Connect with us

Culture

My front row seat on 'Inside the NBA,' the greatest studio show in sports TV history

Published

on

My front row seat on 'Inside the NBA,' the greatest studio show in sports TV history

The first day I went down to Atlanta in 2005, to TNT’s Techwood Drive studios to do “Inside the NBA,” the show’s producer, the legendary Tim Kiely, made things simple for me.

“If you look at the (bleeping) camera, I’ll wring your neck,” he said.

I smiled. This was going to work out.

Kiely and I were former employees at ESPN. So I knew exactly what he meant.

TK, as everyone knows him, had gone to what was then called Turner Sports years before I did, and was the driving force behind “Inside” becoming the greatest sports studio show in the history of television, a Sports Emmy-winning Leviathan.

Advertisement

At ESPN, the network was the star. You could be on the network for a while, and if you were deemed essential for a while (it was, with few exceptions, not for all that long), you could be on the network a lot. But no one anchor or reporter was indispensable. The iconic SportsCenter set? That was indispensable.

So, when you were on an ESPN show, it was important for you, representing the show when you were on it, to connect with the people watching at home, not the people sitting next to you in the studio. You were told, early and often, when you wanted to make a point, to literally turn your body away from the person sitting next to you, who may have asked you a question, and to look into whatever camera to which you were assigned. Then, you could disseminate your information, or make your point, to the people watching.

By contrast, in Techwood’s Studio J, from where TNT’s “Inside” was broadcast, Charles Barkley and Kenny Smith and, later, Shaquille O’Neal were the stars, along with the best studio host of all time, Ernie Johnson. But, and this is why the show worked, they weren’t cast in bronze. If you were on the set with them, you were, as far as everyone on set was concerned, their equal. If you thought they were wrong about something, you were allowed – you were expected – to challenge them. Just because they were former players, and great ones, didn’t mean your opinion didn’t count. But, it had to be genuine, not forced, canned “debate.”

TK would say, over and over, “Charles is right there. Talk to him! Kenny’s right there! Talk to him! You disagree with Chuck? Say so!”

During Kiely’s 28 years of producing the show, “Inside” took the top place in the NBA firmament. It has remained there since he retired last year. There was, and is, no game crew or league-ancillary programming on any other network that was, or is, as good as what came out of that studio every Thursday night during the season. And that extended to the “40 games in 40 nights,” as TNT called it, of the playoffs. Nothing, including the finals, or draft coverage, was as good. “Inside” was the gold standard.

Advertisement

I was on a bunch of NBA studio shows when I was at the Four-Letter, including “NBA Today” and “NBA 2 Nite.” I loved them all. We did good work, occasionally excellent work, in the years I was there, with Mark Jones, Jason Jackson and Stuart Scott. It was an honor and an education to work on those shows with coaches such as the late Jack Ramsay, and Fred Carter. I learned so much from them.

But we all knew “Inside” was better.

That’s why TK’s words made me smile. At Turner, I didn’t have to play the role of the “information guy,” even though that was my job. I could just be me. And that was what I did when I made appearances on the show over my 14 years at Turner.


In over 14 years on “Inside the NBA,” David Aldridge, left, held his own with Shaquille O’Neal and others. (Noah Graham / NBAE via Getty Images)

And thus, the lamentations about the future of “Inside” after next season, when the NBA’s new media rights deal begins, are heartfelt and genuine. The NBA’s Board of Governors, on Tuesday, approved the new deal, which begins with the 2025-26 NBA season. It introduces Amazon Prime Video as a media rights streaming partner and reintroduces NBC, which had the NBA package from 1990 to 2002, for both broadcast and streaming rights (via its Peacock streaming service).

As part of the new deal, which will run for 11 years, starting with the 2025-26 season, and pay out $76 billion to the league’s 30 teams, NBC would broadcast games nationally on Tuesdays, while Peacock would have games on Mondays. Both NBC and Amazon would put NBA games into their current slots for NFL broadcasts, on Sunday nights (NBC) and Thursdays (Amazon), after the NFL season concludes.

