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NBA free agency: Russell Westbrook, Quentin Grimes and the odd situations that loom

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NBA free agency: Russell Westbrook, Quentin Grimes and the odd situations that loom

Get ready for a different kind of free agency this summer: Less wild, perhaps, but weirder.

At first, the 2025 NBA free-agent class doesn’t exactly overwhelm you with front-line talent. This isn’t the year for superstars holding meetings in the Hamptons while teams wait on pins and needles for franchise-altering decisions. Only one likely All-NBA selection can become a free agent this summer, and that one (the Los Angeles Lakers’ LeBron James) isn’t going anywhere. The next-best potential free agent, the Dallas Mavericks’ Kyrie Irving, turns 33 soon and just tore his ACL.

However, what the free-agent class lacks in superstar talent, it makes up for in sheer quirkiness. Between the most recent collective bargaining agreement, some existing rules that rarely came into play before and several players massively outplaying small contracts, this summer could offer some real financial puzzles for front offices.

Here’s a preview of some of the more interesting conundrums as we truck toward the offseason:

Ty Jerome’s unlikely breakout

Jerome might have the best value non-rookie contract in the league; the Cleveland Cavaliers’ breakout super sub only makes $2.56 million after signing a two-year deal with the Cavs in 2023.

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The issue this summer is that the Cavs only have early Bird rights on him as a free agent because of that two-year deal. Nobody ever considered the possibility that Jerome would be so awesome that “only” being able to pay him $14 million next season would make him a potential flight risk, but here we are.

Jerome is having one of the most unlikely breakout seasons in league annals, suddenly emerging in his sixth season out of Virginia (wahoowa!) as a serious contender for both the Sixth Man of the Year and Most Improved Player awards. He’s shooting 41.8 percent from 3 and an unfathomable 55.6 percent from floater range, boasts the league’s 10th-highest steal rate among players with at least 1,000 minutes, averages nearly three assists for every turnover and has compiled a 20.1 PER for a team that’s a phenomenal 56-13.

Knowing the Cavs can only get to $14 million, if you’re a team like the Brooklyn Nets or Chicago Bulls that has some cap space this summer, is it out of the question to offer Jerome $20 million a year? He’s 27, so his next deal would pay him for his prime years.

The cap rules on paying Jerome are only half the problem for Cleveland. The other half is … what if he re-signs? Locking up Jerome at that $14 million number becomes a very expensive proposition for the Cavs, who are plunging deep into the luxury tax next year regardless because of Evan Mobley’s likely supermax extension.

Paying Jerome market-rate money on top of that would blast Cleveland way past the second-apron threshold. While it’s possible other trades could soften the blow (what would you give me for a lightly used Isaac Okoro?), it’s clear Jerome’s unlikely success has added another layer to what was already a tricky cap problem facing Cleveland.

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Could he take a cheapo one-plus-one deal that would let the Cavs pay him as a Bird rights free agent a year from now? That might be the only palatable endgame from Cleveland’s side, but it’s tough to ask a guy who has never been paid to wait another year for his bag.


Ty Jerome has taken a major leap in Year 6. (Gary A. Vasquez / Imagn Images)

Russell Westbrook’s option

Westbrook is thriving in Denver, yet he and the Nuggets face a very interesting fork in the road. He has a player option for 2025-26 for $3.5 million, and he’s pretty clearly worth massively more than this, at least to the Nuggets. That’s good news for this season but bad news once we get to the summer.

Westbrook opting out feels like a no-brainer, but Denver has few mechanisms for paying him much more. The best possibility is probably to use its taxpayer midlevel exception, which would cap the Nuggets at the second apron but would allow them to pay Westbrook a projected $5.7 million in 2025-26. A two-year deal with a player option would let him opt out of that contract again in 2026 to get more jelly as an early Bird free agent.

Anything more than $5.7 million requires some serious digging. For instance, getting to the point where the Nuggets could pay Westbrook some or all of the projected $14.1 million nontaxpayer midlevel exception would require the Nuggets to shed about $10 million in other salaries to get themselves below the first apron.

