Culture
Penn State, Louisville volleyball will make history in NCAA championship. Their coaches are why
LOUISVILLE, Ky. — What’s remarkable is not that two women are coaching for the national championship and one will win a title for the first time in the 44 years of NCAA women’s volleyball. It’s remarkable that these women, Katie Schumacher-Cawley and Dani Busboom Kelly, are the two doing it.
Because they are the ideal representatives.
In this historic moment, as Schumacher-Cawley at Penn State and Louisville’s Busboom Kelly match wits before a sold-out KFC Yum! Center and a national ABC audience on Sunday at 3 p.m., they are the embodiment of what it takes to get to the top in an industry dominated by men.
Eighteen of the 20 winningest coaches in Division I women’s volleyball history are men.
“It’s going to be awesome for the sport to get this monkey off its back and move on from this, where it’s not historic that a woman wins,” said Busboom Kelly, 39, in her eighth season and making a second trip to the national championship match with the Cardinals. “It’s just a regular thing.”
Penn State (34-2) and Louisville (30-5) reflect their coaches’ drive and resilience. They won national semifinal matches on Thursday against Nebraska and Pittsburgh, respectively, in dramatic fashion.
Schumacher-Cawley and Busboom Kelly both coached with a steady hand. They fostered confidence from the sideline as their squads’ manufactured comebacks against opponents considered to rank first and second nationally in talent, depth and championship-level experience.
GO DEEPER
Penn State, Louisville set to meet for women’s volleyball national title
The Nittany Lions pulled a five-set reverse sweep, fighting off two match points for Nebraska in the fourth set.
At the start of the decisive fifth set, junior libero Gillian Grimes heard a voice of reassurance in the Penn State huddle: “We’re made for this.” The phrase didn’t come from Schumacher-Cawley. But she is why it was spoken.
Louisville players faced pressure all season to earn a spot in the Final Four at home. As stress rose when Pitt won the opening set and took the lead in the second, Busboom Kelly implored the Cardinals to keep their composure.
“This is going to start to work,” she said.
Without star attacker Anna DeBeer, the senior was injured two points into the fourth set, they swarmed Pitt after turning back three set points for the Panthers in the third.
In short, Penn State and Louisville refused to go away. They kept taking huge swings. They played to win.
“We’re not talking about losing ever,” Penn State outside hitter Jess Mruzik. “We’re never counting ourselves out, no matter how big of a deficit we’re facing.”
In matches played in front of an NCAA-postseason record crowd of 21,726, Penn State and Louisville were the tougher teams.
Is it any surprise, considering the coaches?
“Women are tough,” said Nebraska coach John Cook, who’s won four national championships. “And those two are really tough. Look at them as players. They both won national championships, so this isn’t a fluke. These guys are winners. They’re great competitors. And their teams play like it.”
Schumacher-Cawley, 44, is a Chicago brand of tough. She grew up in the city and starred in multiple sports at Mother McAuley High. She played at Penn State, earned two All-America honors and won a national championship, the school’s first in women’s volleyball, in 1999 for coach Russ Rose.
Rose won six more titles. He’s the all-time leader in championships and wins among Division I coaches. In 2008, Schumacher-Cawley was inducted into the Chicagoland Hall of Fame in a class alongside Dick Butkus, Gale Sayers and Andre Dawson.
She ran the program at Illinois-Chicago for eight seasons and returned to Penn State to work for Rose in 2018 — four years after the Nittany Lions’ most recent Final Four appearance until last week.
Schumacher Cawley took over when Rose retired in 2022.
“Following Russ Rose, to take the team back to the Final Four in just three years,” Busboom Kelly said, “take being a man or woman out of it, that’s an amazing accomplishment.”
Early in her third season this fall, Schumacher-Cawley revealed a Stage 2 breast cancer diagnosis and she began chemotherapy. She lost her hair but did not miss a practice with her team.
“We’re obviously wanting to do this for her because she’s been so amazing throughout this season,” said Mruzik, who hammered a match-best 26 kills against Nebraska. “So that gritty five-set win helped put another brick into the piece that we’re trying to build this season.”
Schumacher-Cawley deflects questions about her health and the gender issue in coaching.
“I’m just really excited to represent Penn State,” she said.
Maybe it’ll sink in, she said, the magnitude of two women on the bench, both in charge with a trophy on the court, when they step out under the lights Sunday.
“I’m proud of this team,” Schumacher-Cauley said. “I think I’ve said that every day. I’m proud of their fight.”
The fight transcends volleyball.
