Culture
Rory McIlroy won the Masters, finally. The roars told the story
AUGUSTA, Ga. — A concoction of sweaty bodies and long-lens cameras was deadlocked in the upper left-hand corner of the No. 15 grandstand at Augusta National as Rory McIlroy’s 7-foot eagle putt slid underneath the cup. At that point in the day, the phoneless Masters Tournament patrons were not unfamiliar with the sound of thousands of simultaneous groans. Hearing and participating in them repeatedly, however, was not getting any easier.
A Green Jacket stood up out of his plastic bleacher seat in a frenzy.
“I can’t take much more of this,” the gentleman uttered. He bee-lined toward the steep downward staircase, his sons close behind, fumbling to button the coat that only a select group can sport on this property.
Until it actually happened, McIlroy’s chase of the career Grand Slam and the end to his 11-year major championship drought felt more like if you took the most nauseating roller coaster on earth and increased its speed tenfold. Or stuck yourself in a blender and turned it to the highest setting, making the table shake.
An opening double bogey, a water ball into Rae’s Creek with a wedge in hand, the first sudden-death playoff in the Masters since 2017 — McIlroy gave Augusta National the show it didn’t know it wanted. The patrons on site still aren’t sure that’s what they would have signed up for. Sunday was a ticketed heart attack.
“My battle today was with myself. It wasn’t with anyone else,” McIlroy said Sunday evening, a 38 Regular green jacket slung over his shoulders. “You know, at the end there, it was with Justin (Rose), but my battle today was with my mind and staying in the present.
“I’d like to say that I did a better job of it than I did. It was a struggle, but I got it over the line.”
It might have been an internal waging of the wars for McIlroy, but all of Augusta National felt it with him. They leaned with the wayward drives, hustled to catch a glimpse of the gravity-defying escape routes, and hoped — oh, did they hope — every time the putter face made contact with the golf ball it would find a hole. Just this one, Rory.
Rotation by rotation, they held their breath.
Then, a final roar that could only mean one thing: sweet, sweet relief.
In his 1975 Masters file for Sports Illustrated, the great Dan Jenkins wrote: “There is an old saying that the real Masters doesn’t begin until the back nine on Sunday.” That was 50 Masters ago. It’s still true.
This back nine of the 89th Masters began with a semblance of something that you can never trust at the place: comfort. It is almost always a mirage.
No. 10 crushed McIlroy’s Masters dreams 14 years ago as a naive 21-year-old. Sunday morning, McIlroy opened his locker to a note from Angel Cabrera, the 2009 champion who played with McIlroy that day.
Patrons surrounded Rory McIlroy all day. (Richard Heathcote / Getty Images)
The drive on No. 10 was demonless. The ensuing birdie putt to take a four-shot lead? Electrifying. Patrons surrounded the 10th green and 11th fairway 30 deep, peering through tree branches and shuffling around aimlessly to find a gap where they could see something. Anything. Amen Corner lurked. Lest they all knew, the rug was about to be ripped out from underneath the Northern Irishman.
It all happened in a blur. A bogey on No. 11 — a number that could have been a lot bigger. A par at No. 12. A 3-wood off the tee at No. 13, McIlroy playing it safe with a four-shot lead.
There’s no tighter part of the property for patrons than Amen Corner, tens of thousands pressed together to watch as McIlroy’s ball flew through the air once, then twice. He stood with a wedge in his hands from 82 yards. If he was going to screw this all up, it wasn’t going to be here, with all of Georgia to the left side of the green. Right?
McIlroy’s ball tumbled into the creek. He bent his spine in half and threw his hands onto his knees. There had been plenty of triumphant patron responses at that point in the day. Here, in Amen Corner’s final chapter, the gasps returned. They did not stop.
First, McIlroy’s red 13 came off the nearby manual leaderboard and was replaced by a somber 11. He paused, waiting an additional moment before heading over the 14th tee, almost as if he knew it was coming. Rose suddenly had his 10 switched out for an 11.
Tie score.
No Masters champion has ever won the green jacket with four double bogeys. Is that the kind of history McIlroy was going to make?
Every time it looked as though McIlroy had thrown away the golf tournament for good, he followed it with a shot, a moment, even a bounce in his step that added up to the opposite. He looked like he was in cruise control until the emergency brakes hit. The patrons’ fists in the air were coupled with sunburned faces buried in hands. More new red numbers caused a stir. McIlroy threw another dart. Birdie-par-birdie. Triumph? No. Closing bogey. There it was. All of it would come down to this. A sudden-death playoff against his Ryder Cup teammate, Rose.
Harry Diamond, McIlroy’s caddie and best friend since age 7, looked at his player as they headed to the golf cart that would bring the pair back to the 18th tee box once again.
“Well, pal, we would have taken this on Monday morning,” he said.
