Culture
The Dujardin scandal has rocked equestrian sport. Does it have a future at the Olympics?
“Remove equestrian events from the Olympic Games.”
The statement from the People for the Ethical Treatment of Animals (PETA), a United States-based animal rights group, did not pull any punches.
“Horses don’t volunteer — they can only submit to violence and coercion. It’s time for the Olympics to move into the modern era.”
This was after a video emerged, two days before the 2024 Paris Olympics’ opening ceremony, of Great Britain’s three-time dressage gold medallist Charlotte Dujardin “excessively” whipping a horse during a coaching session four years ago.
Charlotte Dujardin, Britain’s joint-most decorated female Olympian, has been provisionally suspended & will not compete at Paris 2024.
This video has emerged of the dressage star which she said showed her ‘making an error of judgement’. pic.twitter.com/PQ9rPQTD04
— Good Morning Britain (@GMB) July 24, 2024
Dujardin announced her withdrawal from all competitions — including the Paris Games — while under investigation by the International Federation for Equestrian Sports (FEI), who later confirmed she had been provisionally banned for six months.
The sport has since come under intense scrutiny and the question being asked is: do equestrian sports have a place at the modern Olympic Games?
While animal rights activists believe there should be a blanket ban on all horse sports, others in the Olympic industry believe their place as a sport at the Games is not under “immediate threat” and would be surprised if they were dropped. They did, however, describe the Dujardin scandal as a “wake-up call” and underlined how the equestrian world should not be complacent.
What has the reaction been within the sport?
The video of Dujardin was a huge shock to her long-time team-mate and mentor Carl Hester, whose Gloucestershire yard is where Dujardin trains.
“It’s difficult, of course it is,” said the Olympian, who signed a statement from the board members of the International Dressage Riders Club last week that “universally condemned” Dujardin’s actions.
Hester, who said the incident did not take place at his yard, is competing in the dressage competition in Paris. “I have known her for 17 years. She’s a mum, she has a small child. She has paid very heavily in a way that you wouldn’t believe.
“That video is fairly obvious and nobody is going to support that. You can’t (support it). But over 17 years, I have not seen that, that is not her.”
Hester and Dujardin with their Olympic medals after the Tokyo Games (Ben Birchall/PA Images via Getty Images)
In her statement, Dujardin apologised in what she described as an “error of judgment” and said she was “deeply ashamed and should have set a better example”.
“She obviously accepts what she did, which she had to do and I am glad she has done that, for her,” added Hester. “This is four years ago, people do make mistakes — what do we do, never forgive people for all the things that have happened?
“It’s going to be a long road for her and a lesson for everybody in the horse world. We have to put horses first and show that.”
The shockwaves rippled throughout the equestrian world, according to Tom McEwen, who won gold for Team GB in the team eventing alongside Laura Collett and Ros Canter this week.
“I didn’t like the look of it and I didn’t like to see her persisting with the use of the whip,” Mary King, who won three Olympic medals in eventing with Team GB, tells The Athletic. “The length of time she did it was wrong.” King also added the timing of the video’s release to stop Dujardin competing at the Olympics was “horrible”.
“We all know it needs to change if this is out there,” said Hester. “We are going to have to do that but as we have seen from the last few days of sport here (in Paris), we’ve seen the care, the grooms who work incredibly hard, how they love and look after the horses and I hope that starts to show how that works.”
Is this an isolated incident or a wider problem?
PETA’s vice president, Kathy Guillermo, was “horrified” but “not surprised” by the video, explaining the group frequently receives whistleblower videos from grassroots to professional riders in each discipline: dressage, showjumping and eventing. “It’s become so commonplace that I’m surprised when somebody isn’t abusing a horse,” she says. “That sounds harsh, but it is more common than not.”
According to Guillermo, the volume of evidence PETA receives shows dressage is the most “problematic” of equestrian events. “Dressage is not natural to a horse. It started out to be the training of a horse to use their balance and physical attributes in a normal way, and it grew into something very distorted.”