Advertisement

ABC/ESPN would continue to broadcast the NBA finals, while airing slightly fewer regular season games, and have a conference final every year. Amazon and NBC would alternate years carrying the other conference final.

And Turner, now Warner Bros. Discovery, would be the odd network out.

But, WBD will have a five-day window to match the terms of the new package and hold onto its Thursday night package of games, as well as an annual conference final – and, of course, “Inside” – once the league formally delivers the package to WBD’s corporate offices. NBA Commissioner Adam Silver said at a news conference following the Board of Governors meeting in Las Vegas Tuesday that the media deals were not yet done, and wouldn’t confirm if or when the five-day window for WBD has opened.

So, the waiting will continue for WBD/Turner employees, who’ve been in limbo for months as the parent company negotiated with the league, yet have continued to produce the kind of memorable programming for which Turner and “Inside” have been known for three decades. Silver felt compelled to apologize to WBD/Turner employees for leaving their futures twisting in the wind in his news conference at the start of the finals last month.

It’s something no one wants to truly contemplate. There’s never been anything like “Inside the NBA” in sports media, and there’s not going to be anything like it if it’s gone after next year.

Advertisement

It was, as a friend put it a while back, the TV manifestation of where people who love the NBA assemble every week, a communal hangout. A place where you’d feel comfortable getting a beer, or another substance, maybe, with your friends, and loud talk about your favorite teams and players, or the teams and players that you hated, while inhaling a sandwich and watching the game together, either in person or via group chat.

It was a place where you felt … safe.

You felt like you knew Chuck and Shaq and Ernie and Kenny because their actual personalities, who they really were off-camera, came through so clearly on camera. The show had some scripted elements to it, and Ernie did the best he could to keep the show on topic, but for the most part, every week, they went out there and … winged it. Barkley, Smith and Shaq never went to the production meetings before airtime. It was just four guys who actually enjoyed being in each other’s company, riffing off one another. But that requires tremendous trust. The television business does not often engender trust among people who are competing for air time and money and keeping their jobs.

It all started with Charles.

NBA on TNT

Shaquille O’Neal, Ernie Johnson, Kenny Smith and Charles Barkley became must-see tv on “Inside the NBA.” (Brandon Todd/NBAE via Getty Images)

It’s funny. People under a certain age — say, 40 or so — don’t seem to realize this now. But Barkley was as big a superstar in his NBA days as anyone not named Michael Jordan.

Advertisement

Barkley was on both the NBA’s all-time Top 50 and Top 75 teams. He was the 1992-93 NBA MVP. He was an 11-time All-Star. He averaged 23 points, 12.9 rebounds and 3.9 assists in 123 career postseason games, including a 56-point gem against the Warriors in a first-round game in 1994. He was the best player on the Dream Team, in 1992 — a team that included Jordan, Magic and Bird.

Now, to be sure, Magic and Bird were on the back nine of their careers by the time they went to Barcelona for the Olympics, and Jordan was picking his spots after a grueling year leading the Bulls to a successful defense of their championship. But Chuck was nonetheless dominant, a blur in transition, a beast in the paint. And he was, as ever, the go-to guy for anyone with a notepad or camera. (Charles once spent half an hour explaining to reporters in Philly why he wasn’t talking to the local media.)

“I don’t know much about Angola,” he said of the U.S. team’s opening-round Olympic opponent in Barcelona, “but I know they’re in trouble.”

He had as many commercials back in the day as Shaq has now. He hosted “Saturday Night Live” (and beat up Barney the Dinosaur in the process). He got arrested in a Milwaukee bar after punching a weightlifter; he got arrested in Orlando after an incident in a club where he wound up throwing a belligerent patron into a mirror, which crashed through a plate glass window. (Chuck actually didn’t know how many times he’d been arrested over the years. When he got to Turner, TNT, smartly, assigned him a couple of bodyguards.)

He was, then as now, completely fearless, saying whatever he wanted, whenever he wanted. In Philly, he’d verbally immolate his boss, 76ers owner Harold Katz, and do the same to his coaches and teammates, or anyone else who got in his craw.