Louisville coach Dani Busboom Kelly was the 2021 AVCA national coach of the year. (Sam Upshaw Jr. / Courier Journal / USA Today via Imagn Images)
When Busboom Kelly took over at Louisville in 2017, she doubled the Cardinals’ win total, from 12 to 24, in one season.
In 2019, Louisville advanced to the round of eight for the first time. In 2021, Busboom Kelly was named the national coach of the year as the Cardinals went undefeated until the Final Four, losing in five sets against Wisconsin. A year later, Texas beat Louisville for the national championship.
“She’s led one of the great turnarounds in any college volleyball program,” Cook said.
Busboom Kelly played for Cook at Nebraska from 2003 to 2006. He recruited her off a farm near Cortland Neb. She was a multi-sport star at tiny Adams Freeman High School.
In college, she moved from setter to libero and helped spark the Huskers, alongside future Olympians Jordan Larson and Sarah Pavan, to a national championship in 2006. She won another title with Cook and the Huskers as an assistant coach in 2015.
A year later, she took over at Louisville.
“I hope people appreciate what she’s done here,” Cook said.
Louisville fans appreciate Busboom Kelly, based on the reception Thursday that she and the Cardinals received.
“I think the last time I was on the mic talking about Dani, I called her a badass,” Louisville middle blocker Phekran Kong said Friday at the news conference to preview the championship. “So I’m going to double down on that one. Because she’s legit.”
In the fourth set on Thursday, after DeBeer left with the injury that could keep the senior All-American out of the championship match, middle blocker Cara Cresse promised Busboom Kelly that she would deliver two blocks.
Cresse produced. Momentum flipped. The Panthers fell apart late in the match. Even sophomore opposite hitter Olivia Babcock, crowned Friday as the national player of the year, felt the pressure. The Cardinals embraced it.
“This is for all the people who doubted us,” Louisville outside hitter Charitie Luper said.
Her coach looked on and smiled.
More than to shatter a glass ceiling on Sunday, Busbom Kelly said, she’s excited that a woman will coach her team to the national championship so that athletic directors and future players who might go into coaching understand that it can be done.
“It’s more just being really proud that we can be role models,” she said, “and hopefully blazing new trails.”
(Top photo of Schumacher-Cawley: Dan Rainville / USA Today via Imagn Images
Culture
I Think This Poem Is Kind of Into You
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.
“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.
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.
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.
“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.
Culture
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.
Culture
From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel
When a writer is praised for having a sense of place, it usually means one specific place — a postage stamp of familiar ground rendered in loving, knowing detail. But Kiran Desai, in her latest novel, “The Loneliness of Sonia and Sunny,” has a sense of places.
This 670-page book, about the star-crossed lovers of the title and several dozen of their friends, relatives, exes and servants (there’s a chart in the front to help you keep track), does anything but stay put. If “The Loneliness of Sonia and Sunny” were an old-fashioned steamer trunk, it would be papered with shipping labels: from Allahabad (now known as Prayagraj), Goa and Delhi; from Queens, Kansas and Vermont; from Mexico City and, perhaps most delightfully, from Venice.
There, in Marco Polo’s hometown, the titular travelers alight for two chapters, enduring one of several crises in their passionate, complicated, on-again, off-again relationship. One of Venice’s nicknames is La Serenissima — “the most serene” — but in Desai’s hands it’s the opposite: a gloriously hectic backdrop for Sonia and Sunny’s romantic confusion.
Their first impressions fill a nearly page-long paragraph. Here’s how it begins.
Sonia is a (struggling) fiction writer. Sunny is a (struggling) journalist. It’s notable that, of the two of them, it is she who is better able to perceive the immediate reality of things, while he tends to read facts through screens of theory and ideology, finding sociological meaning in everyday occurrences. He isn’t exactly wrong, and Desai is hardly oblivious to the larger narratives that shape the fates of Sunny, Sonia and their families — including the economic and political changes affecting young Indians of their generation.
But “The Loneliness of Sonia and Sunny” is about more than that. It’s a defense of the very idea of more, and thus a rebuke to the austerity that defines so much recent literary fiction. Many of Desai’s peers favor careful, restricted third-person narration, or else a measured, low-affect “I.” The bookstores are full of skinny novels about the emotional and psychological thinness of contemporary life. This book is an antidote: thick, sloppy, fleshy, all over the place.
It also takes exception to the postmodern dogma that we only know reality through representations of it, through pre-existing concepts of the kind to which intellectuals like Sunny are attached. The point of fiction is to assert that the world is true, and to remind us that it is vast, strange and astonishing.
See the full list of the 10 Best Books of 2025 here.
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