King refutes that dressage has overstepped the mark. “A rider can only produce a horse to what they are capable of doing,” she says.
But the issue goes beyond dressage. PETA also wrote to the FEI calling for the elimination of Brazilian event rider Carlos Parro after photographs showed him allegedly performing “hyperflexion of the horse’s neck so severe that it appears deformed”, a practice known as rollkur that violates FEI rules. The FEI issued a warning for causing “unnecessary discomfort to a horse” but allowed Parro to compete.
One of the photos of Parro that PETA submitted to FEI (PETA)
Austria showjumper Max Kuehner is also facing a charge in Germany for committing an offence in May 2023 against the Animal Welfare Act for “poling” or “rapping”, a technique whereby the horse’s legs are hit with a pole as they go over the jump to make it think it hit the fence, so the animal will pick his legs up higher the next time. The Munich court will not provide more information on the matter until September 2024 and the FEI told The Athletic it will await the procedure’s outcome.
In April 2024, the European Equestrian Federation surveyed more than 9,000 people, the majority of whom were European national-level riders, and revealed that 90 per cent of participants, from grassroots to international level, had witnessed instances of poor horse welfare at home, and more than half of those instances had occurred in the past six months. The survey also reported comments focused on dressage and the sentiment that judging rules and standards are affecting training methods.
Yet the FEI president Ingmar De Vos told the BBC: “You need to put it (Dujardin’s case) into context. We have many riders, athletes and horses and it’s a very low percentage. But every case is a case too much. We need to constantly educate our athletes because what was allowed 30 years ago is not allowed today. We want people to speak up because we as the FEI, the guardian of our sport and horses, need to work with our community to make our sport better.”
The chief executive of global equine charity World Horse Welfare, Roly Owers, does not believe the issue is “systemic” but it does go beyond the incident with Dujardin.
“There is a real challenge,” he says. “This case needs to be treated as another real wake-up call. If horse sport is to have a future, it has to show at all times, both on the competition field and at home, that the horse is the key stakeholder. Their welfare is the number one priority and sadly, that wasn’t the case here (referring to the Dujardin video).
“There’s a huge difference between considering a whip as almost an extension of the arm, where you’re using it as an aid, either tickling or tapping, allowing the horse time to respond, and using the whip as a weapon to strike where the horse will not only not understand, but as you saw in that video, will get frightened as well.”
From his six-month stint in the equestrian world as former interim chair of British Equestrian, Ed Warner noted certain attitudes in the sport needed modernisation, including horse welfare.
“Most owners, riders, coaches are clearly completely devoted to the welfare of their horses,” says Warner, writer of Sport Inc and a former UK Athletics chair. “As in many sports, there are some bad apples, rotten apples, or just people with outdated views at the margin that let the sport down. I found it to be a rather closed world. It would do no harm shining a brighter spotlight onto it for the good of the sport.”
King maintains that mistreatment of horses is not commonplace and they are treated like “kings and queens” to help them perform at their best. Benefiting from nutritionists and physiotherapists, top-level horses “live a life of luxury,” she says.
“This cruelty isn’t involved in what we do. The better they are cared for, the better they’re going to go to competition. We all absolutely adore our horses. We’re training them to trust us.
“There are times when, like bringing up children, they need to know black and white, what’s right and wrong, for them to progress happily and confidently.”
King on Imperial Cavalier at the 2012 London Olympics (John Macdougall/AFP/GettyImages)
King adds total trust between human and animal is essential to a successful partnership — and that takes time. “They’re much bigger and stronger than we are,” she says. “If they don’t want to do something, they won’t. There’s not much we can do about it.”
But PETA’s Guillermo, who used to compete in equestrian events as a teenager and played polo, disagrees. “That’s a nice fantasy, the idea that because somebody knows a horse, that horse is working hard for them. It is equally true a horse will work hard when coerced into doing so, when treated violently to do so, as we have seen with Dujardin.”
The status of equestrianism as an Olympic sport
PETA is steadfast in its approach to banning horse sports from the Olympics and Paralympics (the latter only includes dressage).