That would most likely be accomplished by trading Dario Šarić (who, incredibly, was signed for more money than Westbrook last summer) and Zeke Nnaji (who is playing better of late but still owed $23 million over the next three years). The Nuggets, however, have no draft picks left to incentivize a trade, because they’ve already used so many to offload other bad contracts. They can trade their two 2032 picks after the draft, but do they really want to ditch those picks already? At what price point is it worth just trying to find their next Westbrook?

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Jake LaRavia’s contract ceiling

The Sacramento Kings acquired LaRavia from the Memphis Grizzlies with a second-round pick at the trade deadline, a needed piece in a lineup that lacked size at the forward spot.

The conundrum for Kings fans is that they want a “Goldilocks” LaRavia … one who plays well but not too well. As a result of Memphis declining his fourth-year option for 2025-26 this past fall, LaRavia is limited in free agency to re-signing for that declined fourth-year salary of $5,163,127. That limit carried over in the trade; neither Memphis nor Sacramento can pay him more than this but 28 other teams can.

That puts Sacramento at a disadvantage in free agency, but the Kings have a way to get that advantage back if LaRavia doesn’t play too well. The Kings could give him a two-year deal with a second-year player option that starts at that $5.16 million figure; he could then opt out of the second year in 2026 if he has a good year and would have full Bird rights with the Kings and be able to re-sign for any amount.

Obviously, that goes out the window if somebody drops a full midlevel exception offer on him this summer, but thus far, it seems like LaRavia will thread the needle where nobody values him at that amount.

Guerschon Yabusele’s minimum

The Dancing Bear hasn’t played quite as well as Westbrook, but he’s in a similar situation: Playing well enough on a short deal for a taxed-out team that keeping him will be a bit of a pickle.

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Yabusele is on a one-year minimum deal; he has non-Bird rights, and the most he can get from Philly without using exception money is a 20 percent raise on his minimum for next year, or $2.85 million. His market value seems pretty clearly more than that, although there is a glimmer of possibility that the Sixers could get him to sign a one-plus-one deal that lets him try free agency again next summer.

As with Westbrook above, the cleanest solution would be for the Sixers to re-sign Yabusele with their taxpayer midlevel exception of $5.7 million. The problem is that it would cap the Sixers at the second apron, and they might need that money for…

Quentin Grimes, superstar

One of the most bizarre situations in the league is happening in Philadelphia right now, where the Sixers are simultaneously navigating a tank job to possibly keep a top-six protected pick and a contract push from Grimes as he hits restricted free agency. A low-usage role player in his first three seasons, Grimes had stepped things up a bit in 47 games in Dallas this season, but he didn’t really blow up until he got to Philly at the trade deadline.

On a denuded Sixers roster with three injured All-Stars, Grimes has averaged 21.8 points while making shots from everywhere — he’s shooting 39.5 percent on 3s and 60.1 percent on 2s, the latter a fairly incredible figure for a 6-foot-5 guard with middling athleticism.

At some point, you figure he’ll cool off a bit, but even after regressing his shooting to the mean, the stat line is impressive. (He’s also increased his rates of rebounds, blocks, steals and assists. Dude is balling.)

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What does that mean for Grimes this summer? Being a restricted free agent might limit the market, but given the Sixers’ position vis-a-vis the luxury tax and aprons, teams might also be tempted to test the Sixers’ willingness to spend by dropping a big offer sheet. It could actually tempt a rival team to spend more, in the hopes of creating such a poisonous sheet that the Sixers run away shrieking. Right now, Brooklyn is the only team in a strong position to do this, but things can change before July 1; Grimes will only be 25 this summer, so as with Jerome above, a team would be buying his theoretical prime.

That takes us to the other aspect of Grimes’ situation. Paying him something on the order of $20 million a year would take the Sixers right to the second-apron line, assuming their three players with options choose to pick them up. (Kelly Oubre, Andre Drummond and Eric Gordon have player options worth a total of $17 million; none set hearts aflame with their play in 2024-25.)

That is, unless the Sixers keep their pick, which would add several million to their cap number (the fourth pick will make $8.4 million, for instance) and tighten the screws in other places. In particular, it would seemingly be very difficult to keep both Grimes and Yabusele at their market rates with a top-six pick in the draft.