Advertisement

“I love when they say Magic makes James Worthy better, and Kareem (Abdul-Jabbar) better,” he’d say at his locker. “I have to make Sheldon Jones better.”

So, when Barkley came to “Inside” after his retirement as a player, he could have put up all kinds of caveats and I-won’t-do-thats, befitting a player of his stature. But he didn’t. In fact, he did the exact opposite. He would do anything, including things that made him look ridiculous.

Barkley battled weight problems throughout his playing career and well into his retirement. An overly sensitive superstar could have insisted that fat jokes were off limits on the set. Instead, Barkley leaned into the constant digs at his girth. Weighing 30-plus pounds more than his supposed 290 pounds early in December 2001, Barkley vowed to be under 300 by the end of January 2002. He made it a thing around which “Inside” could build programming! And he followed through on his promise to get weighed “in my drawers” on the show.

During Yao Ming’s rookie season, in 2002-03, Kenny insisted that Yao, the celebrated big man from China, would score at least 19 points in a game during his rookie campaign. Chuck said if that happened, he’d “kiss Kenny’s ass” on national TV. Ten days later, Yao went 9 of 9 from the floor and scored 20 against the Lakers. Two days after that, with then-Minnesota Governor Jesse “the Body” Ventura on set, Kenny brought a donkey onto the set. If Chuck kissed the donkey’s ass, Kenny said, the bet would be satisfied.

Chuck puckered up.

Advertisement

I am fairly certain that Jordan would not have done this.

The one time I saw Barkley actually distraught was the night his Suns lost Game 6 of the 1993 Finals, at home, to the Bulls. He drove up to the Houston’s restaurant in downtown Phoenix, alone, after John Paxson’s dagger 3 beat Phoenix in the last seconds. He joined a bunch of sportswriters eating outside. He was down. He really thought the Suns were better than Chicago that season. But he couldn’t get them over the top.

And yet, years later, Chuck let “Inside” clown him for a segment where a set was transformed into “The Champions’ Club,” which you could only enter if you’d won an NBA title. Magic, on set with the crew that week, obviously got in easily with his five championships with the Lakers. So did Kenny, who’d won back-to-back titles with Houston in 1994 and ’95. Ernie got in on Magic’s invite. But after Kenny walked in, with Barkley right behind him, Chuck got stopped at the door by the “bouncer.” Ernie soon stuck his head out of the “club” door, noting all the guys with rings that were supposedly in the club: Fennis Dembo, Mike Penberthy, the late Earl Cureton.

“Oh, y’all are playing a joke on the Chuckster,” Barkley said.

That same ethos applied to Kenny. When Kobe Bryant came out with a new Nike shoe, the Hyperdunk, in 2008, he did a viral ad for Nike with then-teammate Ronny Turiaf  in which he, allegedly, jumped over an incoming Aston Martin, so great were the Hyperdunk’s qualities.

Advertisement

Naturally, when the Lakers were on TNT, and Kobe had a great game, “Inside” had Bryant on afterward. Kenny said that he, too, had a new Nike shoe coming out — the “Hyperdunk Smiths” — that would soon be in stores. And he, too, could jump over a car!

It didn’t go quite as well as Kobe’s leap.

Shaq also got got, after he joined the show.

“Inside” quickly built a “storyline” where the 7-1, who-knows-how-much-he-weighs self-described “MDE: Most Dominant Ever” center bullied poor Ernie, literally shaking him down for lunch money. But, ultimately, Ernie got his revenge. And, infamously, a moment of extreme clumsiness by the Big Fella in 2017 was replayed, a few thousand times, on “Inside” over the next few years.

Shaq made fun of my headshot. I made fun of his movies. Joe Underhill, a diminutive researcher and field producer who worked his butt off for years, was reborn and became semi-famous as “Underdog,” who’d feed Ernie and others statistical information, appear in skits and be prepared, as O’Neal would say seemingly every week, to put some pithy saying on a T-shirt. And, the portal went both ways: in the last few years, fans have been encouraged to clap back at the crazy things Shaq, Kenny and Chuck said and did, whenever possible.

