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South Carolina and Iowa prove if 'given an opportunity, women’s sports just thrives'

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South Carolina and Iowa prove if 'given an opportunity, women’s sports just thrives'

CLEVELAND — Everyone wanted to talk about the game, which was expected after the South Carolina women’s basketball team held off Iowa for an 87-75 victory and second national championship in three years. But Dawn Staley also wanted to talk about the other game. Actually, that’s not strong enough. She was going to discuss it.

Basketball has played such an important role in her life that she protects it as fiercely as a mother would a newborn. Her love for it is matched only by her respect for it. So even as questioners asked about the Gamecocks becoming just the 10th team in NCAA Division I history to finish a season undefeated, going 38-0, Staley purposely turned the spotlight back to the person who was central in helping to make this a transformative season and inflection point in the game’s evolution.

“I don’t want to not utilize this opportunity to thank Caitlin (Clark) for what she’s done for women’s basketball,” she said of the Iowa guard whose transcendent play helped drive record viewership numbers. “Her shoulders were heavy and getting a lot of eyeballs on our game. And sometimes as a young person, it can be a bit much. But I thought she handled it with class. I hope that every step of the ladder of success that she goes, she’s able to elevate whatever room she’s in.”

Minutes earlier, Staley had elevated herself to the upper rungs of a ladder in Rocket Mortgage FieldHouse. She snipped the final polyester strands from the net and placed it around her neck. Then she turned each way and waved to fans.

As I later listened to her describe her feelings, Maya Angelou’s words came to mind: “I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.”

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That summarizes the 2023-24 women’s basketball season for me. Years from now, I will likely forget Clark’s career points total, how many games South Carolina won, why Kim Mulkey always seemed so angry, and which players were involved in the moving screen at the end of the UConn-Iowa national semifinal. But I will never forget the sense of satisfaction derived from seeing the sport come of age.

For decades, broadcast partners and the public marginalized women’s basketball, ostensibly relegating it to the kids’ table. The calls for respect were heard but ignored. But this season was different. The women no longer asked for respect; they demanded it with the record-breaking viewership that stemmed from the genius of Clark, the high-level play of South Carolina, Iowa, UConn, LSU and others, and the storylines and grudge matches that set social media ablaze.

How far has the game come? When the Final Four was held in Tacoma, Wash., in 1988 and ’89, the local newspaper didn’t send any of its top sportswriters to cover the event. It sent a lowly community news reporter who had never staffed a major sporting event. I know because that person was me.

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I was stunned there wasn’t more interest after experiencing the intensity of Tennessee coach Pat Summitt’s piercing blue eyes, the playmaking of Long Beach State guard Penny Toler, the generalship of Stanford guard Jennifer Azzi, the consistency of Tennessee forward Bridgette Gordon, and the promise of Louisiana Tech center Venus Lacy. But traction is hard to come by when broadcast rights are sold to a cable outlet that views you as an afterthought.

ESPN should be ashamed for that. The fact is, it’s not deserving of what it now has — one of the hottest products in sports. The women’s game this year attracted more viewers than the NBA Finals, World Series, college football playoffs — you name it. And while there might be a drop-off with Clark leaving for the WNBA, the chances of a significant decline seem remote at best.

The reason is the abundance of elite teams and playmaking young stars, including USC freshman JuJu Watkins, who ranked second in the country in scoring; Notre Dame freshman Hannah Hildago, who was must-see TV; and South Carolina freshmen MiLaysia Fulwiley and Tessa Johnson, who just played prominent roles in winning the Gamecocks their third national championship in franchise history. And then there is senior guard Paige Bueckers, who led Connecticut to the Final Four and should be in the running for national Player of the Year next season.

“I just want our game to grow. I don’t care if it’s us. I don’t care if it’s Caitlin. I don’t care if it’s JuJu or Hannah,” Staley said. “I just want our games to grow, no matter who it is. Because there’s a lot of people that are out there growing our game, a lot of programs out there growing our game. We need to continue to uplift them as well, as we take our game to the next level.”

GO DEEPER

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Dawn Staley created South Carolina’s perfect championship season out of last year’s loss

There will be plenty of time to discuss the passing of the baton, so to speak. But Sunday was about recognizing those who, if not created this moment, unquestionably built on the momentum created in recent seasons. And Clark was at the front of the line.

Before disappearing from the dais for the final time as a college player, she reflected on the things she will remember and appreciate most — her teammates, her coaches, and her support inside and outside the program. And she will also take great pride and satisfaction that she played a part in making the women’s game top of mind.

“When I think about women’s basketball going forward, obviously it’s just going to continue to grow, whether it’s at the WNBA level, whether it’s at the college level,” Clark said. “Everybody sees it. Everybody knows. Everybody sees the viewership numbers. When you’re given an opportunity, women’s sports just kind of thrives. I think that’s been the coolest thing for me on this journey. We started our season playing in front of 55,000 people in Kinnick Stadium, and now we’re ending it playing in (front of) probably 15 million people or more on TV. It just continues to get better and better. That’s never going to stop.”

(Photo of Dawn Staley: Gregory Shamus / Getty Images)

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Video: ‘Flesh’ by David Szalay Wins 2025 Booker Prize

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Video: ‘Flesh’ by David Szalay Wins 2025 Booker Prize

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‘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.”

“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.”

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David Szalay became the first British Hungarian to win the prestigious Booker Prize for his novel “Flesh.”

By Shawn Paik

November 11, 2025

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Test Yourself on the Settings Mentioned in These Novels About Road Trips

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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.

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This Poem About Monet’s “Water Lilies” Reflects on the Powers and Limits of Art

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This Poem About Monet’s “Water Lilies” Reflects on the Powers and Limits of Art

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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.

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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.

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Claude Monet in his garden in 1915.

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“Ceux de Chez Nous,” by Sacha Guitry, via Museum of Fine Arts, Boston

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.

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“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.

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Robert Hayden in 1971.

Jack Stubbs/The Ann Arbor News, via MLive

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.

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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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