Connect with us

Culture

Mirra Andreeva’s tennis rise looked inevitable. Then Conchita Martinez sped it up

Published

on

Mirra Andreeva’s tennis rise looked inevitable. Then Conchita Martinez sped it up

INDIAN WELLS, Calif. — Conchita Martinez, one of the queen bees of tennis, had done just about everything there was to do in the sport.

She had won Wimbledon. She had coached Garbine Muguruza to win Wimbledon. She had won five Federation Cup titles as part of Spain’s women’s national team, going on to captain the team and then to run the entire tournament, by which time it was known as the Billie Jean King Cup. She found time to captain the men’s national team in the Davis Cup, too.

But last spring, a new type of opportunity arrived: molding a teenager with the chance to be a generational talent. Did she want to coach Mirra Andreeva, the Russian already making waves on the WTA Tour at 16?

Muguruza was in her early twenties when Martinez helped guide her to the Wimbledon title in 2017. There’s only so much a coach can do at that point. Coaching a teenager is a chance to help define their tennis for the better, perhaps forever. It’s also coaching a teenager … yikes!

Not really. A year later, Andreeva, 17, is the toast of tennis. She is the ascendant player on the WTA Tour, on a 10-match winning streak that brought her a debut WTA 1,000 title in Dubai, UAE, and took her into the top 10 of the rankings for the first time. Coco Gauff did not win one of those titles, one rung below a Grand Slam, until she was 19.

Advertisement

She has beaten all comers in that streak: Iga Swiatek, the world No. 2 and the dominant player in the sport the past three years, was demolished in Dubai. Andreeva beat Elena Rybakina there too, and when she played the 2022 Wimbledon champion again at Indian Wells on Tuesday night, it wasn’t even competitive. Andreeva produced a 6-1, 6-2 masterclass.

Thursday afternoon brought tighter competition against Elina Svitolina, a former world No. 2, but the same result: 7-5, 6-3 to the young Russian. Andreeva didn’t just win. She confused and beguiled an opponent 13 years her senior, moving Svitolina around the court, interspersing drop shots with power and angles in a way that teenagers rarely do. They are supposed to be one- or two-dimensional in their first years, and then develop an arsenal.

And then came Friday, a rematch with an extra-motivated Swiatek, still smarting from the loss last month in Dubai and trying to win a tournament for the first time since the French Open last year. She blasted her way into their semifinal with her usual brutal efficiency. Surely this was too tall a task for Andreeva, especially as she kept slipping behind in her service games, setting up moment after moment when Swiatek’s opponents so often crumble.

Andreeva did the opposite of that, in a flurry of those flat, cross-court and down-the-line backhands that Swiatek couldn’t touch. Or she hung in rallies until Swiatek’s impatience got the better of her and the former world No. 1 sent forehands wide and backhands into the net. Swiatek had inroads in nearly all of Andreeva’s service games, but she rarely took them to break points. Soon, she was swatting balls in anger and snapping at her coaches. Andreeva, cool and collected and courageous when it counted most, was marching into the final, having won fewer points and been under more pressure.

“I don’t know why I felt so much confidence,’ Andreeva said in her post-match news conference.

Advertisement

That may have something to do with the 52-year-old Spanish woman sitting in Andreeva’s box, often with a resting grin-face as she watches her latest charge. Andreeva said Wednesday that she was always smaller than her competition growing up — at 5ft 9in (175cm), she isn’t anymore — and that forced her to find ways to win without overwhelming power. She learned to use her legs, to counterpunch and to spin the ball in all directions. Those attributes propelled her during her breakout tournaments, the 2023 Madrid Open and the 2024 Australian Open, where she put top players to the sword and puzzled lost positions into winning ones.

Martinez, Andreeva said, has taken those skills to a different, more aggressive level. Now she uses her tricks on offense as well as defense.

“Conchita is helping me to not be defensive all the time, when I have a chance to step in and try to be aggressive and to go for my shots,” she said in her news conference after beating Svitolina. “It’s working pretty good.”

It is. In 2025, Andreeva is winning a lower proportion of return points than she did in 2024, according to data collated by Tennis Abstract. She’s making fewer of her first serves. But she is winning a higher proportion of points behind those serves — 69 percent vs. 64 — and her dominance ratio, which divides the percentage of return points won by the percentage of serve points lost, has increased from 1.14 to 1.22 despite her drop-off on return. She is dictating more than she is being dictated to.