This takes us back to the tank. The Sixers are in quite a “race” with Toronto and Brooklyn for the fifth- through seventh-worst records in the league, with the three teams resorting to increasingly impressive hijinks to, um, keep up … except that Philly keeps playing Grimes. The Sixers have gone 4-17 since Feb. 4, but Grimes singlehandedly delivered one of the wins (a 44-point masterpiece against the Golden State Warriors) and nearly pulled out another when he hung 46 on the Houston Rockets in an overtime loss.

The difference between fifth and seventh might not seem like much, but it literally doubles the Sixers’ odds of keeping the pick (from 31.9 percent to 63.9 percent). If Grimes leads them to enough wins that the Sixers don’t keep the pick, there’s more money left to pay him!

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Malik Beasley, shooting star

I’m not sure what the Pistons’ plans were for their non-max trove of cap space this summer (roughly $25 million), but I’m guessing “using it all to re-sign Malik Beasley” wasn’t anywhere on the list when they were mapping out scenarios last fall.

That was before Beasley basically turned into Stephen Curry from beyond the 3-point line. No, seriously. Beasley’s 16.2 3-point attempts per 100 possessions this season are second only to Curry’s 16.9, and Beasley has knocked down an incredible 41.9 percent of them.

Wait, it gets better: Beasley’s 6.8 3-point makes per 100 are the most ever for a player not named Curry — Steph has beaten it four times, but James Harden in 2018-19 is the only other player to reach 6.5 in a season of 1,500 or more minutes.

This, obviously, has made Beasley a very valuable player. Beasley signed a one-year deal worth $6 million last summer; there is no scenario where the Pistons can keep him for anything close to that. At a bare minimum, they would seemingly need to pay him the full nontaxpayer midlevel exception of $14.1 million; even if that contract didn’t require cap room, it would essentially nuke any cap-room scenarios for Detroit.

Fortunately, Detroit’s books are in a strong enough position that retaining Beasley should be fairly straightforward; the only question is deal length and player options. Would Beasley rather have a short deal with a player option to get more bread a year from now, or would he prefer the security of a longer deal?

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Malik Beasley is having a season for the ages from 3. (Rick Osentoski / Imagn Images)

Moe Wagner and Orlando’s tight tax

The Magic have the full allotment of 15 players under contract for next season, have four draft picks this June and are $11 million over the projected tax line. All of that would make it seem unlikely that they would pick up Mo Wagner’s $11 million team option, especially since he’s out with a torn ACL.

However, all may not be as it appears. Wagner is a highly-valued player in Orlando, and not just because he’s the brother (and housemate!) of Magic star Franz Wagner; his injury more or less marked the turning point in the Magic’s season. (They were 18-12 at the time and 14-25 since.)

For one, the Magic have other options they can decline to get the roster down to reasonable size. Declining options on Gary Harris and little-used Cory Joseph and Caleb Houstan would put them under the projected tax (at least until the draft picks put them back over) and open enough roster breathing room to bring back Wagner. Also, because the Magic would retain Bird rights on him, a cheap one-year deal with a second-year player option could be a palatable option for both sides; he could have his “rehab year” then get paid off his work in the second half of the season when he returns.

Either way, declining the option seems like the only play for Orlando. The question is what the Magic can do to retain somebody they would prefer to keep amid a tricky cap environment and a roster that, once Paolo Banchero’s likely max extension hits in 2026, will become fairly expensive.

Lakers decline-and-sign pathway

This little trick is likely to come up in the case of several teams dancing the first-apron tightrope, most notably with the Lakers and Dorian Finney-Smith.

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The idea is that L.A. can get Finney-Smith to decline his player option for $15.4 million for 2025-26 in return for re-signing on a longer deal for less money. The risk of overpaying on the back end of the deal (Finney-Smith turns 32 this summer) is offset by managing the immediate tax situation by shaving a few million off his 2025-26 cap number.

The motivation for L.A. would be to leave enough wiggle room under the first apron to either use its nontaxpayer midlevel exception to sign a real center or to trade for one. It’s a tight squeeze right now, even if the Lakers decline Shake Milton’s $3 million nonguaranteed deal. They might even consider stretching Maxi Kleber’s $11 million to generate the necessary space, especially since they’re running out of draft picks to put into trades to incentivize a deal. (I’ll also note this option exists for James as well; there is no rule requiring him to sign for the max, and he actually took a slight haircut on that amount last summer to keep L.A. below the second apron and allow it to aggregate salary in trades. That decision has worked out very well, based on recent events.)

