Culture
Ray Davis grew up homeless, now he seeks to be a 'name you'll remember forever'
Picture him, just 9 years old, walking the streets of San Francisco each morning, dropping off his younger sister at school, then hustling back home to take care of his baby brother. His chair in Mr. Klaus’ third-grade class sits empty, sometimes for days, sometimes for weeks.
Picture him, summoning the courage to write a letter to the man he kept hearing about — “You run just like your pops!” they’d tell him on the football field — but rarely saw. Then stamping that letter. Then mailing it to his father in prison. “I don’t know you,” part of it read.
Picture him, running out of places to stay and people to ask. For a while, Ray Davis lived with his mom, but then she went away, too. So he stayed with his grandma, sleeping on her living room floor. When the social worker would swing by to check on him, they’d lie, vowing that he had a bedroom to call his own. Anything to keep him out of foster care a little longer.
But that didn’t last. Nothing seemed to last.
By 8 he was a ward of the state; by 12 he was living in a homeless shelter with two of his 14 siblings. When he learned a foster family had enough room to take two of them — but not all three — Ray volunteered to stay back so his brother and sister wouldn’t get lost in the system like he was. “If they can get out and be together,” he told the case worker at the time, “that’s the best thing for them.”
They went. He stayed.
Picture him, sitting in the front seat of a social worker’s car a few years later, texting and calling everyone he can think of, begging for a couch or a chair or a spot on the floor to sleep on, only to be told “sorry” too many times to count, his heart breaking a little more with each rejection.
Finally, he reaches out to his favorite teacher. “Can I stay with you?” Ray asks. “Just for a night or two?”
“Of course you can stay with us,” Ben Klaus tells him, and even though it’s a tiny one-bedroom apartment in the heart of downtown San Francisco, and even though Ben and his fiancée, Alexa, are busy planning their wedding for that summer, “just a night or two” turns into three years.
GO DEEPER
NFL Mock Draft: Our college football writers project Round 1
Now look at him. He’s 24. He’s two months from hearing his name called in the NFL Draft. He piled up more than 1,000 rushing yards for three different college football programs. And he owns a degree from Vanderbilt.
That’s what it took for Re’Mahn “Ray” Davis to answer the question he’s been asking since he sat in that homeless shelter 12 years ago, feeling alone and abandoned, wiping tears from his cheeks, whispering the same thing to himself every night before he went to bed.
“Why God? Why me?”
His mom was 14 when she got pregnant, 15 when she gave birth. “She wasn’t ready,” is all Ray Davis will say about it now, tucked into a booth at a Yard House in Phoenix, where he has been training for the draft. “I love my mom, but she just couldn’t figure it out.”
For most of his childhood, his father, Raymond Davis, couldn’t either. Both parents were in and out of prison for long stretches, leaving Ray largely on his own. He remembers one afternoon, when he was 8 or 9, being told by a teacher that his father was there to pick him up.
“Wait,” Ray said, “I have a dad?”
From there, the relationship was starts and stops, weekends together followed by months, even years, without contact. Ray would hear stories about his father’s football exploits — how Raymond had broken O.J. Simpson’s Galileo High record for touchdowns in a season, how he had been named the San Francisco Examiner’s 1998 player of the year — but, for a while, he felt like a ghost.
When Ray lived with his mom, she’d drop him off at a daycare run by a family friend, then leave him there all weekend. Or for an entire week. Or for an entire month. When he had nowhere else to go, he’d stay with his grandma, but that was never going to be a permanent solution, Ray says. Not enough clean clothes. Not enough food.
“I was the kid who was kinda left around a bunch of different places,” Ray says now.
When he was in school, he’d linger at the aftercare program until 7 or 8 in the evening, his way of pushing away the reality that waited for him wherever he was staying that night. He’d carry around a duffel bag of clothes from Goodwill. Most of the time, it was all he had.
A fringe NFL Draft prospect last spring, Davis decided to transfer to Kentucky to bolster his credentials. He rushed for 1,129 yards and 14 touchdowns and briefly was in the Heisman conversation. (Todd Kirkland / Getty Images)
After seeing a flyer for the local Big Brothers Big Sisters chapter when he was 8, he found a phone, called the number and added himself to the waitlist. That led him to Patrick Dowley, his new Big Brother. The bond was instant, the relationship — like so few in Ray’s life at the time — stabilizing.
