ first preseason game, McCarthy tore his meniscus. His rookie season was over before it began, and for a moment, the injury soured Minnesota fans’ hopes for 2024.

But O’Connell believed in Darnold.


O’Connell’s belief in Sam Darnold (right) has manifested in Minnesota’s 4-0 start to the season. (Stephen Maturen / Getty Images)

The Vikings are 4-0 with wins against postseason favorites like the San Francisco 49ers, Houston Texans and Packers. Darnold is playing better than ever. He has thrown for 932 yards and a league-leading 11 touchdowns with three interceptions while completing 68.9 percent of his passes. He also ranks third in the NFL in completion percentage above expectation (5.7), a measurement that takes into account the situational context of a passing play.

O’Connell’s fingerprints are all over Darnold’s renewed confidence and resurgent play, which has featured help from a steady run game, skilled receivers and Flores’ No. 1-ranked defense. But O’Connell doesn’t smother the young quarterback. Instead, he provides Darnold with multiple answers on every play, giving him a manual and an understanding of how the pieces might fit together.

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Against the Giants in Week 1, a 22-yard pass to tight end Josh Oliver was designed to give Darnold two options depending on how the defense covered Jefferson. If New York’s defense stuck to its system’s rules for the concept and personnel the Minnesota offense showed, a safety and extra linebacker would flow toward Jefferson’s route, leaving Oliver open up the right hash if he got behind just one other linebacker. If the defense “broke” its own rules for that look, Jefferson would be wide open.

“With the proper amount of structure, coaching and clarity that you can give these players, you can make this very difficult or you can make the complex simple,” said O’Connell. “You’re constantly trying to find that balance, and the balance is in how you’re coaching it. I never want to be a Monday morning ‘clicker coach’ where I am holding the clicker … saying, ‘You should have done this, this and this.’ If I’m saying those things, I probably didn’t coach it very well.”

Perhaps Darnold’s true “arrival” this season came on a third-and-9 pass in a Week 2 win against the 49ers after Jefferson left the game with a quad injury. Darnold threaded a pass to receiver Jalen Nailor between three defenders, letting the ball go at the perfect moment where a fraction early or late would have almost certainly led to a turnover.

In that game, Darnold threw for 268 yards and two touchdowns plus an interception and ran for 32 yards. His 97-yard touchdown pass to Jefferson was so electric that O’Connell sprinted down the sideline to celebrate, headset cord streaming behind him like a banner.

“The amount of work that goes into that position, on your quarterback journey, when everybody decides that you cannot play … ” O’Connell said after the game. “We always believed in him. Awesome to watch him go do that thing. I am really proud of Sam Darnold.”

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O’Connell fought to control his voice, but it cracked with emotion as he thought about a young quarterback who got another chance and what he was building with him.

(Illustration: Meech Robinson / The Athletic; photos: Adam Bettcher, Nick Cammett, Stephen Maturen/Getty Images)

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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Culture

6 Poems You Should Know by Heart

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6 Poems You Should Know by Heart

Literature

‘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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Culture

Classic and Contemporary Literature From France, Japan, India, the U.K. and Brazil

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Classic and Contemporary Literature From France, Japan, India, the U.K. and Brazil

Literature

FRANCE

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According to the writer Leïla Slimani, 44, the author of ‘The Country of Others’ (2020).

Classic

‘Essais de Montaigne’ (‘Essays of Montaigne,’ 1580)

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Karl Leitz for Anthony Cotsifas Studio

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“France is a country of nuance with a love of conversation and freedom and an aversion to fanaticism. It’s also a country built on reflexive subjectivity. Montaigne reveals all that, writing, ‘I am myself the matter of my book.’”

Contemporary

‘La Carte et le Territoire’ (‘The Map and the Territory,’ 2010) by Michel Houellebecq

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“Houellebecq describes France as a museum, where landscape turns into décor and where rural areas are emptying out. He shows the gap between the Parisian elite and the rest of the population, which he paints as aging and disoriented by modernity. It’s a melancholic and yet ironic novel about a disenchanted nation.”

JAPAN

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According to the writer Yoko Ogawa, 64, the author of ‘The Memory Police’ (1994).

Classic

‘Man’yoshu’ (late eighth century)

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“‘Man’yoshu,’ the oldest extant collection of Japanese poetry, reflects a diversity of voices — from emperors to commoners. They bow their heads to the majesty of nature, weep at the loss of loved ones and find pathos in death. The pages pulse with the vitality of successive generations.”

