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The fearless mindset of the Warriors' Brandin Podziemski: 'He's got a delusion to him'

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The fearless mindset of the Warriors' Brandin Podziemski: 'He's got a delusion to him'

SAN FRANCISCO — Nearly a year ago on the dot, Mike Dunleavy, the Golden State Warriors’ future general manager, and Kent Lacob, an ascending front office personnel voice, hopped in a car and made the quick 50 mile trip south to Santa Clara’s campus.

They were primarily there to see Maxwell Lewis, the possible lottery pick out of Pepperdine. Lewis played fine. He’d eventually get selected 40th in the 2023 NBA Draft. But he wasn’t the best player on the floor. Brandin Podziemski, a 6-foot-4 guard who was only beginning to creep onto the draft radar, made every significant play to lead Santa Clara to victory. His 23 points mattered. But it was the 18 rebounds that had Dunleavy’s and Lacob’s antennas up.

“Mike and I walked out of the game like, ‘Um, that guy might be a first-round pick,’” Lacob said.

Podziemski competed in the NBA Rising Stars Challenge at All-Star Weekend last Friday. He leads all NBA rookies with 14 games of at least 10 points, five rebounds and five assists, making him a clear candidate to finish on the All-Rookie first team.

He turns 21 this week, but has already pushed his way past Klay Thompson into the Warriors’ starting and closing lineups, a vital glue piece of head coach Steve Kerr’s favorite five-man group, which has outscored opponents by 57 points in 107 minutes.

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The relationship between Podziemski and the Warriors can be traced to that February night. That’s when they first began to take Podziemski seriously as a prospect. In the ensuing 12 months — with a bunch of important inflection points along the way — he has won over every level of the organization, most crucially his veteran teammates.

Podziemski’s future surfaced recently in the visiting locker room in Salt Lake City. He’s a prototype role player right now, but has dreams of becoming an All-Star. There are roadblocks ahead and limitations to overcome. But anyone who has doubted Podziemski to this point has continually been proven wrong.

“The ceiling is high,” Draymond Green said. “He’s still learning. Still figuring s— out. But when you start looking at people who are going to succeed him…”

Green points three lockers down. Stephen Curry is getting dressed after torching the Jazz. Curry’s prime may extend until 40. But he turns 36 next month. When Curry is 40, Podziemski will be 25.

“It won’t look the same,” Green said. “Totally different. But you’re very comfortable when he’s out there on the court. That says a lot for a rookie on this team — that you feel the amount of comfort you do when he’s out there running the show.”

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The Warriors’ front office reconnected with Podziemski at the draft combine in Chicago in May. Most top prospects don’t do much court work. He tested out better than expected athletically and was already rising on boards, getting first-round buzz. Some in his position may have skipped the scrimmages. Podziemski didn’t.

“I got nothing to hide,” he told the Warriors brass, led by scouting director Larry Harris.

Podziemski then went out and crushed the scrimmage portion. His stock spiked again. In-person workouts cranked up. Podziemski traveled the country, intent on impressing. He went to Houston. Chuck Hayes, currently in the Warriors front office, was working for the Rockets at the time. He remembers Podziemski killing the workout while letting the gym know about it.

“BP,” Hayes called out before a recent game. “You remember talking trash to John Lucas in the Rockets workout?”

“Oh, yeah,” Podziemski replied.

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Podziemski and Lucas, the former NBA point guard and legendary development coach, were arguing about who was the greatest lefty guard in the building. It was an early peek into the mindset that has earned Podziemski so much respect.

“He talk s— all day,” Green said. “That’s all he do.”

Podziemski thought he crushed his workout in Miami. He figured the Heat might draft him 18th. They went with Jaime Jaquez Jr., also a Warriors’ favorite. Golden State was up at No. 19. Podziemski thought he fit, but didn’t feel quite as optimistic about how he performed at his group workout in San Francisco. The Warriors were sure.

“He was great on the court,” Lacob said. “Like, really good. Clearly the best player in the workout.”