“I don’t think they’re going to last much longer,” says Guillermo. “Too much of the truth is coming out. The history of the use of horses in the Olympic Games is rife with scandal. It’s just that most of it didn’t make the headlines.
“There have been drugging issues, issues with injuries, horses whose tongues have been tied down into their mouths to keep the tongues from coming above the bit.
“The Olympics are going to modernise and realise that this kind of abuse scandal is not worth it and that it really has no place in the modern world.”
At the 2028 Olympics, obstacle course racing will replace showjumping as one of the disciplines of the modern pentathlon after a German coach was seen striking a horse at the Tokyo Olympics three years ago. However, comparing that part of modern pentathlon to the designated dressage, eventing or showjumping events is like comparing apples and oranges — in the multi-event version, it is a lottery which horse is assigned to which rider and there is no opportunity for a partnership to be formed.
Saint Boy, the horse struck by a coach in Tokyo. Rider Annika Schleu faced criticism for her repeated whip use (Marijan Murat/picture alliance via Getty Images)
Such a precedent is concerning for those involved in equestrianism, which first featured at the Games in 1900 and has been included in every edition since 1912, but Owers believes the sport shows the “ultimate benefit of the horse-human relationship working in harmony”, which he says should be cherished and presented on the world stage.
Its historical place at the Olympics, too, should not be disregarded. “It would be wrong to downgrade the importance of heritage in the roster of Olympic sports,” says Warner, now chair of GB Wheelchair Rugby, who also notes equestrian events’ relatively strong popularity with the global television audience.
“They’re not the most popular sports, but they are far from the least popular either,” he says.
There is a royal element at play too. Members of the Dutch, Spanish, Jordanian and British royal families have been FEI presidents over the years, including Prince Philip, the Duke of Edinburgh, and Princess Anne. The Princess Royal competed at the 1976 Olympics in team eventing and presented the medals to the eventers on Monday. Her daughter, Zara Phillips, won Olympic silver in the same event at London 2012.
But as well as the pressing issue of horse welfare, King, along with others, raises the concern of the high financial costs of hosting equestrian events at an Olympics, given horses need to be flown around the world, not to mention the facilities required.
What factors are considered when dropping or reintroducing sports?
Beyond the traditional Olympic sports, such as cycling, swimming, athletics, gymnastics and rowing, every event is fighting to keep its spot, according to Warner.
The International Olympic Committee (IOC) has been challenged over recent years by the decrease in the number of cities willing to host the Olympic Games, given the ever-increasing number of athletes and participating sports.
It constantly reviews the sports programme and looks for a mix of the traditional and the new to remain relevant to today’s youth. In Paris, there has been the addition of breaking and the return of skateboarding, surfing and sport climbing from Tokyo. The 2028 Games will feature flag football and squash for the first time, as well as the return of baseball, softball, cricket and lacrosse.
At the end of each Games, the IOC looks at a Rubik’s Cube of factors for all sports: ticket sales, broadcast views, the sport’s success between games, the world championship of a non-Olympic sport, the appeal to a young and global audience. As you can imagine, it gets highly political.
Many sports have come under pressure for different reasons. Modern pentathlon was on the cusp of being dropped from the 2028 Olympic programme, and the inclusion of boxing is yet to be confirmed because of governance issues.
Will equestrian events be at the 2028 Olympics?
The IOC works one Games in advance so the sports programme for the 2028 Olympics has already been locked in, including equestrian events. But it has the power to remove any event if it wishes and will review formats and quotas after Paris.
Simon Clegg, former CEO of the British Olympic Association (BOA) and a former Team GB chef de mission, warns against a “knee-jerk reaction” to the incident with Dujardin, and would be very surprised if the IOC dropped an individual discipline, such as dressage, or an entire sport. Instead, he encourages the FEI to investigate the case properly and let due process take its course. It will be up to the IOC if it wants to follow through on horse welfare issues.
Warner does not believe equestrian events are under any “immediate threat” but thinks those involved in the sport cannot get complacent.