Advertisement

“Inside” was not for the Sloan crowd. There was no genuflecting at the altar of True Shooting Percentage or PER or Defensive Box Plus-Minus. If endless video breakdowns of the three best ways to ice a pick-and-roll was your thing, this was not your show. And the Insiders reveled in their ignorance; they were definitely eye- and smell-testers, not Second Spectrum guys.

General managers and executives around the league would occasionally rail to me about how little educating about the game Chuck, Kenny and Shaq did with their large platform. (Interestingly, coaches rarely complained.) I would acknowledge the point, but also point to “Inside’s” growing collection of Emmys. Their approach seemed to resonate with an awful lot of viewers, and voters.


Spurs coach Gregg Popovich was one of many to share a dose of wisdom with David Aldridge during his TNT days. (Soobum Im / USA Today)

Nor did “Inside” make the games the network paid billions to air every week sacred, as other networks did. If TNT had a dog of a doubleheader on in January, the “Inside” guys would say it was a dog. Chuck would talk about shows on other networks that he was watching in the green room while TNT aired its crappy-for-that-night NBA fare. A staple at the start of every season was “Who He Play For?,” a faux game show segment that served only to display Barkley’s thimble-like knowledge of non-superstars around the league.

But — and this was rarely acknowledged by the show’s critics — nothing excited the studio more than a well-played, riveting game. Chuck, in particular, would fall in love with the last good team he saw on the air, pledging that they were the best (or second-best, or third-best) team in their conference. He made Manu Ginobili into a household name with his weekly “GINOBILI!!” fanboying. On the other hand, Chuck’s many wrong “gar-run-teeed!” game/series predictions became their own cottage industry.

When “Inside” did focus on the games and players, though, its analysts’ praise was as welcomed as their scorn was withering. It made clear the lie of so many of the current players who dismissed the “Inside” guys as fossils, incapable of playing or understanding today’s game. If they were so out of touch, why did the players care so much what they said about them?

Advertisement

O’Neal’s “Shaqtin’ a Fool” segments became must-watch TV, as he (more accurately, the show’s producers) lampooned the biggest blunders players made in games every week. Shaq crushed JaVale McGee to the point where it became kind of cringeworthy. It wasn’t that McGee wasn’t messing up, occasionally in spectacular fashion, but a) he wasn’t doing it every second of every game, as Shaqtin’ made it seem, and b) Shaq was rubbing his nose in it every week.

When McGee had a good game in 2013 while with the Nuggets and was invited on “Inside” afterward, he told Shaq to his face that he didn’t watch what he called “Shaqtin’ a Coon.” O’Neal’s and McGee’s mothers actually had to step in and squash the beef between their sons.

And there was so much beef over the years. Chuck vs. Durant. Shaq versus Chuck. Shaq versus Kenny. Chuck versus Draymond Green. Shaq versus Shannon Sharpe. Shaq and Chuck versus Kendrick Perkins. Chuck, infamously, versus the women of San Antonio. A postgame skirmish between the Clippers and Rockets, with Houston players supposedly trying to break into the Clippers’ locker room, became part of “Inside” lore when reporter Ros Gold Onwude noted a “police presence” outside the Rockets’ team bus, and Shaq and Chuck eviscerated the softness of whoever thought cops were needed to settle things that the players should have handled themselves.

But it was because everyone watching had seen Barkley’s struggles with weight over the years that his digs at the Pelicans’ Zion Williamson hit so hard. It was because Barkley was fearless with his words (critics might say careless) that he could so effectively lampoon the account of actor Jussie Smollett that he’d been mugged late at night in Chicago by two men, one of whom allegedly yelled racial slurs at Smollett. And it was because “Inside” was so well-respected by so many that it’s “Gone Fishin’” segments, sending every team off into the summer after it was eliminated in the playoffs, were so eagerly anticipated.

Yet, on a dime, “Inside” could, and did, get serious.

