Connect with us

Culture

Thanks to NIL, local car dealers are out of the shadows and landing star college athletes

Published

on

Thanks to NIL, local car dealers are out of the shadows and landing star college athletes

On Jan. 19, two days after he became the most coveted football player in the NCAA’s transfer portal, and mere hours after he welcomed Ohio State coaches for a recruiting visit, Caleb Downs announced his change-of-address plans. The freshman safety who’d earned second-team All-America honors at Alabama committed to the Buckeyes. Not long after, Downs and his father began relocating to Columbus.

Getting there was simple enough. Getting around was another matter.

Some wheels needed to be put in motion.

“I get a call from someone on the coaching staff and they said, ‘Hey, I’m here with Caleb and his dad now. Are you looking to add somebody else to your team?’” says Rick Ricart, the CEO and owner of Ricart Automotive Group in Columbus. “Would you be willing to do a car deal for him?’”

For decades, these were shifty conversations. Local car dealerships had long been conduits for the whispered inducements coaches or boosters promised talented players. When discovered, scandal erupted. Repercussions were often stark. Then came the seismic summer of 2021, when changes to Name, Image and Likeness (NIL) rules allowed college athletes to earn money without fear of NCAA sanctions.

Advertisement

Car dealers nationwide quickly exchanged leases and keys for players boasting about their new ride on social media or even starring in commercials. The scheming, overzealous outsider morphed into the connective tissue for landing a star. A practice parked in the shadows was almost literally driven into the light. “All of a sudden, it was like, ‘What are the rules here?’” Ricart says now. “There are no rules anymore.”

Even before Ohio State coaches reached out to Ricart last winter, fans flocked to his direct messages, begging him to help woo Downs. The player ultimately received a Land Rover from a different dealership, orchestrated via The Foundation, Ohio State’s NIL collective, with Downs agreeing to be an ambassador for multiple charity partners. Ricart at least tangentially fulfilled everyone’s wishes, though: He’s on the collective’s 24-person board.

Besides, business was still good. After Ohio State landed prized five-star receiver Jeremiah Smith in late December, Ricart zeroed in on a prospect who could be the program’s next great wideout. Two days before Downs was pictured in front of his new Land Rover, Ricart and Smith stood in front of the Ohio State football complex. Behind them was Smith’s new ride: a black 2024 Dodge Durango 392 SUV.


In 1895, William E. Metzger attended the world’s first automobile show in London. He was a bicycle enthusiast with a shop in Detroit that dealt with suppliers in England, but the revelation of motor vehicles left Metzger convinced about the shape of the future. He returned to the United States and within two years opened the first retail car dealership in the country. Metzger, who by all accounts didn’t attend college, had a great idea.

He also didn’t have the foggiest idea.

Less than 40 years later, the movie “College Coach” hit the big screen. The central character, James Gore, is beset by expectations and obsessed with winning. At one point, an offensive lineman visits Gore’s office and discusses the possibility of quitting and joining “Atlantic Eastern College.” The player – in what seems to be a tortured Eastern European accent – says he’s been offered, among other things, the use of a 1928 Chrysler with six cylinders.

“Well, I’ll top that offer right now,” Gore replies. “I’ll get you one with seven cylinders.”

This was 1933. It wasn’t a half-century into the existence of car dealerships. And a football coach already knew a guy.

Advertisement

So – for as long as anyone living can remember – the car dealer has been an explicit or implicit part of the college athletics process. Until recently, it’s an element that existed outside of the guardrails, at least relative to the NCAA guidebook. But when we put history on auto-focus, it’s easy to argue that those programs that swerved around the rules weren’t renegades. They’re mostly the unlucky few to hit a pothole.

In early 1976, Michigan State football received three years probation and bowl ban after an NCAA investigation resulted in 70 charges, including one player purchasing a car under a special payment deal arranged by boosters and another player’s car loan promissory note being signed by “an MSU representative” – which a booster was, by the NCAA’s definition.

In 1989, an Oklahoma State football scandal included a recruit being offered a Nissan 300ZX upon enrollment; a player receiving a car “provided at no cost by representatives of the university’s athletics interests;” a coach arranging for a prospect to be employed at a booster’s car dealership before graduation; and a booster guaranteeing a $7,000-plus loan for a player to “in order for the young man to purchase an automobile from the representative’s car dealership.”