“The IOC is acutely conscious of its reputation and how any mistreatment of horses will look to the wider public that doesn’t understand horse sport and just watches it every four years when the Olympics comes around,” he says.
The key for Warner is for the sport not to lose perspective of how it might appear from the outside and ensure the highest standards of horse welfare are delivered.
“If that can be done, and if the FEI is suitably hard on those that transgress, it’ll be fine,” Warner says. “The initial suspension for Dujardin shows meaningful intent. The onus is on the FEI to ensure it doesn’t think that out of sight means out of mind when it comes to finalising the case.”
Where does the sport go from here?
“Any horse abuse case is unacceptable and will always be acted upon by the FEI,” a spokesperson for the international governing body told The Athletic.
“The FEI has a robust legal system to sanction those that violate the rules and seek to abuse their horses. The IOC has full trust in the FEI and also has confidence we will address these cases properly.”
They also have a new action plan for equine welfare strategy, comprising six priority areas that include training, riding and recognising physical and emotional stress.
The challenge equestrianism faces, according to Owers of World Horse Welfare, is showing the public that “equine welfare is the priority above any competitive or commercial influence”.
Owers and Warner believe it is about building a culture where people call out malpractice to bring about change. Just like any other sport, it is unrealistic for a governing body to attend every individual training session and often riders will have their horses on their private yard.
Education — from top riders to grassroots — awareness of issues, competition stewards and active bystanders all play a role. King advocates for quality trainers to be more accessible to young riders to enhance their education.
“Be very clear about what is an acceptable training method and what is not,” Owers says. “That has to come very, very quickly.”
PETA, however, calls for a more objective stewarding approach.
“The FEI needs a person present with deep experience in equine medicine and animal welfare who is not involved in these sports. The coaches and the veterinarians are so wrapped up in this world that what is clearly abuse to others ceases to look like abuse to them. We need an observer who understands horses and abuse who is not part of that world.”
Owers also suggests the implementation of an anonymous reporting framework across all levels from the FEI to riding schools. The survey mentioned earlier found that 60 per cent of respondents did not know who to contact if they wanted to report a horse welfare issue, and grooms at private yards were in a vulnerable position if they raised reports against their employer.
“The regulators have got a role to play, but it starts with the individual rider,” he says. “If we don’t place equine welfare at the centre of horse sport, then it has no place on the international stage.
“But you place it at the centre and we believe it has a wonderful example of the horse-human relationship which has been going on for millennia.
“But it’s got to earn that right.”
(Top photos: Getty Images/Design: Dan Goldfarb)
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
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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.
More in Literature
See the rest of the issue
Culture
Classic and Contemporary Literature From France, Japan, India, the U.K. and Brazil
Literature
FRANCE
According to the writer Leïla Slimani, 44, the author of ‘The Country of Others’ (2020).
Classic
‘Essais de Montaigne’ (‘Essays of Montaigne,’ 1580)
“France is a country of nuance with a love of conversation and freedom and an aversion to fanaticism. It’s also a country built on reflexive subjectivity. Montaigne reveals all that, writing, ‘I am myself the matter of my book.’”
Contemporary
‘La Carte et le Territoire’ (‘The Map and the Territory,’ 2010) by Michel Houellebecq
“Houellebecq describes France as a museum, where landscape turns into décor and where rural areas are emptying out. He shows the gap between the Parisian elite and the rest of the population, which he paints as aging and disoriented by modernity. It’s a melancholic and yet ironic novel about a disenchanted nation.”
JAPAN
According to the writer Yoko Ogawa, 64, the author of ‘The Memory Police’ (1994).
Classic
‘Man’yoshu’ (late eighth century)
“‘Man’yoshu,’ the oldest extant collection of Japanese poetry, reflects a diversity of voices — from emperors to commoners. They bow their heads to the majesty of nature, weep at the loss of loved ones and find pathos in death. The pages pulse with the vitality of successive generations.”