Advertisement

In the midst of COVID-19 in 2020, the crew assembled remotely after George Floyd’s memorial in Minneapolis. “This plague of racism, which comes at the same time as the pandemic, demands our attention,” Ernie said.

They talked about Jan. 6. They used the start of their pregame show before Game 4 of the Western Conference final in 2022 to discuss the mass shooting earlier that day in Uvalde, Texas, that resulted in the death of 19 children and two teachers. When players in the Orlando bubble refused to play scheduled playoff games in 2020 to protest the shooting of Jacob Blake in Kenosha, Wis., and to protest police violence around the country, Kenny followed suit, walking off the set in solidarity with the players. Ernie talked openly in 2006 about his cancer diagnosis; his partners spoke in his absence, eloquently and emotionally, after Ernie’s son, Michael, died at 33, in 2021.

And they were there for Shaq after Kobe died. They understood. We understood. Shaq and Kobe had mad beef when they were together with the Lakers. But you can fight your brother, call him all kinds of names, in the moment. He’s still your brother. He’s still family.

None of this felt forced. No one brought scorching hot takes to these topics. They talked through things, as friends do with one another at hard moments. They stumbled over their words. They talked over one another. Often, they disagreed. Unique among such shows, the “Inside” crew had the cachet to pivot from the ridiculous to the solemn, and back, in a matter of minutes. All due respect, but you didn’t see that — or, at least, you didn’t remember seeing that — on the Sunday NFL shows, or the Saturday college football shows.

“Inside the NBA” always stood on its own. Just as multiple generations have grown up watching The Simpsons,” the “Today Show” or “Sesame Street,” “Inside” has just been so indefatigably there for so long, and has so rarely failed to entertain or at least make you react, that it’s hard to imagine turning on a television going forward without being able to see what the fellas are up to this week.

Advertisement

(Photo illustration: Dan Goldfarb / The Athletic. Photo: Issac Baldizon / NBAE Getty Images)

Culture

Famous Authors’ Less Famous Books

Published

on

Famous Authors’ Less Famous Books

Literature

‘Romola’ (1863) by George Eliot

Advertisement

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?

Advertisement

“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.

Advertisement

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.

Advertisement

‘Quiet Dell’ (2013) by Jayne Anne Phillips

Advertisement

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.

Advertisement

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.”

Advertisement

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

Advertisement

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.

Advertisement

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.

Advertisement

‘Fox 8’ (2013) by George Saunders

Advertisement

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.

Advertisement

We’d all have read it by now — right?

‘Between the Acts’ (1941) by Virginia Woolf

Advertisement

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.

Advertisement

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.

Advertisement

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.

Advertisement

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.

Advertisement

More in Literature

See the rest of the issue

Continue Reading

Culture

6 Poems You Should Know by Heart

Published

on

6 Poems You Should Know by Heart

Literature

‘Prayer’ (1985) by Galway Kinnell

Advertisement

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

Advertisement

“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.”

Advertisement

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?’”

Advertisement

‘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.

Advertisement

“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.

Advertisement

These interviews have been edited and condensed.

More in Literature

See the rest of the issue

Continue Reading

Culture

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

Published

on

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

Literature

FRANCE

Advertisement

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

Classic

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

Advertisement

Karl Leitz for Anthony Cotsifas Studio

Advertisement

“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

Advertisement

“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

Advertisement

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

Classic

‘Man’yoshu’ (late eighth century)

Advertisement

“‘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

Advertisement

‘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

Advertisement

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

Advertisement

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

Karl Leitz for Anthony Cotsifas Studio

Advertisement

“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

Advertisement

‘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

Advertisement

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

Classic

Advertisement

‘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

Advertisement

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

Advertisement

Karl Leitz for Anthony Cotsifas Studio

“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

Advertisement

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

Classic

Advertisement

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

Karl Leitz for Anthony Cotsifas Studio

Advertisement

“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

Advertisement

‘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.

Advertisement

More in Literature

See the rest of the issue

Continue Reading
Advertisement

Trending