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Suni Lee snags bronze on bars for third medal of Paris Olympics

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Suni Lee snags bronze on bars for third medal of Paris Olympics

PARIS  — When her confidence waned and her body only began to tickle the fringes of normalcy, Sunisa Lee turned to her comfort zones. Though an exceptional all-around gymnast, she is especially gifted on the uneven bars.

As she slowly made her way back from two debilitating kidney diseases, it was the bars that helped restore Lee. She felt at home there, so comfortable that she started to tinker with a new release move, hoping to have it named after her. Her coach, Jess Graba, supported the plan, encouraged her to do anything that would “get her out of bed in the morning,’’ after the side effects of her kidney ailments left her physically weak and mentally broken.

He did not push her; didn’t even set goals. Graba didn’t know what was reasonable. Besides, he knew the athlete he’s trained since she was four years old, would do that herself. Slowly the fog lifted, and the good news trickled in — a clear to work out and finally in January, an OK to compete. Still, Graba cautioned.  She didn’t have to do this, do any of it, he told her. With an Olympic all-around gold medal already around her neck, she had nothing to prove. The cynics that dogged her, the ones that liked to remind her she won the gold when Simone Biles withdrew, wouldn’t be silenced anyway. In fact, if she was anything less than she had been, they probably would pounce harder.

But Lee wanted what she wanted — another shot. And so Lee plugged forward, through the lead up meets to the Olympics, adding a bit more at each stop. Bars and balance beam only at the Winter Cup in February; mixing in floor exercise at the Core Hydration Classic in May; and finally all in at Olympic trials. Even as she expanded her repertoire, the bars remained her mainstay. A place where her success fortified her, built that confidence back up.

Naturally the better she felt, the better she performed; the better performed, the more she wanted. It is human nature. But even as her eyes opened to possibility, to allowing herself to imagine medals and places, Lee reminded herself that being here was enough.

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And so when Lee stepped up last in the uneven bar final in Paris, she swung to win because you always want to win; but mostly she swung because if felt good.

When the 14.800 score flashed, slotting Lee into the bronze medal, she covered her mouth in surprise, surprise that she won a medal, but more surprise at what she’s done.  “The last couple of days, I saw my scores and I saw that if I just hit my routine, I could medal,’’ she said. “But really I just wanted to prove it to myself that I can do it.’’


Sunisa Lee covers her face in shock after seeing her score during the uneven bars final at the 2024 Olympics. (Photo: Jamie Squire / Getty Images)

Lee now has a stash of three Olympic medals from Paris — a gold from the team final, an all-around bronze and a bars bronze. She has a shot for a fourth tomorrow, on the beam. All this from a woman who in January wondered if she should even target the Olympics as a goal.

But if the time since her diagnosis has taught her anything, it is that she is even stronger than she thought she was. The gift of perspective has been almost liberating, allowing Lee to give herself grace and find the sweet spot between pushing for something and being simply happy you can push.

She wound up not doing the would-be signature move; she wanted to, but Graba told her the risk wasn’t worth it.  He crunched the numbers. They didn’t add up. Kaylia Nemour, a 17-year-old Frenchwoman by birth who, because of a protracted disagreement with her federation competes for Algeria, was essentially untouchable. She is to bars what Simone Biles is to vault, unbeatable unless she royally screws up.  Qiu Qiyuan, the reigning bars world champion from China, would be equally hard to beat because of her difficulty score.

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He didn’t want to tell her she couldn’t do something, but he also knew realistically she wasn’t likely going to win a silver or gold. So aim, he told her, for what was achievable, and find the joy in achieving it. Her routine as it was constructed was good enough to land Lee on the podium; if she did the new skill and fell, it would negate any chance of making it.

At one point in her career Lee might have pushed back. Because of their long time together, Lee has no problem challenging Graba and in the past, he usually followed her lead.

The last 18 months, though, have changed their dynamic. Graba is extraordinarily protective of Lee. He saw her at her lowest, depressed and unable to even come to the gym. Asked how he’s felt, he didn’t hesitate. “Stressed,’’ he said. It was, he believed, his job to keep her goals at reach, to temper her expectations without ruining her drive.

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go-deeper

GO DEEPER

Gold medalist Suni Lee is back at the Olympics. A team doctor helped make it so

“You’re just worried all year,’’ he said. “She put a lot out to get here, and I just wanted it to pay off.’’

The pay off came when Lee nailed her routine and completed the circle. The one event that restored her at her lowest rewarded her at her peak.

Required reading

(Photo: Dan Mullan / Getty Images)

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Finding Wisdom in a Poem by Wendy Cope

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Finding Wisdom in a Poem by Wendy Cope

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Where do you turn when you need advice? A chatbot? A life coach? A wise and trusted friend?

How about a poet? Poets may not be famous for making the best life choices, but because they subject the mess of human existence to the discipline of language, they can be as helpful as any therapist or mentor.

Good poets know the rules and when to break them, which is something they can teach the rest of us.

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To wit:

Giving advice is a peculiar literary undertaking. It flourishes in certain popular genres — graduation speeches, newspaper columns, country and western songs and poems like this one — but what, in these contexts, is it really for?

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I’m thinking of situations when you don’t urgently need help but nonetheless enjoy reading answers to questions you may not have thought to ask. What interests you isn’t the content of the advice — you could get all the life hacks you want from A.I. — so much as the voice of the person dispensing it.