When they went to grab food, Patrick taught Ray proper restaurant etiquette. When they caught a Giants or Warriors game, Patrick told him about the players. When Ray struggled with his homework, Patrick pushed him and pushed him and pushed him.
He never had the money to sign up for football, so his coaches would cover the cost. They’d give him rides to and from games, then take him out to eat afterward to make sure he had a square meal. Ray remembers how much it stung, after all his touchdown runs in Pop Warner games, when he’d look over at the sideline and see nobody there.
At 12, without anywhere else to go, he spent two months in a homeless shelter on the bottom floor of Zuckerberg General Hospital and Trauma Center. Ray can still see the food pantry that kept him from going hungry, the baby crates the toddlers would sleep in, the game room where he spent hours watching movies on the VCR or playing “NCAA Football” on PlayStation.
As a homeless minor, he was prohibited from leaving the facility. He’d get one hour a day outside. He’d spend it shooting baskets with a staff member.
“Being in that shelter, it just taught me: you’re a man now,” he says. “No more being spoon-fed. No more having your hand held. You’re gonna have to figure this out yourself.”
So he did. After the shelter, he couch-surfed with extended family or anyone willing to take him in. He stayed with friends of friends of friends — sometimes without even knowing their last names.
Ben Klaus had Ray in his third-grade class at Bret Harte Elementary, then again in fifth grade. The more days Ray missed — sometimes he was gone for weeks at a time — the more Ben started to piece it together. Ray would walk his sister to school, then walk back to wherever they were staying. There was no one else to watch his brother. Ray would change his diapers. He’d make sure he was fed.
He was 9.
Ben would take Ray out for burritos. He’d catch him up in school. “That was part of our non-negotiable. He had to get his homework done,” Ben says. He invited Ray to spend Thanksgiving with him and his family.
After that last-ditch phone call, when Ray was in sixth grade, out of options and needing somewhere to stay, Ben and Alexa Klaus became family. Ray made it to their wedding that summer; he gave a speech, too. “He became a shining light for us,” Ben says. “People still talk about that speech.”
That was home for the better part of three years, until a five-hour car ride in the back of a Chevy Suburban changed his life.
None of it added up to Lora Banks. The more she kept peppering this young man with questions — “probably 1,000 over the course of the entire drive home,” she admits — the more he kept dodging them, then slipping on his headphones so he could tune out the country music she was blaring up front.
They’d wrapped an AAU basketball tournament in Santa Barbara one weekend when Banks’ youngest son, Bradley, asked her if one of his teammates could catch a ride with them back to San Francisco.
Beyond him being the best player on the team, Lora knew nothing about Ray. No one really did. He’d hitched a ride to the tournament with one of the coaches, someone said. He didn’t have a spot in any of the hotel rooms, someone mentioned. And when it came time to leave, he didn’t have a ride home.
Lora wanted to know more. Ray wanted the password to her internet hotspot. So she proposed a deal: if he’d answer some questions, she’d share it. He agreed. She kept asking, for five long hours, learning very little.
“You just don’t think to ask, ‘Who takes care of you?’ Or, ‘Where’s your mom and dad?’”, she says now. “But the one thing that stuck out to me was when we got back, I asked him where I should drop him off, and he just mumbled, ‘Oh, I’ll just take the bus from your house.’
“Now that was weird.”
Slowly, she started to see more of him. Ray would swing by the house on his way to practice. She knew he wasn’t eating enough, so she’d invite him over for family dinners. She knew he needed somewhere to work out, so she added him to their YMCA membership. When she’d ask if his parents knew where he was, he’d shrug.
A few months later, one of the AAU coaches asked if Lora could give Ray a ride to another tournament, this one in Nevada. Sure, she said. But to leave the state, Ray told her, he’d need permission. She needed to call his social worker.
“Now I’m starting to figure this out,” she says. “He’s lost in the system.”
Lora Banks helped him find his way out. She filed the mountains of paperwork to become his temporary guardian so he could play in the Nevada tournament. Pretty soon, she was doing the same thing to become his educational guardian, giving her a say in where he went to school.
