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Mpetshi Perricard's serve aced Wimbledon. His best friend – and one opponent – knew how to stop it

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Mpetshi Perricard's serve aced Wimbledon. His best friend – and one opponent – knew how to stop it

Follow live coverage of the ninth day of Wimbledon 2024 today

WIMBLEDON — Over the course of seven stunning days, it has become the most lethal shot in tennis. 

It’s a serve which comes off the racket of a French 21-year-old named Giovanni Mpetshi Perricard, and the player waiting for it needs to hit it back over the net.

Or, get, cajole, persuade, will, pray it back over.

It’s a rocket blast that can be hard to see, much less get a racket on, let alone return over a piece of mesh 3ft high from 39ft away.

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As for making a quality return to take control of a point, or doing it enough times to win a game when Mpetshi Perricard is serving? For seven days, that looked like an impossibility for everyone in the draw.

Except, maybe, for the one player left in the draw who already knows how to pick the Mpetshi Perricard service lock. He’s another Frenchman, a year younger than Mpetshi Perricard, who is having the breakout Grand Slam run that so many have been expecting of him for more than a year.

That would be Arthur Fils, Mpetshi Perricard’s best friend since the two were 10-year-old standouts palling around in France’s national tennis training program. But Fils isn’t about to share any of the secrets he has picked up over all those years with the rest of the field.


Some numbers. Mpetshi Perricard, who is 6 ft 8 (203cm), has hit 105 aces in three matches, including 51 in his first-round win over Sebastian Korda, No. 20 seed here at the All England Club and one of the world’s better grass court players.


Mpetshi Perricard starting his motion (Ben Stansall/AFP via Getty Images)

He’s winning 85 per cent of his first-serve points. He’s lost three sets but only one that hasn’t gone to a tiebreaker. He’s tied with Ben Shelton for the fastest serve in the tournament at 140mph but even Shelton puts Mpetshi Perricard’s serve in a different class than his, in part because the Frenchman’s second serve can come across the net at 128mph sometimes. 

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“Ridiculous,” is how Shelton describes the Mpetshi Perricard offering.

“He basically hits two first serves.”

The status of the big serve, or flat bomb, or boom boom if you’re Boris Becker, has declined in the last two decades. These are not the days of Pete Sampras and so many like him, who sailed to Grand Slam titles on a diet of unreturned serves and tiebreaks won when they needed to, but more often just got one game on the opponent’s serve and considered their work done until the scoreboard told them that they had to start a new set.

go-deeper

GO DEEPER

‘They slow things down in their minds’: How tennis players return 130mph serves

Four men called Roger Federer, Rafael Nadal, Novak Djokovic and Andy Murray are mostly responsible for that decline. If you serve a ball faster than 135mph and your first sight when you come out of the motion is the ball you just hit arriving very hard and fast at your ankles, seemingly harder and faster, your days of winning tennis matches are likely on the way out.

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In contemporary tennis, the word on people’s lips is “servebot”: an at least mildly derogatory and definitely apathetic term for a player who is essentially unbreakable because their serve is so good, but who is also essentially unlikeable because a hypereffective trebuchet for tennis balls is basically all they have.

Mpetshi Perricard is not that guy. He can move. His volley stings. He has studied videos of the biggest servers, especially John Isner, but watching Ivo Karlovic, who was about seven feet tall, is “a little boring,” he said.


Mpetshi Perricard’s net game, touch and volleying are well-suited to grass (Clive Brunskill/Getty Images)

For those seven days at Wimbledon, Fils and Mpetshi Perricard were living out a dream together while trying very hard to not dream; to not think past the next match, even the next set, or game or point that each of them will play.

They are constantly texting each other, and they eat dinner together at tournaments just about every night if their schedules allow. Mpetshi Perricard quickly received Fils’ text after the latter beat Roman Safiullin to make the second week of the a Grand Slam for the first time.

Mpetshi Perricard’s coach, Emmanuel Planque, said no one on the planet has spent more time with Mpetshi Perricard on a tennis court than Fils has.

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Fils said Planque was 100 per cent right, which means he has seen and returned more of Mpetshi Perricard’s serves than anyone on the planet.

“He teaches me how to return,” Fils said of Mpetshi Perricard, after a freak knee injury forced No.7 seed Hubert Hurkacz to retire from their second-round match, with Fils holding match point in the fourth set.

“It’s good practice.”

On the eighth day, the reality of professional tennis forced them to wake up. Fils succumbed to Alex de Minaur in the fourth round, a player he beat at the Barcelona Open in April, but on clay, which is the Australian’s least-favorite surface.