Eric Dickerson’s gold Trans Am, which became an emblem of the excess that earned SMU football the so-called “death penalty” from the NCAA in 1987, was arranged with a dealership by a Texas A&M booster – a livestock feed store owner trying to woo Dickerson to College Station, according to the autobiography “Watch My Smoke: The Eric Dickerson Story.”

“I had my pick of a Corvette and three Trans Ams: black, silver, and gold,” Dickerson wrote. “I liked the gold one.”

Advertisement

In 2006, Oklahoma dismissed football players Rhett Bomar and J.D. Quinn after it was revealed they accepted payment for more work than they completed as employees at Big Red Sports and Imports, a local dealership. Jack Maxton Chevrolet and Auto Direct in Columbus, Ohio, was at the center of an investigation into Ohio State players and families purchasing cars at below-market rates, sparked in part by then-quarterback Terrelle Pryor driving a car from the dealership during three traffic stops in three years. (The Ohio Bureau of Motor Vehicles cleared the dealership of any illicit deals in 2011.)

Lest anyone assume the shenanigans are all football-related, the NCAA banned Kansas from its men’s basketball tournament in 1961 and 1962 because it discovered boosters had financed a car for a Jayhawks player. The star driving the 1956 Oldsmobile convertible in question? Wilt Chamberlain.

Unsurprisingly, the archetype became pop culture fodder decades on from Depression-era cinema.

A booster for fictional Western University gifts basketball prospect Neon Boudeaux – played by Shaquille O’Neal – a car in the 1994 film “Blue Chips.” The most ubiquitous and sympathetic specimen may be Buddy Garrity, the former star quarterback-turned-car dealership owner and rabid president of the Dillon High booster club in the “Friday Night Lights” television series. Over the arc of 73 episode appearances, actor Brad Leland plays Garrity less as a one-dimensional schemer and more like a local who’s a little too devoted, often to his (and others’) detriment.

“This was a guy that really cared about the community and really cared about his family and just has weaknesses just like all of us do,” Leland told D Magazine in a 2011 interview.

Advertisement

What viewers thought of Buddy Garrity varied. But there was one constant: So many people had their own Buddy Garrity experience. “One thing that we’ve learned about our show is that Canadians will come up to me and say, ‘Oh, I knew a Buddy Garrity in Canada,’ except it was hockey,’” Leland said. “And in the Midwest it was basketball, and in England it was soccer, and we’ve had people from Australia who watch our show and talk about rugby.”

Now those relationships, and the people who make them, have shifted into the very public domain. The freedoms of NIL have unshackled theoretical restraints from the men and women who roam car lots but also often double as highly invested college football fans. The math is simple: a car lease for 12 months in exchange for marketing to the hundreds of thousands — and sometimes millions — of followers athletes have on their various social media platforms. About all the player is responsible for is the car insurance.

Three weeks after NIL first took flight in July 2021, Parker Jones, the general manager at the Jones Auto Centers in the Phoenix area, received a text from his wife. It was a photo of former LSU quarterback Myles Brennan standing in front of a white Ford F-250 truck in the first known NIL car deal of its kind.


LSU quarterback Myles Brennan inked the first known NIL deal of its kind with a dealership in 2021, as the floodgates opened for college athletes. (Chris Graythen / Getty Images)

An Arizona State alum, Jones floored it in his attempt to replicate the deal on a local level. He found an email in the Instagram bio of then-Sun Devils quarterback Jayden Daniels and fired off an inquiry. Less than a month after Brennan’s landmark deal was announced, Jones and Daniels stood in the parking lot outside of Sun Devil Stadium, next to a black 2020 Ford Mustang GT Premium. That partnership didn’t last long – Daniels transferred to LSU in March 2022, eventually becoming a Heisman Trophy winner and No. 2 pick in the NFL Draft – but Jones has continued to strike NIL deals with Sun Devil football players.

Most importantly, he estimates his dealerships have sold at least 20 cars tied to this venture. He knows this because his staff takes notes when prospective buyers mention the Arizona State connection they’ve seen on social media or on online message boards. “It’s now generating a (return on investment),” Jones says. “Is it the absolute No. 1 most successful ROI of any advertising campaign that we’ve ever had? No. But it’s in the black and it’s not a losing-money venture for us.”

Advertisement

The ripple effect has been more like a rogue wave everyone is comfortably riding.