With these wheels spinning, something else was happening in Ray Davis’ life: Raymond Davis was out of prison and beginning to rebuild his life. He’d landed a job. And he wanted to reconnect with his son. So Lora and her husband, Greg, had him over for dinner.
“When we sat down, we could tell his heart was in the right place,” Lora said.
Together, the three of them weighed Ray’s next steps. He was 15, a bit behind in school, in desperate need of structure. A friend of Lora’s who’d heard about Ray’s talents on the basketball court suggested they look into boarding schools. Another well-connected friend lined up an interview with a prestigious one in New York.
What sounded crazy at first — attending a prep school 2,000 miles away — became more realistic. The school, Trinity-Pawling, was interested in offering Ray a basketball scholarship.
Raymond Davis resisted the idea initially; he wanted his son in San Francisco. But his stance changed a few weeks later after hearing about a shooting in their neighborhood. “If he stays around here,” Raymond finally admitted, “he could end up like a lot of old friends of mine.”
So they flew to New York to visit Trinity-Pawling, an all-boys college preparatory school an hour north of the city. The campus was stunning, like nothing Ray had ever seen. They met with the basketball coach. Ray aced the interview. The scholarship offer came. Then, before they left, Ray mentioned one more thing.
“You know,” he told the coaches, “I can play football, too.”
Before Ray could move across the country, he needed California’s permission.
Still a ward of the state, Ray had to stand before a judge and argue in support of his father’s petition to resume custody, without which Ray couldn’t leave. But when Ray, Raymond, Lora and Greg arrived in court, they learned an attorney for San Francisco county was there to oppose the move.
“We were flabbergasted,” Lora remembers.
“His support is here, in San Francisco,” the attorney argued in front of judge Catherine Lyons. “If he gets out to New York, how will he get back? What if his scholarship falls through?”
The options at home, he continued, were far more realistic: a spot in a group home, possibly vocational school.
Then the judge allowed Ray to state his case. He was 16 years old, pleading for his future.
“You say I won’t be supported out there,” he began. “But going back to when I was young, when have I been supported here?”
Ray wanted to go to New York. He wanted an education. He wanted a chance at college. For years, he told the judge, he wasn’t even sure if he’d even make it to high school. Now the opportunity was right in front of him.
After Ray was finished, the county attorney sat in silence. The judge asked for a rebuttal.
“We withdraw our opposition,” the attorney finally said. “We support him.”
Lyons agreed. She had followed Ray’s story since he was 6 years old. She knew what this moment meant to him.
“I’ve been a judge 10 years, and this is something I never get to do,” she said, tears welling up in her eyes. “Re’Mahn Davis, you’re no longer a ward of the court.
“You’re going to Trinity-Pawling,” Lyons continued. “I believe you’re going to graduate high school. And I believe one day you’re going to graduate from college.”
Ray Davis had earned his chance, and that was all he needed.
At Trinity-Pawling, he lettered in basketball, baseball and track and field, but stood out most on the football field. School wasn’t easy. Neither was the rigidity of the prep school schedule, which turned out to be a blessing in disguise for an unrefined teenager. Ray would get in trouble for not shaving, for sneaking his headphones into chapel, for not always following his coach’s orders.
But eventually, it stuck.
“I’m not much of a religious person,” Lora, a retired executive coach, says now. “But him getting into this school and what it did for him, it was an act of God.”
Ray graduated. Needing one credit to become NCAA eligible, he spent a postgrad year at Blair Academy in New Jersey, piling up 35 touchdowns on the football field. Pretty soon, college coaches were calling. The first scholarship offer came from Purdue.
When it did, Ray sat with his father and cried.
A few of them saw it early, all this untapped talent waiting to be unleashed. “We’re talking 80-yard touchdown after 80-yard touchdown every time I came to one of his Pop Warner games,” Patrick remembers. “I always sort of knew there was a chance.”
“Sports weren’t just his outlet,” Ben adds, “they were his therapy.”
Ray first landed at Temple, piling up 1,244 rushing yards in two seasons, then sought out the bigger stage of the SEC. After 1,253 more yards in two seasons at Vanderbilt — plus a degree in communications — he weighed going pro. But he knew he was a fringe NFL prospect at best, so he chose to bolster his credentials with one final season.