The Minnesota Timberwolves could potentially go this route, too, with Julius Randle, who has a $31 million player option for next season with incentives that could raise the value. Locking in a lower number for Randle on a long-term deal might make it easier to keep Naz Reid in free agency and still make Minnesota’s tricky cap math work in future seasons.

And then there are the Rockets. Houston has a similar issue with Fred VanVleet, except it’s a team option instead of a player option, so the Rockets have a lot more control over the situation. VanVleet is due $44.9 million next season, one where the Rockets are likely to push into the tax. Things don’t get any easier in the future, as their talented young players need to be paid (most notably Amen Thompson in the summer of 2027), but 2025-26 is a squeeze point unless VanVleet’s cap number goes way down.

Thus, locking in VanVleet at a lower number for a longer tenure has a lot of advantages for Houston. However, there’s a case to be made that the Rockets could go the complete opposite route by opting to pay him the $44.9 million, in return for extending his contract at a much lower number in the out years. That concept trades a single year of pain in 2025-26 in return for making the salary structure more manageable in the out years when Houston’s other young players will be ready to get paid. It’s a fascinating puzzle for the Rockets with no clear answer, beyond the obvious one that Houston still very much needs to keep VanVleet one way or another.

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Decline-and-sign, discount version

Finally, you may have noticed an unusual number of players this season were signed off two-way deals into two-year contracts with second-year team options.

There’s a reason for that: The teams can decline the option and, as non-Bird free agents, re-sign the player to a much longer four-year deal worth up to 20 percent over the minimum. Given the limited likelihood of a bidding war on players of this ilk (and the protection of restricted free agency, just in case), it’s a good way for teams to play their hands. This is particularly true for those teams that either don’t have access to their nontaxpayer midlevel exception or want to save it for potential use at the trade deadline.

This category includes several rookie two-way players who have since been promoted to roster deals, such as Oklahoma City’s Ajay Mitchell, Golden State’s Quinten Post, New York’s Ariel Hukporti and Philadelphia’s Justin Edwards. All are likely looking at summer “decline-and-sign” situations that end with them returning to their present teams on three- or four-year deals at or near the minimum. (One slight exception: Mitchell got $3 million out of the Thunder’s room exception money and thus can sign for a starting salary of as much as $3.6 million if the option is declined.)

(Top photo of Russell Westbrook: Katelyn Mulcahy / Getty Images)

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Culture

Poetry Challenge: Memorize “The More Loving One” by W.H. Auden

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Poetry Challenge: Memorize “The More Loving One” by W.H. Auden

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Let’s memorize a poem! Not because it’s good for us or because we think we should, but because it’s fun, a mental challenge with a solid aesthetic reward. You can amuse yourself, impress your friends and maybe discover that your way of thinking about the world — or even, as you’ll see, the universe — has shifted a bit.

Over the next five days, we’ll look closely at a great poem by one of our favorite poets, and we’ll have games, readings and lots of encouragement to help you learn it by heart. Some of you know how this works: Last year more Times readers than we could count memorized a jaunty 18-line recap of an all-night ferry ride. (If you missed that adventure, it’s not too late to embark. The ticket is still valid.)

This time, we’re training our telescopes on W.H. Auden’s “The More Loving One” — a clever, compact meditation on love, disappointment and the night sky.

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Here’s the first of its four stanzas, read for us by Matthew McConaughey:

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The More Loving One by W.H. Auden 

Looking up at the stars, I know quite well 

That, for all they care, I can go to hell, 

But on earth indifference is the least 

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We have to dread from man or beast. 

Matthew McConaughey, actor and poet

In four short lines we get a brisk, cynical tour of the universe: hell and the heavens, people and animals, coldness and cruelty. Commonplace observations — that the stars are distant; that life can be dangerous — are wound into a charming, provocative insight. The tone is conversational, mixing decorum and mild profanity in a manner that makes it a pleasure to keep reading.