Beyond the results, Martinez has evolved into an Obi-Wan Kenobi to Andreeva’s Luke Skywalker, but only sort of. Skywalker never really tried to prank Kenobi as Andreeva often does Martinez, including Wednesday afternoon, when her coach was attempting to have a quasi-serious conversation with a journalist.

Advertisement

Cue the goofy faces and poses about 15 feet behind said journalist, attempting to mess with Martinez’s game face. Mission accomplished. Then off went a giggling Andreeva, simultaneously embarrassed and thrilled to have one of the legends of the sport kvelling about her.

Oh, to be 17 and have it all happening for you, in ways that sometimes even Andreeva does not understand.

“I don’t know why people are supporting me this much because honestly, when I was playing in U.S., my results were not great,” she said in her post-match news conference after easing past Rybakina. Andreeva lost in the first round in her only previous appearance here last year and lost in the second round in her two U.S. Open appearances.

“People are so energetic,” she said. “It kind of lights me up.”

Once that happens, watch out. Here comes a drop shot on an angle, followed by a whistling topspin lob. Or another searing, flat backhand diving onto the knot of the singles sideline and shooting off the court. Or, and perhaps most often, there’s her forehand squash-shot slice, which converts a position of stress into one of control.

Advertisement

In Andreeva, Martinez has found a near perfect muse, a player who aspires to play with the creativity that Martinez had, with her own style of quiet determination and passion. Andreeva barely had a slice a year ago. Now, she can use it for defensive or offensive shots. Martinez wants her to develop a heavier forehand with more spin to make it more difficult for an opponent to get the ball back. She’s working with her to play around with different trajectories, “instead of just hitting flat from nowhere.”

She wants her to have choices and is trying to teach her how to make the good ones.

“She’s not making a lot of stupid decisions on the court,” Martinez said. “It’s about having the good choices, waiting for the right ball, to compete against any player.”


Mirra Andreeva has added attacking shots to her game in recent months. (Clive Brunskill / Getty Images)

Coach-player relationships can be overrated in tennis, a sport where there are few chances for a real tactical discussion and no timeouts. Plenty of players run through coaches like toilet paper, jettisoning them at the first patch of poor results.

There are some relationships, though, that evolve into so much more than discussions about forehands and backhands, serves and returns. Carlos Alcaraz has one of those with Juan Carlos Ferrero, Martinez’s compatriot and a former world No. 1. Ferrero has guided Alcaraz for seven years, since he was 14.

Advertisement

Andreeva and Martinez have some way to go to catch up with them, but they are off to a good start. They are living similar versions of the same life in different eras. Martinez was just 16 when she made the fourth round of the French Open, in her third professional tournament. The next year, she reached the quarterfinals at Roland Garros and finished the year as the world No. 7. She and her compatriot, Arantxa Sanchez Vicario, captured the imagination of the sport, a creative and passionate yin to the brutalist, machine-like yang of Steffi Graf.

Martinez knows what it’s like to be on the verge of the world discovering you, and then to make that leap from tennis being an exercise in what is fresh and fearless to a world of expectation. First, they ask, “How did you do that?” Then it becomes: “Why didn’t you do that?”

“Tennis forces you to grow up quickly but she maintains that playfulness in there, she likes to joke around,” she said. “I am very much like that too. I like to joke around. I like to bother her. She likes to bother me.”

Andreeva is a student of the game’s history. She passes evenings in bed watching old tennis matches on YouTube. She knew all about Conchita Martinez. During her first months on the tour, though, she didn’t realize that Martinez was the woman who kept smiling and nodding to her at various tournaments.

When she finally did, she couldn’t believe that Martinez knew who she was, or that she would take the time to be cordial to her. Then, after she split with her coach and Muguruza retired, Andreeva’s management team floated Martinez as a potential match.

Advertisement

Andreeva knew the resume. Wimbledon champion, coach of a Wimbledon champion. Good enough for her.

They had several talks to feel each other out, which was more Martinez taking the measure of this teenage girl born in Siberia, raised in Sochi, Russia, and who moved to the south of France to traipse the tennis world. She needed to make sure that Andreeva was ready to be serious, that she was hiring a coach and not a babysitter.

She quickly realized that Andreeva is mature beyond her years. She eats right, she rests, she listens to adults older and smarter than she is. She could look someone in the eye and have a serious conversation in three languages, soon to be a fourth as she picks up Spanish.

“She’s a sponge,” Martinez said.