Contemporary
‘Tenohira no Shosetsu’ (‘Palm-of-the-Hand Stories,’ 1923-72) by Yasunari Kawabata
“The essence of Japanese literature might lie in brevity: waka [a classical 31-syllable poetry form], haiku and short stories. There’s a tradition of cherishing words that seem to well up from the depths of the heart, imbued with warmth. Kawabata, too, exudes more charm in his short stories — especially these very short ‘palm-of-the-hand’ stories — than in his full-length novels. Good and evil, beauty and ugliness, love and hate — everything is contained in these modest worlds.”
INDIA
According to Aatish Taseer, 45, a T contributing writer and the author of ‘Stranger to History: A Son’s Journey Through Islamic Lands’ (2009).
Classic
‘The Kumarasambhava’ (‘The Birth of Kumara,’ circa fifth century) by Kalidasa
“This is an epic poem by the greatest of the classical Sanskrit poets and dramatists. The gods are in a pickle. They’re being tormented by a monster, but Shiva, their natural protector, is deep in meditation and cannot be disturbed. Kama, the god of love, armed with his flower bow, is sent down from the heavens to waken Shiva. Never a wise idea! The great god, in his fury, opens his third eye and incinerates Kama. But then, paradoxically, the death of the god of love engenders one of the greatest love stories ever told. In the final canto, Shiva and his wife, the goddess Parvati, have the most electrifying sex for days on end — and, 15 centuries on, in our now censorious time, it still leaves one agog at the sensual wonder that was India.”
Contemporary
‘The Complex’ (2026) by Karan Mahajan
“This state-of-the-nation novel, which was published just last month, captures the squalor and malice of Indian family life. Delhi is both my and Mahajan’s hometown and, in this sprawling homage to India’s capital, we see it on the eve of the economic liberalization of the 1990s, as the old socialist city gives way to a megalopolis of ambition, greed and political cynicism.”
THE UNITED KINGDOM
According to the writer Tessa Hadley, 70, the author of ‘The London Train’ (2011).
Classic
‘Jane Eyre’ (1847) by Charlotte Brontë
“Written almost 200 years ago, it remains an insight into our collective soul — or at least its female part. Somewhere at the heart of us there’s a small girl in a wintry room, curled up in the window seat with a book, watching the lashing rain on the window glass: ‘There was no possibility of taking a walk that day. …’ Jane’s solemnity, her outraged sense of justice, her trials to come, the wild weather outside, her longing for something better, for love in her future: All this speaks, perhaps problematically, to something buried in the foundations of our idea of ourselves.”
Contemporary
‘All That Man Is’ (2016) by David Szalay
“Though he isn’t quite completely British (he’s part Canadian, part Hungarian), Szalay is brilliant at catching certain aspects of British men — aspects that haven’t been written about for a while, now updated for a new era. Funny, exquisitely observed and terrifying, this novel reminds us, too, how absolutely our fate and our identity as a nation belong with the rest of Europe.”
BRAZIL
According to the writer and critic Noemi Jaffe, 64, the author of ‘What Are the Blind Men Dreaming?’ (2016).
Classic
‘Memórias Póstumas de Brás Cubas’ (‘The Posthumous Memoirs of Brás Cubas,’ 1881) by Machado de Assis
“Not only is it experimental in style — very short chapters mixed with long ones; different points of view; narrated by a corpse; metalinguistic — but it also introduces an extremely ironic view of the rising bourgeoisie in Rio de Janeiro at the time, revealing the hypocrisy of slave owners, the falsehood of love affairs and the only true reason for all social relationships: convenience and personal interest. After almost 150 years, it’s still modern, both formally and, unfortunately, also in content.”
Contemporary
‘Onde Pastam os Minotauros’ (‘Where Minotaurs Graze,’ 2023) by Joca Reiners Terron
“The two main characters — Cão and Crente — along with some of their colleagues, plan to escape and set fire to the slaughterhouse where they work under exploitative conditions. The men develop sympathy for the animals they kill, and one of them becomes a sort of philosopher, revealing the sheer nonsense of existence and the injustices of society in the deepest parts of Brazil.”
These interviews have been edited and condensed.
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