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Here’s Tracy K. Smith, a former U.S. poet laureate, with the second stanza:

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How should we like it were stars to burn 

With a passion for us we could not return? 

If equal affection cannot be, 

Let the more loving one be me. 

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Tracy K. Smith, poet

These lines abruptly shift the focus from astronomy to love, from the universal to the personal. Imagine how it would feel if the stars had massive, unrequited crushes on us! The speaker, couching his skepticism in a coy, hypothetical question, seems certain that we wouldn’t like this at all.

This certainty leads him to a remarkable confession, a moment of startling vulnerability. The poem’s title, “The More Loving One,” is restated with sweet, disarming frankness. Our friend is wearing his heart on his well-tailored sleeve.

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The poem could end right there: two stanzas, point and counterpoint, about how we appreciate the stars in spite of their indifference because we would rather love than be loved.

But the third stanza takes it all back. Here’s Alison Bechdel reading it:

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Admirer as I think I am 

Of stars that do not give a damn, 

I cannot, now I see them, say 

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I missed one terribly all day. 

Alison Bechdel, graphic novelist

The speaker downgrades his foolish devotion to qualified admiration. No sooner has he established himself as “the more loving one” than he gives us — and perhaps himself — reason to doubt his ardor. He likes the stars fine, he guesses, but not so much as to think about them when they aren’t around.

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The fourth and final stanza, read by Yiyun Li, takes this disenchantment even further:

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Were all stars to disappear or die, 

I should learn to look at an empty sky 

And feel its total dark sublime, 

Though this might take me a little time. 

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Yiyun Li, author

Wounded defiance gives way to a more rueful, resigned state of mind. If the universe were to snuff out its lights entirely, the speaker reckons he would find beauty in the void. A starless sky would make him just as happy.

Though perhaps, like so many spurned lovers before and after, he protests a little too much. Every fan of popular music knows that a song about how you don’t care that your baby left you is usually saying the opposite.

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The last line puts a brave face on heartbreak.

So there you have it. In just 16 lines, this poem manages to be somber and funny, transparent and elusive. But there’s more to it than that. There is, for one thing, a voice — a thinking, feeling person behind those lines.

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W.H. Auden in 1962. Sam Falk/The New York Times

When he wrote “The More Loving One,” in the 1950s, Wystan Hugh Auden was among the most beloved writers in the English-speaking world. Before this week is over there will be more to say about Auden, but like most poets he would have preferred that we give our primary attention to the poem.

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Its structure is straightforward and ingenious. Each of the four stanzas is virtually a poem unto itself — a complete thought expressed in one or two sentences tied up in a neat pair of couplets. Every quatrain is a concise, witty observation: what literary scholars call an epigram.

This makes the work of memorization seem less daunting. We can take “The More Loving One” one epigram at a time, marvelling at how the four add up to something stranger, deeper and more complex than might first appear.

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So let’s go back to the beginning and try to memorize that insouciant, knowing first stanza. Below you’ll find a game we made to get you started. Give it a shot, and come back tomorrow for more!

Your first task: Learn the first four lines!

Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.

Question 1/6

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Let’s start with the first couplet. Fill in the rhyming words.

Looking up at the stars, I know quite well 

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That, for all they care, I can go to hell, 

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Tap a word above to fill in the highlighted blank.

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Ready for another round? Try your hand at the 2025 Poetry Challenge.

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Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.

Illustrations by Daniel Barreto.

Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.

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Famous Authors’ Less Famous Books

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Famous Authors’ Less Famous Books

Literature

‘Romola’ (1863) by George Eliot

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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?

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“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.

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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.

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‘Quiet Dell’ (2013) by Jayne Anne Phillips

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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.

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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.”

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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

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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.

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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.

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‘Fox 8’ (2013) by George Saunders

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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.

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We’d all have read it by now — right?

‘Between the Acts’ (1941) by Virginia Woolf

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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.

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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.

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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.

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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.

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6 Poems You Should Know by Heart

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6 Poems You Should Know by Heart

Literature

‘Prayer’ (1985) by Galway Kinnell

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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

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“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.”

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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?’”

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‘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.

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“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.

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These interviews have been edited and condensed.

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