Contemporary

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‘Tenohira no Shosetsu’ (‘Palm-of-the-Hand Stories,’ 1923-72) by Yasunari Kawabata

“The essence of Japanese literature might lie in brevity: waka [a classical 31-syllable poetry form], haiku and short stories. There’s a tradition of cherishing words that seem to well up from the depths of the heart, imbued with warmth. Kawabata, too, exudes more charm in his short stories — especially these very short ‘palm-of-the-hand’ stories — than in his full-length novels. Good and evil, beauty and ugliness, love and hate — everything is contained in these modest worlds.”

INDIA

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According to Aatish Taseer, 45, a T contributing writer and the author of ‘Stranger to History: A Son’s Journey Through Islamic Lands’ (2009).

Classic

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‘The Kumarasambhava’ (‘The Birth of Kumara,’ circa fifth century) by Kalidasa

Karl Leitz for Anthony Cotsifas Studio

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“This is an epic poem by the greatest of the classical Sanskrit poets and dramatists. The gods are in a pickle. They’re being tormented by a monster, but Shiva, their natural protector, is deep in meditation and cannot be disturbed. Kama, the god of love, armed with his flower bow, is sent down from the heavens to waken Shiva. Never a wise idea! The great god, in his fury, opens his third eye and incinerates Kama. But then, paradoxically, the death of the god of love engenders one of the greatest love stories ever told. In the final canto, Shiva and his wife, the goddess Parvati, have the most electrifying sex for days on end — and, 15 centuries on, in our now censorious time, it still leaves one agog at the sensual wonder that was India.”

Contemporary

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‘The Complex’ (2026) by Karan Mahajan

“This state-of-the-nation novel, which was published just last month, captures the squalor and malice of Indian family life. Delhi is both my and Mahajan’s hometown and, in this sprawling homage to India’s capital, we see it on the eve of the economic liberalization of the 1990s, as the old socialist city gives way to a megalopolis of ambition, greed and political cynicism.”

THE UNITED KINGDOM

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According to the writer Tessa Hadley, 70, the author of ‘The London Train’ (2011).

Classic

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‘Jane Eyre’ (1847) by Charlotte Brontë

“Written almost 200 years ago, it remains an insight into our collective soul — or at least its female part. Somewhere at the heart of us there’s a small girl in a wintry room, curled up in the window seat with a book, watching the lashing rain on the window glass: ‘There was no possibility of taking a walk that day. …’ Jane’s solemnity, her outraged sense of justice, her trials to come, the wild weather outside, her longing for something better, for love in her future: All this speaks, perhaps problematically, to something buried in the foundations of our idea of ourselves.”

Contemporary

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‘All That Man Is’ (2016) by David Szalay

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“Though he isn’t quite completely British (he’s part Canadian, part Hungarian), Szalay is brilliant at catching certain aspects of British men — aspects that haven’t been written about for a while, now updated for a new era. Funny, exquisitely observed and terrifying, this novel reminds us, too, how absolutely our fate and our identity as a nation belong with the rest of Europe.”

BRAZIL

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According to the writer and critic Noemi Jaffe, 64, the author of ‘What Are the Blind Men Dreaming?’ (2016).

Classic

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‘Memórias Póstumas de Brás Cubas’ (‘The Posthumous Memoirs of Brás Cubas,’ 1881) by Machado de Assis

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“Not only is it experimental in style — very short chapters mixed with long ones; different points of view; narrated by a corpse; metalinguistic — but it also introduces an extremely ironic view of the rising bourgeoisie in Rio de Janeiro at the time, revealing the hypocrisy of slave owners, the falsehood of love affairs and the only true reason for all social relationships: convenience and personal interest. After almost 150 years, it’s still modern, both formally and, unfortunately, also in content.”

Contemporary

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‘Onde Pastam os Minotauros’ (‘Where Minotaurs Graze,’ 2023) by Joca Reiners Terron

“The two main characters — Cão and Crente — along with some of their colleagues, plan to escape and set fire to the slaughterhouse where they work under exploitative conditions. The men develop sympathy for the animals they kill, and one of them becomes a sort of philosopher, revealing the sheer nonsense of existence and the injustices of society in the deepest parts of Brazil.”

These interviews have been edited and condensed.

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