De Minaur, the No. 9 seed, loves grass because it allows him to capitalize on his speed and sublime movement while keeping his hard, flat shots nice and low. He used that to full effect on Fils, despite an admirable rally from the Frenchman in the fourth set, winning 6-2, 6-4, 3-6, 6-3.

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Fils’ incredibly impressive performance against Hurkacz got him to the third round (Rob Newell/Camerasport via Getty Images)

Mpetshi Perricard faced Lorenzo Musetti, the rising Italian who has quietly put together a solid grass season.

Musetti was a semifinalist in Stuttgart and a finalist at Queen’s, and this is his first Wimbledon second week. Despite saying he felt lost on the stuff a year ago, Musetti has a higher win-rate on grass and clay than on hard courts, and he has a game that suits the surface too. Not just a knifing backhand slice and a good serve, but an economy of movement when returning serve that takes his complicated forehand and one-handed backhand out of the equation. He chips and carves and blocks the ball back, ready to put his tools to good use in rallies, where they will actually be effective.

“I don’t know, I’m just focused on the next one,” Mpetshi Perricard said when asked how far he could go after beating Emil Ruusuvuori of Finland in four sets on Saturday.

“I already lost to Musetti, so I don’t know.”

Sure, but Mpetshi Perricard already lost at Wimbledon, too. He lost his final match in qualifying to Maxime Janvier, another Frenchman, in four sets — three of which went to a tiebreak. Then, Mpetshi Perricard ended up with one of the “lucky loser” spots that arise when a player withdraws at the last minute. He was in the locker room after a practice session last Saturday when a tournament official called him to ask if he’d like to play in the Wimbledon main draw for the first time.

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Was he nervous? Not at all, he said. A good opportunity, no pressure, a great experience.

Since then, Mpetshi Perricard and his serve have become unstoppable forces with no immovable objects in sight. He hits that first serve like he is smacking a rock with a frying pan, then watches it slash to the corners of the service box. Opponents just let their eyes drop to the grass and move to the other side of the court.


Mpetshi Perricard’s serve was similarly effective at Queen’s, the Wimbledon warm-up event (James Fearn/Getty Images)

Fils doesn’t have a bad serve himself but their bodies and their games are completely different. 

Fils, who grew up near Paris, is an all-court player with a build in in the goldilocks zone of the all-time greats. A little over six-feet tall, a perfectly crafted athlete who desperately wanted to play striker and score goals for Paris Saint-Germain, but wasn’t quite good enough.


Fils is into a Grand Slam second week for the first time (Mike Hewitt / Getty Images)

Mpetshi Perricard, who is from Lyon, is in the mould of the new generation of tennis humans like Alexander Zverev and Daniil Medvedev. Closer to seven feet tall than six, they look a bit out of place on a tennis court, until they start serving, their long arms and spines giving them extra leverage to snap balls down from on high.

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Mpetshi Perricard also played a little soccer, dabbling in basketball and swimming before focusing on tennis, mostly because he was better at it than the other sports and believed he could exploit his strength and size while learning the movement.

That part of the game is still a work in progress for Mpetshi Perricard, Planque said. His serve has been his biggest weapon since he and Fils were pre-teens working with Planque and other national coaches at France’s Tennis Federation, along with a few other top players their age, including Arthur Cazaux and Luca Van Assche. They are a bit like the young and coming Italians, led by Jannik Sinner, who pushed each other through their junior years and at regional tournaments on the lower rungs of the sport.


Planque knows that Mpetshi Perricard is always going ride on his serve. 

He doesn’t want to play long rallies,” he said. “The goal is to be aggressive from the first shot.”

He also wants him coming to the net at every chance, even serving and volleying, a dying art that most players only use as a surprise tactic. 

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“I’m an old-style coach,” Planque said.

Old-style too is one of Mpetshi Perricard’s groundstrokes. Like Musetti, he is the rare young player who uses a one-handed backhand — even though he now wishes he didn’t, looking enviously at Isner’s two-hander on those videos. As Musetti learned, making service returns with one hand is a struggle.


Mpetshi Perricard’s booming serve, one-handed backhand and soft net game feel like a throwback (Glyn Kirk/AFP via Getty Images)

And while his first serve is the star, improving his second was one of his main goals coming into this season. He crushes the first ball and if he misses, he tries to do something a little different with the second one, which is averaging 117 mph. Maybe he’ll put a little spin on it or go down the middle or into the body, rather than going out wide, which he so often does with his first ball.

“It works for now,” he said last week after the win over Ruusuvuori. “We’ll see if, against the top player, it’s going to work.”