Conchita Martinez has accelerated Andreeva’s rise to the top of tennis. (Robert Prange / Getty Images)

They tried a tournament together and Andreeva said she immediately felt comfortable with Martinez. “Super great,” is how she described their chemistry.

Advertisement

“She told me that it was the same for her, so thank God it’s not just me,” she said the other day in a news conference, with her trademark grin and twinkle in her eyes. “I completely trust her with everything. I think she knows everything that’s going on in my life. I don’t know if it’s good or bad, but, no, it’s just like this.”

When they first started, Martinez worried that Andreeva might not be enough of a teenager, rather than too much of one. On the practice courts in France or in Barcelona, where Martinez lives, Andreeva would hit 10 great shots in a row, miss on the 11th and drama would ensue.

Martinez told her to give herself a break, maybe focus on the 10 good ones instead of the last miss. And when she hit a great shot, she needed to learn to acknowledge it, to enjoy it and be proud of what she has accomplished.

“I always tell her, ‘Wow, amazing’,” she said. “You need to have fun with those things. Amazing drop shots, amazing angle. Wow, great, don’t take it for granted. Enjoy that.”

There has been plenty to enjoy lately. Andreeva’s ranking was hovering around 40 when Martinez came on the scene. She finished last year making the final of the Ningbo Open in China, where she lost against Daria Kasatkina from a winning position and broke down in tears at the trophy ceremony. Then she made the fourth round of the Australian Open, went 1-1 in Qatar and 6-0 in Dubai. Until very recently, she was the only teenager in the WTA top 100.

Advertisement

While the tennis world had long expected Andreeva’s ascendancy, the steepness and immediacy of this year’s trajectory has been a surprise. Not for Martinez. She couldn’t make much of an impact last year, because she started with Andreeva in the middle of the season, but the off-season let the Russian get the full Martinez treatment. They combined fitness and weight training with their goals to achieve a certain style of play.

Now comes the task of maintaining the work ethic that has lifted Andreeva to her lofty heights so quickly. People think getting to the top 10 is the hard part. It isn’t, Martinez said.

“It’s not getting there, it’s staying there — year after year, dealing with the pressure of defending those points and staying in a good frame of mind. And doing it all over and all over again,“ Martinez said.

She has shown few signs of doing anything else. Even after she got steamrollered in the second set against Swiatek, she told herself to run and fight for every point, to not worry how she got balls back but to get them back, however she could. When it was over, and Andreeva was 7-6(1), 1-6, 6-3 winner, Andreeva gave a nod to Martinez, a two-time finalist at Indian Wells, and a little ribbing, too.

“My coach lost in the finals,”  she said. “I’m going to try to do better than her.”

Advertisement

Nothing would please Martinez more.

(Top photo: Jay Calderon / The Desert Sun via Imagn Images)

Culture

Poetry Challenge Day 2: Learning a Poem's Rhythm

Published

on

Poetry Challenge Day 2: Learning a Poem's Rhythm

Advertisement

If you’re joining us in memorizing Edna St. Vincent Millay’s “Recuerdo” this week, you probably already have the first two lines stuck in your head. (If you’re just discovering the Poetry Challenge, please check out yesterday’s introduction. It’s never too late to start!)

We were very tired, we were very merry 

Advertisement

We had gone back and forth all night on the ferry. 

Ken Burns, filmmaker

Once you’ve got these, you’ve learned a third of the poem, since this repeating couplet functions as a mini-chorus at the start of each stanza.

Advertisement

That refrain tells the story in a nutshell. But this poem is more than just a report on one night on the ferry. It recreates the voyage through a flurry of sensory details, embedded in strikingly stylized language.

Those features — the imagery and the sound; what your mind’s eye sees and your physical ears hear — are what make “Recuerdo” a poem, and paying attention to how they work can help us learn it.

Advertisement

“Recuerdo” is a whole mood. Weary and buoyant, the poem captures how it felt to be on that boat. You can see the sky turning color as the morning air breezes up.

And the sky went wan, and the wind came cold, 

Advertisement

Joy Harjo, poet

You can taste the fruits of the voyage.

Advertisement

And you ate an apple, and I ate a pear, 

Advertisement

Tia Williams, novelist

Strain your ears just a little, and you can make out the sounds of boats in the harbor.

Advertisement

And the whistles kept blowing, and the dawn came soon. 

Kevin Kwan, novelist

These impressions — and the vividness of Millay’s language — can help anchor the poem in your mind. But the secret to fixing it in your memory is to learn its structure, to listen to the musical patterns of its language.