Martin McKinley, a Clemson alum and general manager at Fred Caldwell Chevrolet in Clover, S.C., saw Ohio State players posing in front of cars on the lot. Soon after, he struck a deal with former Clemson defensive end Bryan Bresee. After Bresee graduated in the spring of 2023, McKinley had an opening – he says he has more modest aims for one partnership per year as an “image thing” – and partnered with starting quarterback Cade Klubnik.

“I just went with the most recognizable person on Clemson campus because it’s always going to be quarterback,” McKinley says. “My demographic historically is not 18-to-22. We’re selling $90,000 cars. But the branding works. These guys all have 100,000 followers on social media. I’m also careful not to alienate fan bases. I didn’t really do it to sell cars. Now I know we’ve sold some because of it.”

Ricart and his team study the social media histories of potential collaborators to gauge whether their reach is worth a key to a car. Players deeper down the Ohio State depth chart have reached out directly to Ricart to introduce themselves in hopes of landing a deal.

If the player’s social media presence is lacking in audience and transparency in their own lives, Ricart advises players to utilize their platform to be more marketable. He’ll also check in with sources in the Ohio State football complex to gauge if a player may be a starter in a year or two. “You’ve got to be able to quantify it and make sure it’s the players that people know,” Ricart says.

Advertisement

It is, naturally, no coincidence that the players who earn deals tool around in something a little more noticeable than a sensible family sedan.

When assigning Klubnik a vehicle, McKinley says he handed over the keys to “about the nicest truck we had in stock.”

It’s a black Chevrolet Silverado ZR2. Price tag starts at about $71,000.


Angel Reese’s birthday present to herself was a stunner: A black Mercedes-Benz with a red bow on the hood.

@angelreese10

BIG BODY BENZ BARBIE! 👀💖Why not get a new car when it’s your 21st birthday week??? 🥳Thank you @mercedesbenzofbatonrouge for helping me purchase my NEW CAR!! This is a gift to myself for everything that I’ve accomplished in 1 YEAR but I wouldn’t be the Bayou Barbie without @bayoutraditions & @matchpoint_connection ! Appreciate you guys so much!! BIG EQS580😘 #BAYOUBARBIETURNS21 #GODDID

Advertisement

♬ Originalton – tonic

Along with four pictures in a May 2023 post on X, she thanked both the Baton Rouge dealership and LSU’s NIL collective, Bayou Traditions. That Reese would get into a luxury ride while still in college was no surprise; she was an All-American and national champion with millions of social media followers (not to mention a year away from attending the Met Gala).

Nor was it shocking that, the previous spring, Oklahoma softball star Jocelyn Alo – the NCAA’s all-time leader in career home runs – posed inside a car she’d be driving as part of a deal with Fowler Toyota in Norman. Of course, the stars among stars of women’s sports would be first in line in the NIL era, too.

But a Boise State volleyball player and golfer?

After initially balking at the concept of NIL deals entirely – more on that in a bit – Jim Sterk tiptoed into the waters by agreeing to partner with Riley Smith, then a tight end with the Broncos football team. The general manager at Lithia Ford in Boise simultaneously decided he should add a female athlete to the mix, too. He asked the school to suggest candidates. His first interview was with Paige Bartsch, a volleyball star. “I just looked at our ad agency and I was like, ‘I don’t know about you, but I don’t need to talk to anybody else,’” Sterk says.

Advertisement

Brooke Patterson, meanwhile, took different inroads: Sterk knew the Patterson family, and Brooke asked to visit with him to discuss NIL opportunities before she left to play golf at Cincinnati. What Sterk thought would be an advice session turned into a direct business pitch he couldn’t turn down. “I said, ‘Your deal has to sell cars instantly for me,’” Sterk recalls. “And she says, ‘Well, this is who follows me.’ She showed me her phone and it’s all 35- to 65-year-old males that drive Ford F-150s. She’s like, ‘We don’t want to reach out to these people?’”

Bartsch took home Mountain West player of the year honors in 2023, and the sport’s visibility is spiking. Both are undeniable pluses. Patterson won’t take a swing for the Broncos until next season after a transfer brought her back to Boise last December, but it’s an unmistakable sign of these times that non-household names in non-revenue sports benefit, too, and that dealerships see them as worthy partners.

“Social media-wise, females are way better at presenting the product than males are,” said Sterk, who can attribute at least five car sales directly to the partnership with Patterson.