He did see, and he didn’t like what was in front of his eyes. Musetti won the serve battle, taking 79 per cent of first-serve points to Mpetshi Perricard’s 67, amd 84 per cent of second-serve points to Mpetshi Perricard’s 53.

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He won the return battle too. 32 per cent of first-serve return points to Mpetshi Perricard’s 20 per cent; 33 per cent of second-serve return points to Mpetshi Perricard’s 16 per cent.

After the match, Musetti agreed that facing the serve is like being a goalkeeper in a penalty shootout, and said that his coach had explained that to break, he would need to have the cushion of 0-40, not relying on 30-40 or even 15-40 as a chance, because it could so easily be snatched away. Musetti had to pick his moment of comfort, before the discomfort began again in the next game.

That’s not just for now. Mpetshi Perricard’s serve looks set to be discomfiting top returners for many years to come.

As for Fils, he might be getting some texts from other players soon.

(Top photo: John Walton / PA Images via Getty Images) 

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Culture

Revisiting Jane Austen’s Cultural Impact for Her 250th Birthday

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Revisiting Jane Austen’s Cultural Impact for Her 250th Birthday

On Dec. 16, 1775, a girl was born in Steventon, England — the seventh of eight children — to a clergyman and his wife. She was an avid reader, never married and died in 1817, at the age of 41. But in just those few decades, Jane Austen changed the world.

Her novels have had an outsize influence in the centuries since her death. Not only are the books themselves beloved — as sharply observed portraits of British society, revolutionary narrative projects and deliciously satisfying romances — but the stories she created have so permeated culture that people around the world care deeply about Elizabeth Bennet and Mr. Darcy, even if they’ve never actually read “Pride and Prejudice.”

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With her 250th birthday this year, the Austen Industrial Complex has kicked into high gear with festivals, parades, museum exhibits, concerts and all manner of merch, ranging from the classily apt to the flamboyantly absurd. The words “Jane mania” have been used; so has “exh-Aust-ion.”

How to capture this brief life, and the blazing impact that has spread across the globe in her wake? Without further ado: a mere sampling of the wealth, wonder and weirdness Austen has brought to our lives. After all, your semiquincentennial doesn’t come around every day.

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By ‘A Lady’

Jane Austen’s House, Chawton, England

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Austen published just four novels in her lifetime: “Sense and Sensibility” (1811), “Pride and Prejudice” (1813), “Mansfield Park” (1814) and “Emma” (1815). All of them were published anonymously, with the author credited simply as “A Lady.” (If you’re in New York, you can see this first edition for yourself at the Grolier Club through Feb. 14.)

Where the Magic Happened

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Janice Chung for The New York Times

Placed near a window for light, this diminutive walnut table was, according to family lore, where the author did much of her writing. It is now in the possession of the Jane Austen Society.

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An Iconic Accessory

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Jane Austen’s House, Chawton, England

Few of Austen’s personal artifacts remain, contributing to the author’s mystique. One of them is this turquoise ring, which passed to her sister-in-law and then her niece after her death. In 2012, the ring was put up for auction and bought by the “American Idol” champion Kelly Clarkson. This caused quite a stir in England; British officials were loath to let such an important cultural artifact leave the country’s borders. Jane Austen’s House, the museum now based in the writer’s Hampshire home, launched a crowdfunding campaign to Bring the Ring Home and bought the piece from Clarkson. The real ring now lives at the museum; the singer has a replica.

Austen Onscreen

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Since 1940, when Austen had a bit of a moment and Greer Garson and Laurence Olivier starred in MGM’s rather liberally reinterpreted “Pride and Prejudice,” there have been more than 20 international adaptations of Austen’s work made for film and TV (to say nothing of radio). From the sublime (Emma Thompson’s Oscar-winning “Sense and Sensibility”) to the ridiculous (the wholly gratuitous 2022 remake of “Persuasion”), the high waists, flickering firelight and double weddings continue to provide an endless stream of debate fodder — and work for a queen’s regiment of British stars.

Jane Goes X-Rated

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Tony Cenicola/The New York Times

The rumors are true: XXX Austen is a thing. “Jane Austen Kama Sutra,” “Pride and Promiscuity: The Lost Sex Scenes of Jane Austen” and enough slash fic and amateur porn to fill Bath’s Assembly Rooms are just the start. Purists may never recover.

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A Lady Unmasked

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Jane Austen’s House, Chawton, England

Austen’s final two completed novels, “Northanger Abbey” and “Persuasion,” were published after her death. Her brother Henry, who oversaw their publication, took the opportunity to give his sister the recognition he felt she deserved, revealing the true identity of the “Lady” behind “Pride and Prejudice,” “Emma,” etc. in a biographical note. “The following pages are the production of a pen which has already contributed in no small degree to the entertainment of the public,” he wrote, extolling his sister’s imagination, good humor and love of dancing. Still, “no accumulation of fame would have induced her, had she lived, to affix her name to any productions of her pen.”