The Warriors then brought him into the film room and had him break down two games of tape. They don’t often learn much in these sessions. Podziemski was different. They slowed down some of his pick-and-roll decision-making against Gonzaga and defensive possessions.

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“He could reference personnel on the other team,” Lacob said. “Names, tendencies, opponent actions. His memory recall was super impressive.”

Podziemski popped in the Warriors’ analytics model, put together by their vice president of analytics Pabail Sidhu. They value it with increased frequency. Podziemski’s 8.8 rebounds per game led his conference. That juiced the analytics model. When it was all wrapped together, Podziemski finished top-10 on the front office’s consensus final draft board.

“There was a belief that he was clearly a Steve Kerr system fit, but also a consensus belief it was more than that,” Lacob said. “The talent combined with the IQ and the personality was something to bet on.”

Cam Whitmore, considered a pre-draft top-five prospect, was still available at 19. So were plenty of other valued players. But the Warriors didn’t flinch. They took Podziemski. It was Dunleavy’s first draft selection as general manager. The room agreed on Podziemski.


Green sprained his left ankle just before training camp. He missed about a month. In his ramp-up to return, the Warriors set up a scrimmage in Sacramento the morning of their second game. Podziemski was out of the rotation, so they had him play on Green’s team. They lost the first scrimmage after Green turned it over.

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“We can’t have a turnover for game!” Podziemski told Green. “You cannot turn the ball over for game.”

Green was stunned. They’ve had rookies who barely say a word to him the entire season.

“I was like, ‘OK, cool, you got it. No problem,’” Green said. “Here we are playing a pick-up game, a game to get me ready and he’s yelling at me. That to me said a whole lot. I was like, ‘You know what? No problem. But make sure you speak up like that all the time.’”


Green and Podziemski high-five during a game against the Oklahoma City Thunder. (Alonzo Adams / USA Today)

The Warriors had an extended stay in Los Angeles during the preseason. They had some workouts on UCLA’s campus. After one practice, the guards set up a King of the Court style one-on-one. Score and stay. Podziemski was up against a group that included Curry and Chris Paul.

“We were at UCLA, right?” Paul asked Moses Moody. “When BP beat us in ones.”

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“Yes,” Moody responded, grinning at the memory. The rookie was giving it to two of the greatest to ever do it at the point guard position and alerting anyone within earshot of the damage.

“He did the Tiger (Woods) fist-pump,” Paul said, shaking his head.

“‘Let’s f—g go!’” Curry remembers him taunting. “That was hilarious.”


Podziemski’s first NBA taste was bitter. He struggled in summer league, mostly with his jumper and floater. The more he stewed, the more it snowballed.

“I had a little bit of doubt after summer league,” Podziemski admitted. “But the rest of that July period and August and September, I just attacked. I focused on what I needed to work on to be a role player on this team.”

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Podziemski attended every team workout that Curry, Paul and Green organized across the summer. He was in the team facility on Aug. 1 and a mainstay almost every day after. He entered camp confident he could make some noise, even if most figured he’d spend the majority of the season in Santa Cruz with the Warriors G League affiliate.

Kevon Looney remembers the new rookie guard bashing into him and clawing over rebounds. He initially told Podziemski to quit stealing them away. Then he realized it was part of his game and attitude.

“I remember in those mini-camps, he’d be grumbling after scrimmages like, ‘Oh, I’m tired of losing,’” Looney said. “I was like, ‘You should just be happy you’re on the court.’ He’s like, ‘Nah, we gotta figure out a way to win. They need to pass me the ball.’ I’m like, ‘Uhh, I don’t know about that.’”

Looney saw a quote from Podziemski soon after the draft that said he wanted to be a triple-double guy.

“That’s pretty bold,” Looney said and laughed. “But I know most Wisconsin guards have this crazy confidence to them. (Jordan) Poole. Tyler Herro. He’s got a delusion to him that makes him good.”

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Podziemski grew up in Milwaukee in what he describes as a “competitive” family where his father, John, and his mother, Barbara West, didn’t allow him to win at anything. He needed to earn it.