Sterk’s dealership partnered with Boise State athletics for about a decade before the new NIL rules took effect, but the only cars that left his lot bound for campus were standard courtesy automobiles for coaches. When the landscape shifted, Sterk did not initially want to embark down that road. “I was pretty negative about (NIL),” he said. Then a receptionist who was also a member of the school’s spirit squad suggested he meet with Riley Smith. Sterk agreed in part because he had confused Smith, a Florida native, with another Boise State player who was local.

The conversation nevertheless went so well that it spawned a deal for Smith. That sparked the idea to complement it with one for Bartsch. Eventually, the dealer who wanted nothing to do with giving cars to players had a half-dozen of them on the Lithia Ford roster. He’s already contemplating who will replace them after they graduate.

Advertisement

“It’s been super positive in the community for the dealership and with PR,” Sterk says. “It does generate business and it does generate awareness. And so now a guy that was completely against it has six athletes … It’s wild.”

(Top image: Daniel Goldfarb / The Athletic; Photos: Greg Nelson / Sports Illustrated via Getty Images; Martyn Lucy / Getty Images; iStock)

Culture

Poetry Challenge Day 2: Love, How It Works and What It Means

Published

on

Poetry Challenge Day 2: Love, How It Works and What It Means

Advertisement

Maybe you woke up this morning haunted by the first four lines of W.H. Auden’s “The More Loving One” — or tickled by its tongue-in-cheek handling of existential dread. (Not ringing any bells? Click here to begin the Poetry Challenge).

This is a love poem. Perhaps that seems like an obvious thing to say about a poem with “Loving” in its title, but there isn’t much romance in the opening stanza.

Advertisement

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. 

Advertisement

Ada Limón, poet

Nonetheless, the poem soon makes clear that love is very much on its mind.

Advertisement

How should we like it were stars to burn 

With a passion for us we could not return? 

Advertisement

David Sedaris, writer

The polished informality gives the impression of a decidedly cerebral speaker — someone who’s looking at love philosophically, thinking about how it works and what it means.

Advertisement

If equal affection cannot be, 

Let the more loving one be me. 

Advertisement

Reginald Dwayne Betts, poet

Musing this way — arguing in this fashion — he stands in a long line of playful, thoughtful poetic lovers going back at least to the 16th century. He sounds a bit like Christopher Marlowe’s passionate shepherd:

Come live with me and be my love,

Advertisement

And we will all the pleasures prove,

That Valleys, groves, hills, and fields,

Woods, or steepy mountain yields.

Christopher Marlowe, “The Passionate Shepherd to His Love

Advertisement

Auden’s poem, like Marlowe’s, is written in four-beat lines:

Advertisement

How should we like it were stars to burn 

With a passion for us we could not return? 

Josh Radnor, actor

Advertisement

And it features strong end rhymes:

If equal affection cannot be, 

Advertisement

Let the more loving one be me. 

Samantha Harvey, writer

These tetrameter couplets represent a long-established poetic love language. Not too serious or sappy, but with room for both earnestness and whimsy. And even for professions of the opposite of love, as in this nursery rhyme, adapted from a 17th-century epigram:

Advertisement

I do not like thee, Doctor Fell

The reason why I cannot tell.

But this I know and know full well

Advertisement

I do not like thee, Doctor Fell.

There is some of this anti-love spirit in Auden’s poem too, but it mainly follows a general rule of love poetry: The person speaking is usually the more loving one.

This makes sense. To write a poem requires effort, art, inspiration. To speak in verse is to tease, to cajole, to seduce, all actions that suggest an excess of desire. That’s why it’s conventional to refer to the “I” in a poem like this as the Lover and the “you” as the Beloved. The line “Let the more loving one be me” could summarize a lot of the love poetry of the last few thousand years.

Advertisement

W.H. Auden as a young man. Tom Graves, via Bridgeman Images

Advertisement

But who, in this case, is the beloved? This isn’t a poem to the stars, but about them. Or maybe a poem that uses the stars as a conceit and our complicated feelings about them as a screen for other difficult emotions.

What the stars have to do with love is a tricky question. The answer may just be that the poem assumes a relationship and then plays with the implications of its assumption.

This kind of play also has a long history. Since love is both abstract and susceptible to cliché, poets are eager to liken it to everything else under the sun: birds, bees, planets, stars, the movement of the tides and the cycle of the seasons. Andrew Marvell’s “Definition of Love,” from the 1600s, wraps its ardor in math:

Advertisement

As lines, so loves oblique may well

Themselves in every angle greet;

But ours so truly parallel,

Advertisement

Though infinite, can never meet.