Wearable Tributes

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Tony Cenicola/The New York Times

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It is a truth universally acknowledged that a Jane Austen fan wants to find other Jane Austen fans, and what better way to advertise your membership in that all-inclusive club than with a bit of merch — from the subtle and classy to the gloriously obscene.

The Austen Literary Universe

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Elizabeth Renstrom for The New York Times

On the page, there is no end to the adventures Austen and her characters have been on. There are Jane Austen mysteries, Jane Austen vampire series, Jane Austen fantasy adventures, Jane Austen Y.A. novels and, of course, Jane Austen romances, which transpose her plots to a remote Maine inn, a Greenwich Village penthouse and the Bay Area Indian American community, to name just a few. You can read about Austen-inspired zombie hunters, time-traveling hockey players, Long Island matchmakers and reality TV stars, or imagine further adventures for some of your favorite characters. (Even the obsequious Mr. Collins gets his day in the sun.)

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A Botanical Homage

Created in 2017 to mark the 200th anniversary of Austen’s death, the “Jane Austen” rose is characterized by its intense orange color and light, sweet perfume. It is bushy, healthy and easy to grow.

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Aunt Jane

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Jane Austen’s House, Chawton, England

Hoping to cement his beloved aunt’s legacy, Austen’s nephew James Edward Austen-Leigh published this biography — a rather rosy portrait based on interviews with family members — five decades after her death. The book is notable not only as the source (biased though it may be) of many of the scant facts we know about her life, but also for the watercolor portrait by James Andrews that serves as its frontispiece. Based on a sketch by Cassandra, this depiction of Jane is softer and far more winsome than the original: Whether that is due to a lack of skill on her sister’s part or overly enthusiastic artistic license on Andrews’s, this is the version of Austen most familiar to people today.

Cultural Currency

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Steve Parsons/Associated Press

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In 2017, the Bank of England released a new 10-pound note featuring Andrews’s portrait of Austen, as well as a line from “Pride and Prejudice”: “I declare after all there is no enjoyment like reading!” Austen is the third woman — other than the queen — to be featured on British currency, and the only one currently in circulation.

In the Trenches

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During World War I and World War II, British soldiers were given copies of Austen’s works. In his 1924 story “The Janeites,” Rudyard Kipling invoked the grotesque contrasts — and the strange comfort — to be found in escaping to Austen’s well-ordered world amid the horrors of trench warfare. As one character observes, “There’s no one to touch Jane when you’re in a tight place.”

Baby Janes

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Tony Cenicola/The New York Times

You’re never too young to learn to love Austen — or that one’s good opinion, once lost, may be lost forever.

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The Austen Industrial Complex

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Elizabeth Renstrom for The New York Times

Maybe you’ve not so much as seen a Jane Austen meme, let alone read one of her novels. No matter! Need a Jane Austen finger puppet? Lego? Magnetic poetry set? Lingerie? Nameplate necklace? Plush book pillow? License plate frame? Bath bomb? Socks? Dog sweater? Whiskey glass? Tarot deck? Of course you do! And you’re in luck: What a time to be alive.

Around the Globe

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Goucher College Special Collections & Archives, Alberta H. and Henry G. Burke Collection; via The Morgan Library & Museum

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Austen’s novels have been translated into more than 40 languages, including Polish, Finnish, Chinese and Farsi. There are active chapters of the Jane Austen Society, her 21st-century fan club, throughout the world.

Playable Persuasions

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Tony Cenicola/The New York Times

In Austen’s era, no afternoon tea was complete without a rousing round of whist, a trick-taking card game played in two teams of two. But should you not be up on your Regency amusements, you can find plenty of contemporary puzzles and games with which to fill a few pleasant hours, whether you’re piecing together her most beloved characters or using your cunning and wiles to land your very own Mr. Darcy.

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#SoJaneAusten

The wild power of the internet means that many Austen moments have taken on lives of their own, from Colin Firth’s sopping wet shirt and Matthew Macfadyen’s flexing hand to Mr. Collins’s ode to superlative spuds and Mr. Knightley’s dramatic floor flop. The memes are fun, yes, but they also speak to the universality of Austen’s writing: More than two centuries after her books were published, the characters and stories she created are as relatable as ever.