Advertisement

Poetry is older than writing, and many of its features originated as aids to memory in an oral, pre-literate culture. It’s easier to find the word you’re looking for if you know it sounds like the other words around it. Rhyme, alliteration and rhythm are not only pleasing to the ear; they’re sticky.

Each line of “Recuerdo” is a poetic wave that breaks on the shore of a rhyme.

Advertisement

It was bare and bright, and smelled like a stable 

But we looked into a fire, we leaned across a table, 

Advertisement

Reginald Dwayne Betts, poet

Rhyme is just one of the ways poets use repeating sounds to make their work memorable. Alliteration is another, and the English language has a fondness for it that goes back to its earliest literature. In the part of the poem we just heard, clusters of consonants in the middle of the lines knot them together and help you hold on to them.

Advertisement

It was bare and bright, and smelled like a stable 

But we looked into a fire, we leaned across a table, 

Advertisement

Ayad Akhtar, playwright and novelist

The poem’s individual words and syllables bob like a string of harbor buoys. Every line is propelled by the cadence of stressed and unstressed syllables. Our ears hear four heavy beats.

Advertisement

We were very tired, we were very merry 

We had gone back and forth all night on the ferry. 

Jennifer Egan, novelist

Advertisement

This pattern of rhythm and sound — four-beat lines yoked in rhyming pairs — is a familiar one in English. You may have encountered it before you could read, depending on your exposure to Dr. Seuss:

Every Who down in Who-ville liked Christmas a lot

But the Grinch, who lived just north of Who-ville, did NOT!

Advertisement

Dr. Seuss, “How the Grinch Stole Christmas!

Songwriters are fond of it, including Joni Mitchell:

Advertisement

Rows and floes of angel hair

And ice cream castles in the air.

Joni Mitchell, “Both Sides Now

Advertisement

If you paid attention in English class, you might know it from Andrew Marvell:

Had we but world enough and time

Advertisement

This coyness, lady, were no crime.

Andrew Marvell, “To His Coy Mistress

As these examples suggest, there’s a lot of variation within the basic pattern — longer or shorter lines, snappy or languorous pacing, playful or wistful emotional effects. Every voice will find its own music. This isn’t math or science, it’s art.

Advertisement

The variation is partly a matter of meter. This is the most technical part of poetry, with its own special jargon, but it’s also intuitive and physical — it lives in the bobbing of your head or tapping of your foot as you read.

A foot, as it happens, is what a unit of meter is called, and while most English poems (including “Recuerdo”) have varying feet, many have one that dominates, keeping time like a bass drum. In this poem, Millay often places her strong beats after two unstressed syllables: da-da-DUM. But like any good poet, she achieves both consistency and variety. In some lines, the syllables land like hammer blows:

Advertisement

And the sky went wan, and the wind came cold, 

Advertisement

V. E. Schwab, novelist

In others they spatter like raindrops:

Advertisement

We hailed, Good morrow, mother! to a shawlcovered head, 

Jenna Bush Hager, TV host and noted book lover

Words are more than sounds and syllables. They communicate emotion and meaning. The words in “Recuerdo” form a bouquet of arresting images and sensations, an experience that will be different for each reader. And even though, for the purposes of memorization, we have pulled apart some of the components of the poem, you can’t really separate sound from sense, or feeling from structure. They all happen at the same time, and work together to create something that resists summary. The poem is its own explanation.

Advertisement

What does a bucketful of gold look like to you? What face do you see when the shawl-covered head turns to acknowledge your greeting? As you answer these questions, you take possession of the poem. It becomes part of you.

Today’s game will help with that process. See how many of its words you already have!

Advertisement

Your task for today: Practice the rhythm.

Question 1/3

Fill in the missing words.

Advertisement

It was bare and bright, and smelled like a stable 

But we looked into a fire, we leaned across a table, 

Advertisement

Tap a word above to fill in the highlighted blank. Need help? Click “See Full Poem
& Readings” at the top of the page.

Advertisement

Edited by Gregory Cowles, Alicia DeSantis, Nick Donofrio and Joumana Khatib. Additional editing by
Emily Eakin, Tina Jordan, Laura Thompson and Emma Lumeij. Design and development by Umi Syam and
Eden Weingart. Additional design by Victoria Pandeirada. Video production by Caroline Kim.
Additional video production by McKinnon de Kuyper. Photo editing by Erica Ackerberg. Illustration
art direction by Tala Safie.