Andrew Marvell, “The Definition of Love

The literary term for this is wit. The formidable 18th-century English wordsmith Samuel Johnson defined a type of wit as “a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike.” “The most heterogeneous ideas are yoked by violence together,” he wrote; that kind of conceptual discord defines “The More Loving One.”

Advertisement

The second stanza is, when you think about it, a perfect non sequitur. A hypothetical, general question is asked:

Advertisement

How should we like it were stars to burn 

With a passion for us we could not return? 

Mary Roach, writer

Advertisement

The answer is a personal declaration that is moving because it doesn’t seem to apply only or primarily to stars:

If equal affection cannot be, 

Advertisement

Let the more loving one be me. 

Tim Egan, writer

Does this disjunction make it easier or harder to remember? Either way, these couplets start to reveal just how curious this poem is. We might find ourselves curious about who wrote them, and whom he might have loved. Tomorrow we’ll get to know Auden and his work a little better.

Advertisement

Your task today: Learn the second stanza!

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

Let’s start with the first couplet in this stanza. Fill in the rhyming words.

Advertisement

How should we like it were stars to burn 

With a passion for us we could not return? 

Advertisement

Tap a word above to fill in the highlighted blank.

Advertisement

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.

Advertisement

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.

Continue Reading

Culture

What America’s Main Characters Tell Us

Published

on

What America’s Main Characters Tell Us

Literature

Oedipa Maas from ‘The Crying of Lot 49’ (1966) by Thomas Pynchon

Advertisement

Karl Leitz for Anthony Cotsifas Studio

“The unforgettable, cartoonish protagonist of this unusually short novel is a California housewife accidentally turned private investigator and literary interpreter, and the mystery she’s attempting to solve — or, more specifically, the conspiracy she stumbles upon — is nothing less than capitalism itself,” says Ngai, 54. “As Oedipa traces connections between various crackpots, the novel highlights the peculiarly asocial sociality of postwar U.S. society, which gets figured as a network of alienations.”

Advertisement

Sula Peace from ‘Sula’ (1973) by Toni Morrison

Advertisement

Karl Leitz for Anthony Cotsifas Studio

“Sula arguably begins to disappear as soon as she’s introduced — despite the fact that the novel bears her name. Other characters die quickly, or are noticeably flat. This raises the politically charged question of who gets to ‘develop’ or be a protagonist in American novels and who doesn’t. The novel’s unusual character system is part of its meditation on anti-Black racism and historical violence.”

The speaker of ‘Lunch Poems’ (1964) by Frank O’Hara

Advertisement

Karl Leitz for Anthony Cotsifas Studio

Advertisement

“Lyric poems are fundamentally different from narrative fiction in part because they have speakers as opposed to narrators. Perhaps it’s a stretch to nominate the speaker of ‘Lunch Poems’ as a main character, but this book changed things by highlighting the centrality of queer counterpublics to U.S. culture as a whole, and by exploring the joys and risks of everyday intimacy with strangers therein.”

This interview has been edited and condensed.

More in Literature

See the rest of the issue

Advertisement
Continue Reading

Culture

Poetry Challenge: Memorize “The More Loving One” by W.H. Auden

Published

on

Poetry Challenge: Memorize “The More Loving One” by W.H. Auden

Advertisement

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.

Advertisement

Here’s the first of its four stanzas, read for us by Matthew McConaughey:

Advertisement

The More Loving One by W.H. Auden 

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 

Advertisement

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.

Advertisement

Here’s Tracy K. Smith, a former U.S. poet laureate, with the second stanza:

Advertisement

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. 

Advertisement

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.

Advertisement

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:

Advertisement

Admirer as I think I am 

Of stars that do not give a damn, 

I cannot, now I see them, say 

Advertisement

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.

Advertisement

The fourth and final stanza, read by Yiyun Li, takes this disenchantment even further:

Advertisement

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. 

Advertisement

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.

Advertisement

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.

Advertisement

W.H. Auden in 1962. Sam Falk/The New York Times

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.

Advertisement

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.

Advertisement

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!

Your first task: Learn the first four lines!

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

Advertisement

Let’s start with the first couplet. Fill in the rhyming words.

Looking up at the stars, I know quite well 

Advertisement

That, for all they care, I can go to hell, 

Advertisement

Tap a word above to fill in the highlighted blank.

Advertisement

Ready for another round? Try your hand at the 2025 Poetry Challenge.

Advertisement

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.

Advertisement

Continue Reading
Advertisement

Trending