Culture
Meet Hezly Rivera, gymnast who will make Olympic debut alongside veterans
Before the second day of the women’s competition at U.S. Olympic gymnastics trials officially began, 80 percent of the five-person team was virtually locked in.
Simone Biles, Suni Lee, Jordan Chiles and Jade Carey had separated themselves from a field depleted by injuries on night one to claim the top four spots in the all-around standings, and the quartet of Tokyo Olympians fit together to form a well-rounded team with individual medal potential across multiple events.
But the Paris Olympics, unlike the Tokyo Games, will feature five-person teams in the artistic gymnastics events. Three contenders who were firmly in the mix to make the team — Shilese Jones, Skye Blakely and Kayla DiCello — withdrew from the trials because of injuries that occurred while in Minneapolis for the meet. Jones, a prohibitive favorite to make the team, didn’t compete Sunday after injuring her knee warming up a vault Friday. Blakely ruptured her Achilles during podium training Wednesday before competition began, and DiCello sustained the same injury on her first vault of the meet Friday.
After two days of intense, unpredictable competition, Hezly Rivera earned her spot on the squad that boasts four seasoned veterans.
The Olympic team final takes a “three up, three count” format in which three athletes compete on each apparatus and all three scores count. The U.S. could fill the three spots on each event with a trio out of Biles, Lee, Chiles and Carey, but that combination has slight weak spots on uneven bars and balance beam that could be improved with the addition of a gymnast who can be put into the lineup to contribute a few more tenths.
Enter Rivera.
The 2023 junior all-around national champion made her senior elite debut earlier this year and just turned 16 at the beginning of June. She hasn’t had much experience competing internationally, but she was a member of the team that took silver at junior world championships last year. Rivera, a native of Oradell, N.J., used to train under Maggie Haney, who was 2016 Olympian Laurie Hernandez’s coach, but Haney is currently suspended for five years by USA Gymnastics for verbal and emotional abuse of athletes. Rivera and her family moved to Texas where she now trains at WOGA under Valeri Liukin, who coached his daughter Nastia to the Olympic all-around title in 2008.
Her routines on uneven bars and balance beam are the key elements to how she fits in the team-building puzzle. Her 6.1 difficulty score on bars sets her up to score over a 14.000 when she hits, and she can also contribute a score in the upper 13-low 14.00 range on beam with a 6.0 difficulty score.
On Sunday, she scored a 14.300 on bars and a 14.275 on beam, which placed her in a tie for first on that event.
Imagine being a junior in high school and competing at the U.S. Olympic Trials?!
That dream is a reality for 16-year-old Hezly Rivera. #USAGTrials24 pic.twitter.com/n8A9wmsMgQ
— NBC Olympics & Paralympics (@NBCOlympics) July 1, 2024
Her two lower-scoring events, vault and floor exercise, are not an issue because Biles, Chiles and Carey excel on those apparatuses. In Paris, she will likely be counted on to do beam in the team final and serve as a backup option for the bars lineup if Lee, who has been dealing with a kidney-related health condition, cannot perform on competition day.
When the stakes were high and even some of the veterans felt the nerves, Rivera proved she could handle the pressure. Now she’s headed to Paris.
Required reading
(Photo: Andy Lyons / Getty Images)
Culture
Finding Wisdom in a Poem by Wendy Cope
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.
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?
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.
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 …
Question 1/7
Stop, if the car is going “clunk”
Or if the sun has made you blind.
Don’t answer e–mails when you’re drunk.
Tap a word above to fill in the highlighted blank.Want to learn this poem by heart? We’ll help.
Fill in the missing words below. You can always refer to the reading by A.O. Scott and full
text above.Let’s start with the first stanza.
Culture
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.
Culture
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.”
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.”
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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