He transferred to Kentucky and, in coach Mark Stoops’ system, established himself as one of the best running backs in the country. A four-touchdown, 289-yard day against Florida in late September briefly elevated him into the Heisman conversation.
Davis finished his college career with 3,626 rushing yards, putting up over 1,000 yards at three different schools over parts of five seasons. (Patrick McDermott / Getty Images)
Lora was never too far away — to this day Ray calls her mom. She bought a condo in Nashville so she could watch him play at Vanderbilt, then one in Lexington to watch him at Kentucky. She kept a journal through it all, scribbling down the life lessons this young man taught her. She remains in awe.
“This isn’t a story of, ‘Oh, I stepped in a pile of crap and found the pony.’ Not at all,” she said. “He stepped in a pile of crap, then asked himself, ‘Do I wanna stay in it? Or do I wanna climb out of it?’”
Patrick would fly out to games. Same with Ben and Alexa. And Raymond Davis rarely missed a chance to watch his son play. “He’s my No. 1 fan,” Ray says of his dad.
The two have grown tight in recent years. Raymond, who did not comment for this story, has become a daily presence in his son’s life. Ray, slowly, has learned to move past the hurt.
“He’s a way better person,” he says of his dad.
Most stunning isn’t the story but its subject. It’s the way Ray Davis speaks about his life. He could be resentful, even bitter, and no one could blame him.
But he’s not. He’s grateful. The heartache that dotted his journey, the scars of his youth that he still wears — that’s the reason he’s here.
“After what I been through,” he says, “what’s gonna get in my way now?”
And he finally has the answer to the question he started asking himself all those years ago.
“Why me? Why me? It took me until I was 23, 24 to figure that out,” Ray says. “Well, this is why. Because of my story, and because of all the kids in a foster home or a homeless shelter that might hear about it one day.
“Everybody congratulates me for the football part of it, and that’s great, getting to the NFL and all that. But I’m an inner-city kid, a foster-care product who graduated from a top-15 school in the country. I feel like that’s what we should be celebrating. I never once thought I’d ever get into a school like Vanderbilt.”
He pauses for a moment, looking back on the improbability of it all. Then his bright, piercing green eyes lock in, and Ray Davis mentions one last thing.
“I’m just getting started. I’m not trying to be the best running back in this draft. I’m trying to be a name you’ll remember forever.”
(Illustration: Dan Goldfarb / The Athletic; photos courtesy of Lora Banks, Patrick Dowley and Ben Klaus, Joe Robbins / Getty Images)
Culture
Poetry Challenge: Memorize “The More Loving One” by W.H. Auden
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.
Here’s the first of its four stanzas, read for us by Matthew McConaughey:
The More Loving One
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
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.
Here’s Tracy K. Smith, a former U.S. poet laureate, with the second stanza:
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.
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.
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:
Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
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.
The fourth and final stanza, read by Yiyun Li, takes this disenchantment even further:
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.
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.
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.
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.
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.
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!
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
Looking up at the stars, I know quite well That, for all they care, I can go to hell,
Tap a word above to fill in the highlighted blank.
Your first task: Learn the first four lines!
Let’s start with the first couplet. Fill in the rhyming words.
Monday
Love, the cosmos and everything in between, all in 16 lines.
Tuesday (Available tomorrow)
What’s love got to do with it?
Wednesday (Available April 22)
How to write about love? Be a little heartsick (and the best poet of your time).
Thursday (Available April 23)
Are we alone in the universe? Does it matter?
Friday (Available April 24)
You did it! You’re a star.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
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.
Culture
Famous Authors’ Less Famous Books
Literature
‘Romola’ (1863) by George Eliot
Who knew that there’s a major George Eliot novel that neither I nor any of my friends had ever heard of?
“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.
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.
‘Quiet Dell’ (2013) by Jayne Anne Phillips
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.
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.”
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
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.
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.
‘Fox 8’ (2013) by George Saunders
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.
We’d all have read it by now — right?
‘Between the Acts’ (1941) by Virginia Woolf
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.
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.
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.
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.
More in Literature
See the rest of the issue
Culture
6 Poems You Should Know by Heart
Literature
‘Prayer’ (1985) by Galway Kinnell
Whatever happens. Whatever
what is is is what
I want. Only that. But that.
“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.”
“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?’”
‘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.
“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.
These interviews have been edited and condensed.
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