Bonnets Fit for a Bennett

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Peter Flude for The New York Times

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For this summer’s Grand Regency Costumed Promenade in Bath, England — as well as the myriad picnics, balls, house parties, dinners, luncheons, teas and fetes that marked the anniversary — seamstresses, milliners, mantua makers and costume warehouses did a brisk business, attiring the faithful in authentic Regency finery. And that’s a commitment: A bespoke, historically accurate bonnet can easily run to hundreds of dollars.

Most Ardently, Jane

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The Morgan Library & Museum

Austen was prolific correspondent, believed to have written thousands of letters in her lifetime, many to her sister, Cassandra. But in an act that has frustrated biographers for centuries, upon Jane’s death, Cassandra protected her sister’s privacy — and reputation? — by burning almost all of them, leaving only about 160 intact, many heavily redacted. But what survives is filled with pithy one-liners. To wit: “I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal.”

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Stage and Sensibility

Austen’s works have been adapted numerous times for the stage. Some plays (and musicals) hew closely to the original text, while others — such as Emily Breeze’s comedic riff on “Pride and Prejudice,” “Are the Bennet Girls OK?”, which is running at New York City’s West End Theater through Dec. 21 — use creative license to explore ideas of gender, romance and rage through a contemporary lens.

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Austen 101

Tony Cenicola/The New York Times

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Austen remains a reliable fount of academic scholarship; recent conference papers have focused on the author’s enduring global reach, the work’s relationship to modern intersectionality, digital humanities and “Jane Austen on the Cheap.” And as one professor told our colleague Sarah Lyall of the Austen amateur scholarship hive, “Woe betide the academic who doesn’t take them seriously.”

W.W.J.D.

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Tony Cenicola/The New York Times

When facing problems — of etiquette, romance, domestic or professional turmoil — sometimes the only thing to do is ask: What would Jane do?

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Culture

I Think This Poem Is Kind of Into You

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I Think This Poem Is Kind of Into You

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A famous poet once observed that it is difficult to get the news from poems. The weather is a different story. April showers, summer sunshine and — maybe especially — the chill of winter provide an endless supply of moods and metaphors. Poets like to practice a double meteorology, looking out at the water and up at the sky for evidence of interior conditions of feeling.

The inner and outer forecasts don’t always match up. This short poem by Louise Glück starts out cold and stays that way for most of its 11 lines.

And then it bursts into flame.

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“Early December in Croton-on-Hudson” comes from Glück’s debut collection, “Firstborn,” which was published in 1968. She wrote the poems in it between the ages of 18 and 23, but they bear many of the hallmarks of her mature style, including an approach to personal matters — sex, love, illness, family life — that is at once uncompromising and elusive. She doesn’t flinch. She also doesn’t explain.

Here, for example, Glück assembles fragments of experience that imply — but also obscure — a larger narrative. It’s almost as if a short story, or even a novel, had been smashed like a glass Christmas ornament, leaving the reader to infer the sphere from the shards.

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We know there was a couple with a flat tire, and that a year later at least one of them still has feelings for the other. It’s hard not to wonder if they’re still together, or where they were going with those Christmas presents.

To some extent, those questions can be addressed with the help of biographical clues. The version of “Early December in Croton-on-Hudson” that appeared in The Atlantic in 1967 was dedicated to Charles Hertz, a Columbia University graduate student who was Glück’s first husband. They divorced a few years later. Glück, who died in 2023, was never shy about putting her life into her work.

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Louise Glück in 1975.

Gerard Malanga

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But the poem we are reading now is not just the record of a passion that has long since cooled. More than 50 years after “Firstborn,” on the occasion of receiving the Nobel Prize for literature, Glück celebrated the “intimate, seductive, often furtive or clandestine” relations between poets and their readers. Recalling her childhood discovery of William Blake and Emily Dickinson, she declared her lifelong ardor for “poems to which the listener or reader makes an essential contribution, as recipient of a confidence or an outcry, sometimes as co-conspirator.”

That’s the kind of poem she wrote.

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“Confidence” can have two meanings, both of which apply to “Early December in Croton-on-Hudson.” Reading it, you are privy to a secret, something meant for your ears only. You are also in the presence of an assertive, self-possessed voice.

Where there is power, there’s also risk. To give voice to desire — to whisper or cry “I want you” — is to issue a challenge and admit vulnerability. It’s a declaration of conquest and a promise of surrender.

What happens next? That’s up to you.

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Can You Identify Where the Winter Scenes in These Novels Took Place?

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Can You Identify Where the Winter Scenes in These Novels Took Place?

Cold weather can serve as a plot point or emphasize the mood of a scene, and this week’s literary geography quiz highlights the locations of recent novels that work winter conditions right into the story. Even if you aren’t familiar with the book, the questions offer an additional hint about the setting. 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 books if you’d like to do further reading.

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