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Match the Taylor Swift Song to the Poem Inspired By Her Music

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Match the Taylor Swift Song to the Poem Inspired By Her Music

In honor of Madison Cloudfeather Nye

Somehow the voices twined around a young mind

encouraging gentle stanzas, open endings,

even in a Texas town where they wanted you

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to testify before cashing a check. Heck with that, boys.

I’m heading out in my little gray boots, slim volumes

of poetry in my holster, William of Oregon, William of Maui,

drinking jasmine from an old fence. I’m finding a meadow,

children, dandelion puffs, scraps from a vintage notebook.

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The double William of Paterson, New Jersey

helped keep us sane though our teachers

went crazy over that wheelbarrow.

Love it, then move on!

Riding a train north in England to the stoop

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of another William’s cottage, sloped roof,

his sister’s purple-scented paper next to his,

high school memory loitering: our teacher

insisting his gloomy poem nearly led

to death. My classmates concurred,

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not caring much whether some guy

leapt from a cliff long ago or not,

but I said, He grieves, but he is filled

with joy. In a strange voice

like a ringing bell, immeasurable joy, because

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he grieves so much. Because he loves

so deeply all that he is seeing.

They stared at me.

I was never at home in that school.

Our teacher wanted everyone to get

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the same thing from a poem.

Later home felt everywhere, radiant waters,

thistles, greenest hilltops dotted with sheep,

masses of tulips and geese, wandering William’s

intricate paths, pausing at every turn,

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life stretching ahead, mountains of bliss

and searing sorrow for years to come.

They wrote it, we defended it,

it seemed joyous enough to know one could

love forever, carry on or stop right there,

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and the power was yours.

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Culture

Finding Wisdom in a Poem by Wendy Cope

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Finding Wisdom in a Poem by Wendy Cope

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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.

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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?

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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.

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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.

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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.

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Stop, if the car is going clunk 

Or if the sun has made you blind. 

Dont answer emails when youre drunk. 

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Tap a word above to fill in the highlighted blank.

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

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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.

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

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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.”

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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.”

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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

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