Wendy Cope is an English poet, born in 1945, who has been a fixture of her country’s literary scene since the 1980s. More recently, her short, buoyant poem “The Orange” has been widely memed online, bringing her to the attention of new readers beyond Britain.

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Cope favors rhyme, meter, brisk jokes and tart aperçus. She addresses romance, friendship and the petty absurdities of modern life with disarming good humor. The last line of “The Orange” is “I love you. I’m glad I exist.” Somehow she makes it the opposite of cringe.

This isn’t the kind of poetry you would describe as “confessional.” And yet …

Want to learn this poem by heart? We’ll help.

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Fill in the missing words below. You can always refer to the reading by A.O. Scott and full
text above.

Question 1/7

Let’s start with the first stanza.

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Stop, if the car is going clunk 

Or if the sun has made you blind. 

Dont answer emails when youre drunk. 

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Tap a word above to fill in the highlighted blank.

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Can You Match the Places These Authors Lived With Settings in Their Books?

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Can You Match the Places These Authors Lived With Settings in Their Books?

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 places where authors were born (or lived) that later became locations in their books. 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 works if you’d like to do further reading.

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Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.

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Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.

AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries, by Eddie S. Glaude Jr.


For those of us in the national memory-keeping business, anniversaries hold near-totemic power. Satisfyingly round units of time, ideally bearing fancy, Latin-derived names, serve as the overburdened pegs on which to hang think pieces and museum exhibits, revisionist documentaries and maudlin public ceremonies. The arbitrary nature of such occasions is precisely what gives them their charge, inviting us to set aside complacency and submit to a comprehensive check-in.

In his new book, “America, U.S.A.,” Eddie S. Glaude Jr. presents an intriguing variation on the genre, seeing the country’s 250th birthday as an anniversary of anniversaries: 50 years since the malaise-ridden, schlock-heavy Bicentennial. A century since the subdued Prohibition-era Sesquicentennial. A century and a half since telegraphed reports of George Armstrong Custer’s defeat by the Lakota and Cheyenne at Little Bighorn rudely interrupted the Gilded Age Republic’s 100th birthday party.

If an anniversary offers a snapshot of a moment, the core of Glaude’s book is an old-timey photo album, a collection of notable episodes from earlier national reckonings, long-ago glances in the mirror. An estimable scholar of Black history, politics and religion at Princeton — best known for “Begin Again,” his 2020 meditation on James Baldwin’s relevance for our times — Glaude focuses, as his subtitle puts it, on “how race shadows the nation’s anniversaries.”

Such celebrations, he contends, have never really been the moments for honest self-reflection they are often advertised to be. Instead, the nation usually shatters the mirror, refusing to accept what it prefers not to see. “American anniversaries are often moments to turn a blind eye to the evils of the past and the present,” Glaude writes, “to suppress the fact of America’s divided soul.”

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It’s a clever concept, and, needless to say, perfectly timed. Last year, Glaude notes, the Trump administration executed a hostile takeover of the government’s studiously bipartisan 250th anniversary planning. It is now preparing a program that is certain to conceal more than it reveals about the country ostensibly being celebrated.

Glaude, in no mood for celebration, argues that such omissions and evasions also defined commemorations in the past. In 1875, Frederick Douglass predicted “one grand Centennial hosannah of peace and good will to all the white race of this country.” He was right: The nation reached 100 years old at a crucial moment in the post-Civil War fight over racial equality, with white Northerners ready to give up on Southern Reconstruction. The occasion would help the once-warring sections to reunite around a shared commitment to white supremacy. On May 10, 1876, at the opening of the Centennial Exposition in Philadelphia, the police tried to bar Douglass from the grandstand, until a white politician vouched for him.

The 150th anniversary came soon after a resurgent Ku Klux Klan successfully pushed for a restrictive immigration law aimed at keeping America a “Nordic” nation. At the lavishly funded, lightly attended celebrations in Philadelphia, Black veterans of World War I were excluded from marching in the opening parade. A writer with The Associated Negro Press wondered “what was in the breast of those black men who fought to make America safe for Democracy and on Monday stood on the sidelines, forgotten, as the Nordic strode by in all his vain pride.”

By 1976, when the nation marked its Bicentennial, the violence of the ’60s had destroyed any semblance of consensus. Vietnam and Watergate had eroded trust in the government. The commission initially tasked with organizing the anniversary was disbanded amid reports of corruption. Corporations filled the vacuum, Glaude explains, with “star-spangled whoopee cushions; patriotic toilet seats; Liberty hamburgers; red, white and blue beer cans.” The author, around 8 years old at the time, dimly remembers donning a pair of tricolor trousers.

A half-century later, Glaude is refreshingly honest about the depths of his despair. “I do not love America, and never have, especially now,” he writes in one of the more startling opening sentences I’ve read in some time. He dismisses this year’s Semiquincentennial as reaching back “to a storybook America that requires either the banishment of Black people from view or the reduction of our role in the country’s history, so as to affirm America’s ongoing quest to be a more perfect union.”

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Undoubtedly true. But Trump doesn’t own the country, at least not yet, nor the 250th anniversary of one of the most radically liberatory and confusingly contradictory events in world history — an inspiration, as Glaude shows, even to critical observers of the American experiment, like Douglass. Far from the revanchist MAGA-palooza in Washington, I suspect this summer’s unasked-for invitation to national soul-searching may surprise us yet.

Despite his despair, Glaude concludes that “the past still offers resources for us to freedom-dream.” So, too, does this book.


AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries | By Eddie S. Glaude Jr. | Crown | 270 pp. | $31

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