Illustrations by Hannah Robinson.

Advertisement

Audio of “Recuerdo” from “Edna St. Vincent Millay in Readings From Her Poems” (1941, RCA); accompanying
photograph from Associated Press.

Continue Reading

Culture

Valentin-Yves Mudimbe, 83, Dies; African Scholar Challenged the West

Published

on

Valentin-Yves Mudimbe, 83, Dies; African Scholar Challenged the West

Mr. Mudimbe was unapologetic. “To the question ‘what is Africa?’ or ‘how to define African cultures?’ one today cannot but refer to a body of knowledge in which Africa has been subsumed by Western disciplines such as anthropology, history, theology or whatever other scientific discourse,” he told Callaloo. “And this is the level on which to situate my project.”

Valentin-Yves Mudimbe was born on Dec. 8, 1941, in Likasi, in the Katanga Province of what was then the Belgian Congo, to Gustave Tshiluila, a civil servant, and Victorine Ngalula. At a young age, he said in 1991, he “began living with Benedictine monks as a seminarist” in Kakanda, in pre-independence Congo. He had “no contact with the external world, even with my family, and indeed had no vacations.”

When he was 17 or 18, he recalled, he decided to become a monk, this time among the Benedictine “White Fathers” of Gihindamuyaga, in Rwanda. But in his early 20s, already “completely francophonized,” he abandoned the religious life and entered Lovanium University in Kinshasa, graduating in 1966 with a degree in Romance philology. In 1970 he received a doctorate in philosophy and literature from the Catholic University of Louvain, in Belgium. He then returned to Congo to teach.

In the 1970s Mr. Mudimbe published, among other writings, three novels, all translated into English: “Entre les Eaux” (1973), published in English as “Between the Waters”; “Le Bel Immonde” (“Before the Birth of the Moon,” 1976); and “L’Écart” (“The Rift,” 1979). The principal characters in these novels “find it impossible to tie themselves to anything solid,” the scholar Nadia Yala Kisukidi commented in Le Monde.

At the end of the 1970s, when the offer came from Mr. Mobutu to be “in charge of, I guess, ideology and things like that,” as Mr. Mudimbe put it to Callaloo, he reflected that “I didn’t think of myself and I still don’t think of myself as a politician.” After he established himself in the United States, his focus turned to essays and philosophy; among other books, he wrote “L’Odeur du Père” (1982), “Parables and Fables” (1991) and “Tales of Faith” (1997).

Advertisement
Continue Reading

Culture

Poetry Challenge: Memorize ‘Recuerdo’ by Edna St. Vincent Millay

Published

on

Poetry Challenge: Memorize ‘Recuerdo’ by Edna St. Vincent Millay

Advertisement

Someone once defined poetry as “memorable speech.” By that standard, each of us has committed at least some poetry to memory. Nursery rhymes, song lyrics and movie catchphrases all find their way into our heads, often without any effort on our part.

More formal memorization used to be a common classroom ritual. Schoolchildren would stand and recite approved works for their teachers and peers. That kind of learning has mostly gone out of fashion, which may be a sign of progress or a symptom of decline. Either way, school shouldn’t be the only place for poetry.

And learning a poem by heart doesn’t have to be drudgery. It can be a way of holding onto something beautiful, a morsel of verbal pleasure you can take out whenever you want. A poem recited under your breath or in your head can soothe your nerves, drive away the noise of everyday life or grant a moment of simple happiness.

Advertisement

At a time when we are flooded with texts, rants and A.I. slop, a poem occupies a quieter, less commodified corner of your consciousness. It’s a flower in the windowbox of your mind.

There are millions of them available, in every imaginable style, touching on every facet of experience. You could store a whole anthology in your brain.

Advertisement

But let’s start with one: “Recuerdo,” by Edna St. Vincent Millay.

“Recuerdo,” first published in 1919 in Poetry magazine, is the recollection of a night out on the town — or more precisely on the water, presumably the stretch of New York Harbor served by the Staten Island Ferry. We asked some friends of the Book Review — poets, novelists, playwrights, actors and other literature lovers — to recite it for us, and a bunch said yes.

Today, Ada Limón, Ina Garten and Ethan Hawke will introduce you to the poem. Here’s the first of the three stanzas.

Advertisement

Recuerdo by Edna St. Vincent Millay 

Advertisement

We were very tired, we were very merry 

We had gone back and forth all night on the ferry. 