“From that competitiveness comes confidence,” Podziemski said. “Knowing how much you put into the game, why would you come in here nervous or timid?”

Podziemski stays extremely late after games. He strolls around the locker room and converses with anyone in his orbit. He tried to set up an NBA-related quiz after a game early in the season to get some spending money off Thompson and then compared their salaries when Thompson was hesitant. Thompson told him to stop “pocket-watching.”

“It’s easier to tame a lion than get a sheep to show some oomph,” Curry said. “The most annoying parts about him are the greatest parts about him. He’s still coachable. That’s a big part of it. You can say all that stuff but if you can’t accept coaching, that’s where it turns into being counterproductive.”

Podziemski trails Curry for postgame workouts and studies what makes him great. He might be the most active member of the team’s group chat, according to Green, and told Green he was coming for him via text messages.

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“I wouldn’t do this if I were you,” Green warned. “I don’t play fair.”

Podziemski then sent a bunch of old photos of Green to the team, the funniest he could find.

“He was like: ‘Wham. Wham. Wham,’” Green said of the flood of texts and then remembered he hadn’t retaliated. “I still gotta popcorn his car.”

After a low-energy loss to the Heat in late December, a distraught Podziemski went to the podium and blamed himself as the biggest reason for the loss. Anyone who watched the game would’ve placed his decent performance far down the list. Curry went 3 of 15 shooting. Andrew Wiggins was in a slump. Defensive breakdowns were everywhere. But there he was pinning himself as the night’s wrongdoer.

“Geez,” Thompson said when he heard about it. “Dramatic, rookie.”

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Kerr has been most impressed with Podziemski defensively. In camp, they track deflections during scrimmages. Podziemski led the team. That was an early sign.

His rebounding numbers translated, which was particularly important for a team that leaned small. The Warriors are the third-best rebounding team in the NBA and Podziemski’s 5.8 rebounds per game in 26 minutes per game rank behind only Green and Looney. He gets on the glass more relentlessly than Wiggins and Jonathan Kuminga, their bigger wings.

“What this team has lacked, what it lacked last year, he gave us,” Kerr said. “The connection. The connector. The ball-mover. The cutter. There’s a feel and a recognition of what’s happening on the floor that makes him playable in any lineup. He enhances every lineup.”

The Warriors nearly blew a huge lead to the Spurs in late November. They won, but it was a bad overall performance and Podziemski’s first real stinker. He missed all five of his shots. Kerr entered the locker room postgame expecting the team to be down and Podziemski to be in hiding.

“I would have been holed up in my apartment for three days wondering if I’d ever make a shot again,” Kerr said of his younger self. “But I went in there and he was the most upbeat guy. I loved it. Because when you play poorly and still can bring team energy and maintain confidence and swagger, that’s a great sign.”

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One of the more consequential plays of the Warriors’ season so far came in Portland in mid-December. They entered a wobbly 11-14, needing desperately to beat a bad Trail Blazers team. But Curry struggled and they were having a tough time putting the win away.

Curry missed a free throw with four seconds left. The Blazers, down two, didn’t call timeout. Shaedon Sharpe pushed the ball upcourt in a scramble drill. He had what appeared to be a path to the rim to tie it. But Podziemski stepped in front and took a game-winning charge. Here’s the possession:

That was Podziemski’s 11th charge drawn. It has become his signature defensive move. He has drawn 27 this season, which leads the NBA. He tracks the leaderboard, knew who led the NBA in that category last season (Oklahoma City’s Jaylin Williams) and even mentions some of the greatest charge-takers in recent history when discussing it.

When discussing Podziemski’s defensive upside, Kerr compared him to Austin Reaves of the Lakers.

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“Like when I coached Austin this past summer, what stood out to me most is just that there’s zero fear defensively. And he’s strong as s—. That’s what they have in common. They’re very similar (in) size. Six-four and really physically strong. That’s what you need, I think, in today’s game. The guys who struggle defensively are the guys who aren’t physically strong. If you’re going to be on the small side, you’ve got to be strong,” Kerr said.