The jostled Augusta National audience did not agree. The anguish was becoming unbearable, borderline exhausting, but also the best Masters of the modern era. Either way, it needed to end. McIlroy needed to put himself — and everyone else — out of their misery.
Walk through the white and gold doors of the Augusta National clubhouse, up a winding staircase and through a quaint but decadent dining room, and you’ll find yourself on a porch. It overlooks the giant oak tree, the iconic rows of green and white umbrellas, and in the distance, if you crane your neck just enough, No. 18 green.
But today that view was clouded by a sea of anxious bodies. On the ground, some proposed starting a game of “telephone” to communicate the play-by-play on the green.
Up on the porch, you can rotate 180 degrees and you’re facing a row of white window panes. They lead to a 35-inch television, the only piece of modern technology in a 100-yard radius. A strange combination of Green Jacket wearers, off-duty broadcasters and confused writers gathered around to watch the playoff. Patrick Reed dipped in to order an Azalea cocktail. The incoming USGA president showed up. Everyone was too nervous to utter a word. No one did.
A sound of this force cannot be tape-delayed. All of Augusta National felt McIlroy’s energy release after that 4-foot birdie putt dropped. And by the look of him — collapsing onto his knees and convulsing with sobs — he felt it, too.
One of the most chaotic final rounds of recent memory ended with pure emotion, a release appropriate for the sixth man to complete the career Grand Slam, and McIlroy shut down a narrative he wondered whether he’d ever escape.
“It was all relief. There wasn’t much joy in that reaction. It was all relief,” McIlroy said after the round, laughing. “And then, you know, the joy came pretty soon after that. But that was — I’ve been coming here 17 years, and it was a decade-plus of emotion that came out of me there.”
We know, Rory. We know.
(Top photo: Harry How / Getty Images)
Culture
Video: ‘Flesh’ by David Szalay Wins 2025 Booker Prize
new video loaded: ‘Flesh’ by David Szalay Wins 2025 Booker Prize
transcript
transcript
‘Flesh’ by David Szalay Wins 2025 Booker Prize
David Szalay became the first British Hungarian to win the prestigious Booker Prize for his novel “Flesh.”
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“I think fiction can take risks. I think it’s one of the things that it can do. It can take aesthetic risks, formal risks, perhaps even moral risks, which many other forms, narrative forms, can’t quite do to the same extent.” “I think all six of the books in the short list really, you know, not — it’s not saying this is the headline theme, but there is that theme of reaching out, wanting a connection.”
By Shawn Paik
November 11, 2025
Culture
Test Yourself on the Settings Mentioned in These Novels About Road Trips
A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself. This week’s literary geography quiz highlights the starting points or destinations of five novels about road trips. (Even if you aren’t familiar with the book, most questions offer an additional hint about the location.) 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
This Poem About Monet’s “Water Lilies” Reflects on the Powers and Limits of Art
In the midst of the world’s unrelenting horribleness, it’s important to make room for beauty. True! But also something of a truism, an idea that comes to hand a little too easily to be trusted. The proclamation that art matters — that, in difficult times, it helps — can sound like a shopworn self-care mantra.
So instead of musing on generalities, maybe we should focus our attention on a particular aesthetic experience. Instead of declaring the importance of art, we could look at a painting. Or we could read a poem.
A poem, as it happens, about looking at a painting.
Hayden did not take the act of seeing for granted. His eyesight was so poor that he described himself as “purblind”; as a child he was teased for his thick-framed glasses. Monet’s Giverny paintings, whose blurriness is sometimes ascribed to the painter’s cataracts, may have revealed to the poet not so much a new way of looking as one that he already knew.
Read in isolation, this short poem might seem to celebrate — and to exemplify — an art divorced from politics. Monet’s depiction of his garden, like the garden itself, offers a refuge from the world.
But “Selma” and “Saigon” don’t just represent headlines to be pushed aside on the way to the museum. They point toward the turmoil that preoccupied the poetry of Hayden and many of his contemporaries.
“Monet’s ‘Waterlilies’” was published in a 1970 collection called “Words in the Mourning Time.” The title poem is an anguished response to the assassinations of Robert F. Kennedy and the Rev. Dr. Martin Luther King Jr., and to the deepening quagmire in Vietnam. Another poem in the volume is a long elegy for Malcolm X. Throughout his career (he died in 1980, at 66), Hayden returned frequently to the struggles and tragedies of Black Americans, including his own family.
Born in Detroit in 1913, Hayden, the first Black American to hold the office now known as poet laureate of the United States, was part of a generation of poets — Gwendolyn Brooks, Dudley Randall, Margaret Danner and others — who came of age between the Harlem Renaissance of the 1920s and the Black Arts movement of the ’60s.
A poet of modernist sensibilities and moderate temperament, he didn’t adopt the revolutionary rhetoric of the times, and was criticized by some of his more radical peers for the quietness of his voice and the formality of his diction.
But his contemplative style makes room for passion.
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