It was bare and bright, and smelled like a stable 

But we looked into a fire, we leaned across a table, 

We lay on a hilltop underneath the moon; 

Advertisement

And the whistles kept blowing, and the dawn came soon. 

Ada Limón, U.S. poet laureate

Why did we pick “Recuerdo”? We combed through our shelves like Goldilocks, looking for a poem that was just right: not too difficult, but not too simple; not obscure but not a chestnut; not a downer but not frivolous either. We didn’t want a poem that was too long, and we thought something that rhymed would be more fun — and easier — to memorize than a cascade of free verse.

Advertisement

Millay, who was born in Maine in 1892 and was a fixture of the Greenwich Village bohemian scene in the 1920s, caught our eye for a few reasons. In her lifetime, she was a very famous poet.

Advertisement

Edna St. Vincent Millay in 1923.

John Lofman/Published with permission of The Edna St. Vincent Millay Society

Advertisement

She was a decidedly modern author who often wrote in traditional forms, and who has stayed popular through 100 years of fluctuating fashion. Her verse, while serious and sophisticated, carries its literary baggage lightly.

When you get to the second stanza of “Recuerdo,” read here by Ina Garten, you realize that it has a hook.

Advertisement

We were very tired, we were very merry 

We had gone back and forth all night on the ferry; 

And you ate an apple, and I ate a pear, 

From a dozen of each we had bought somewhere; 

Advertisement

And the sky went wan, and the wind came cold, 

And the sun rose dripping, a bucketful of gold. 

Ina Garten, cook and author

Advertisement

It’s a city poem, but one that incorporates some arresting nature imagery (the sun, the moon, the wan glow of dawn). It delivers a confidential message — addressed to a “you” who shares the memory of those moments by the fire and in the moonlight — while striking a convivial, sociable tone.

The poem concludes with an impulsive act of generosity that carries a hint of melancholy. Here’s Ethan Hawke, reading the third and final stanza.

Advertisement

We were very tired, we were very merry, 

We had gone back and forth all night on the ferry. 

We hailed, Good morrow, mother! to a shawlcovered head, 

And bought a morning paper, which neither of us read; 

Advertisement

And she wept, God bless you! for the apples and pears, 

And we gave her all our money but our subway fares. 

Ethan Hawke, actor

Advertisement

That’s it. The night is over; another day is here with its obligations and routines; we’re about to trade the open air of the ferry for the crowded underground platforms of the subway.

This poem stands up to repeated readings. It stays in your mind and your ear. It’s a fun poem about having fun, though of course there’s more to it than that. The poem expresses the desire to hold on to a fleeting experience, to fix it in words and images before it’s washed away on the tide of time.

“Recuerdo,” in Spanish, can mean recollection or souvenir, which is kind of perfect. The speaker summons bits and pieces of a memorable night, organizing them into verses that bring those hours back to life, even though they’re gone forever. We pick up those verses, and — impossibly but also unmistakably — we’re right there with her, inhaling the sea-kissed morning air.

Advertisement

So here is the challenge: Memorize this poem! Why? Because it’s unforgettable.

Below, you’ll find a game designed to help you learn “Recuerdo.” Today your goal is to master that wonderful refrain. (Once you’ve done that, you’ll have one third of the poem.) As the Challenge continues through the week, we’ll look closely at how the poem is made, at what it’s about and at the extraordinary woman who wrote it. There will be new games and videos every day, until we disembark on Friday, poem in hand. Bon voyage!

Advertisement

Your first task: Learn the first two lines!

Question 1/3

Let’s start with the refrain. Fill in the rhyming words.

Advertisement

We were very tired, we were very merry 

We had gone back and forth all night on the ferry. 

Advertisement

Tap a word above to fill in the highlighted blank. Need help? Click “See Full Poem
& Readings” at the top of the page.

Advertisement

Advertisement

Edited by Gregory Cowles, Alicia DeSantis, Nick Donofrio and Joumana Khatib. Additional editing by
Emily Eakin, Tina Jordan, Laura Thompson and Emma Lumeij. Design and development by Umi Syam and
Eden Weingart. Additional design by Victoria Pandeirada. Video production by Caroline Kim.
Additional video production by McKinnon de Kuyper. Photo editing by Erica Ackerberg. Illustration
art direction by Tala Safie.

Advertisement

Illustrations by Hannah Robinson.

Audio of “Recuerdo” from “Edna St. Vincent Millay in Readings From Her Poems” (1941, RCA); accompanying
photograph from Associated Press.

Continue Reading

Trending