Podziemski has, in a roundabout way, compared himself to Gary Payton II and Draymond Green this season, overly ambitious on its face but Payton and Green seem to understand the general point. He sees the floor and the patterns and has an appetite for disruption like both of them. But that comes with a downside. He roams.

“He gambles way too much,” Kerr said. “That’s great except we really only need one guy (Draymond) doing that. If you have two guys doing that, the defense will be screwed up. But I’ll take that any day over the guy who isn’t aware. The guy who isn’t aware is standing on the weak side while the guy is laying it in. He’s the opposite. He sees every cutter. He’s trying to help on everything. We just have to help him streamline and help him understand his job isn’t to do everyone else’s job.”

Adds Green: “He gets lost sometimes. But the reality is I used to get lost all the time. People may not remember, but they couldn’t play me on shooters for a long time. It’d be like we’re playing the Pelicans, I’d guard Anthony Davis. Then they’d switch Ryan Anderson or Nikola Mirotić and they’d be like: ‘We got to get Draymond out of the game.’”

Podziemski strayed too far off Jordan Clarkson during a recent game against the Jazz and learned the lesson on the bench from Payton, another high-risk gambler.

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“He sees what Draymond does and tries to mimic it,” Payton said. “But I told him when you’re guarding a problem like Clarkson, you can’t roam as much as you’d like. Because it’s a swing, swing, high percentage catch-and-shoot. It’s all a feel.”

On the other end of the floor, Podziemski is a low-risk playmaker. In February, he has 52 assists and nine turnovers. In January, he had 41 assists and 12 turnovers. He had a 27-assist, 0-turnover four-game stretch recently that broke rookie records.

But his ultimate upside will be determined as a scorer. Podziemski’s shot diet is limited to 3s, floaters, sweeping hooks and sneaky layups. He stays out of the midrange and doesn’t live above the rim. He struggled with his 3 for some of the season but has made 12 of his last 19 to up his season percentage to 38.5 percent. He has scored in double-figures in 28 games this season, sixth-most among rookies, and hit 20 four times. If that can become a regular benchmark as he nears his prime, the ceiling will continue to rise.

“I want to be an All-Star,” Podziemski said. “You know, Jonathan has taken that next step of really being in that conversation. To see his growth just this year has been pretty special. So going into the summer after this year elevating my game to another level, doing the things that I’m deficient in now and making them as efficient as possible, I think I can get there. I’m never gonna just settle for being a role player, especially after my first year. I got a long career ahead of me.

(Photo illustration: Rachel Orr / The Athletic; photo: Brian Babineau / NBAE via Getty Images)

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Culture

What America’s Main Characters Tell Us

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What America’s Main Characters Tell Us

Literature

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

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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.”

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

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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

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Karl Leitz for Anthony Cotsifas Studio

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“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.

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

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

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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.

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

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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 

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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.

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

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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. 

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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.

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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:

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Admirer as I think I am 

Of stars that do not give a damn, 

I cannot, now I see them, say 

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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.

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

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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. 

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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.

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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.

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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.

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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.

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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

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

Looking up at the stars, I know quite well 

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

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Tap a word above to fill in the highlighted blank.

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

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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.

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Famous Authors’ Less Famous Books

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Famous Authors’ Less Famous Books

Literature

‘Romola’ (1863) by George Eliot

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Karl Leitz for Anthony Cotsifas Studio

Who knew that there’s a major George Eliot novel that neither I nor any of my friends had ever heard of?

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“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.

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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.

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‘Quiet Dell’ (2013) by Jayne Anne Phillips

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Karl Leitz for Anthony Cotsifas Studio

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.

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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.”

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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

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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.

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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.

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‘Fox 8’ (2013) by George Saunders

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Karl Leitz for Anthony Cotsifas Studio

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.

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We’d all have read it by now — right?

‘Between the Acts’ (1941) by Virginia Woolf

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Karl Leitz for Anthony Cotsifas Studio

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.

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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.

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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.

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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.

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