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The Las Vegas Aces let the rest of the WNBA catch up. Now their three-peat quest is over

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The Las Vegas Aces let the rest of the WNBA catch up. Now their three-peat quest is over

LAS VEGAS — Among the many buzzwords Becky Hammon has used during her three-year run as head coach of the Las Vegas Aces, perhaps her favorite is “habits.”

Success relies on building habits.

“You don’t get to flip a switch,” Hammon said. “It’s the beautiful thing about sports, actually. The work and the commitment and the buy-in and the play-hard and want-to and the will, will always show up in the end.”

The Aces simply didn’t have the right habits in 2024. Their defense, which led the league in 2023, was fifth (100.3 points per 100 possessions) at the All-Star break. Their shooting suffered, as their 3-point percentage dipped from 37.2 in 2023 to 34.8 before the Olympics. A team that set the WNBA wins record (34) in 2023 en route to back-to-back titles matched its total losses by the 12th game of 2024.

Las Vegas was without its edge for most of the season, only really discovering that by the final 10 games. At that point, the damage had been done. The Aces had dug themselves too big of a hole, and the rest of the league caught up.

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The Liberty loaded up on size to counter Las Vegas’ movement. The Lynx revamped their offense, spreading the floor and increasing their volume of 3s. Connecticut doubled down on its toughness, suffocating opponents defensively. The other contenders were able to hone in on their strengths while the Aces barely saw theirs in action. Their singular greatness never coalesced into more than the sum of its parts. Their players couldn’t amplify one another, simply letting individuals carry the team on alternating nights.

That meant fourth-seeded Las Vegas had to play Seattle, a historically good first-round opponent, before starting the semifinals in Barclays Center, a place where the Aces have won just once in seven tries over the last two years. Whatever edge they had summoned over the final quarter of the season petered out, and they ran out of gas.

“At the end of the day, I thought our shortcomings stood out a little bit,” Hammon said. “We have some great things to build on, (but) you don’t have it every year. It’s not the way this works.”

New York seized upon those weaknesses Sunday night in its decisive 76-62 Game 4 victory. The Liberty pummeled Las Vegas on the glass, winning the rebound battle 55-37, including a 13-4 margin on offensive rebounds. With the Aces trying to protect the rim, New York won the 3-point battle 10-7 (on six fewer attempts) and still managed to outscore Las Vegas in the paint 30-28 with a barrage of fourth-quarter layups.

It was a continuation of shooting woes and defensive issues that have plagued the Aces all season. Despite the hope that they could conjure some of their 2023 magic, they reverted to the habits that had defined them during the regular season, and it wasn’t enough to get the job done. A Game 3 victory, on a night that Hammon called her team’s most complete game of the season, wasn’t a promising sign of what was yet to come for Las Vegas. Rather, it was a blip on the radar, a fleeting reminder of what the Aces had been instead of what they actually were this season.

“This year really kind of set its home for us going into the offseason about how we want to handle things,” A’ja Wilson said.

Las Vegas now heads into a pivotal offseason. It will likely lose one rotation player or young prospect beyond the core four to the expansion draft, whether that is Kiah Stokes, Megan Gustafson, Kierstan Bell or Kate Martin. Kelsey Plum is an unrestricted free agent, though the Aces can core her, but it is the first time that one of the team’s stars has hit free agency without signing an extension.

The bench wasn’t deep enough in 2024. The coaching staff had faith in only three frontcourt players for much of the season, but one of those players is 5-foot-11 and another doesn’t get guarded by opponents in the playoffs. Among their perimeter reserves, Tiffany Hayes was retired to start the season and hasn’t committed to sticking around while Sydney Colson’s offensive limitations made it tough to play her extended minutes.

The Aces also will have to navigate a new league dynamic. The league is stronger and deeper than when Las Vegas won its first title. The Aces helped engineer a stylistic revolution over the past three years, bringing pace and space to the WNBA and opening up the floor for high-powered individual performances. The rest of the league has caught on, however, which means Las Vegas has to figure out what comes next.

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“They’ve made us a better team,” New York guard Sabrina Ionescu said. “To do what they’ve done is not easy. We’ve gotten there and lost, they’ve gotten there and won twice, and it’s a testament to their togetherness, their experience, how hard it is that they’re wanting to go out there and be their best every night, and they’ve laid down the foundation. And they’ve continued to motivate everyone in the league to just want to be better and want to win championships.”

Regardless of who ends up on the Aces’ 2025 roster, their only path to get back to competing for titles is to put in the work during the offseason and get in reps that will pay dividends come next October. Wilson said she’ll get back in the lab in December, and Hammon says she expects a different level of focus to start training camp.

Las Vegas also has the motivating factor of defeat.

“We’re gonna have a lot of hard learning lessons,” Hammon said. “It hurts now, I promise you it’s going to hurt tomorrow, probably worse because it sets in the next day, but you got to build habits, you gotta work in a way that you believe you deserve to win.”

The Aces didn’t deserve to win in 2024. They lost to a better team, a team that was more consistent and less complacent throughout the season. For the last few years, Las Vegas has set the pace. Now, there is a new standard to meet.

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(Photo of A’ja Wilson and Aces players: Barry Gossage / NBAE via Getty Images)

Culture

I Think This Poem Is Kind of Into You

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I Think This Poem Is Kind of Into You

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A famous poet once observed that it is difficult to get the news from poems. The weather is a different story. April showers, summer sunshine and — maybe especially — the chill of winter provide an endless supply of moods and metaphors. Poets like to practice a double meteorology, looking out at the water and up at the sky for evidence of interior conditions of feeling.

The inner and outer forecasts don’t always match up. This short poem by Louise Glück starts out cold and stays that way for most of its 11 lines.

And then it bursts into flame.

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“Early December in Croton-on-Hudson” comes from Glück’s debut collection, “Firstborn,” which was published in 1968. She wrote the poems in it between the ages of 18 and 23, but they bear many of the hallmarks of her mature style, including an approach to personal matters — sex, love, illness, family life — that is at once uncompromising and elusive. She doesn’t flinch. She also doesn’t explain.

Here, for example, Glück assembles fragments of experience that imply — but also obscure — a larger narrative. It’s almost as if a short story, or even a novel, had been smashed like a glass Christmas ornament, leaving the reader to infer the sphere from the shards.

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We know there was a couple with a flat tire, and that a year later at least one of them still has feelings for the other. It’s hard not to wonder if they’re still together, or where they were going with those Christmas presents.

To some extent, those questions can be addressed with the help of biographical clues. The version of “Early December in Croton-on-Hudson” that appeared in The Atlantic in 1967 was dedicated to Charles Hertz, a Columbia University graduate student who was Glück’s first husband. They divorced a few years later. Glück, who died in 2023, was never shy about putting her life into her work.

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Louise Glück in 1975.

Gerard Malanga

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But the poem we are reading now is not just the record of a passion that has long since cooled. More than 50 years after “Firstborn,” on the occasion of receiving the Nobel Prize for literature, Glück celebrated the “intimate, seductive, often furtive or clandestine” relations between poets and their readers. Recalling her childhood discovery of William Blake and Emily Dickinson, she declared her lifelong ardor for “poems to which the listener or reader makes an essential contribution, as recipient of a confidence or an outcry, sometimes as co-conspirator.”

That’s the kind of poem she wrote.

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“Confidence” can have two meanings, both of which apply to “Early December in Croton-on-Hudson.” Reading it, you are privy to a secret, something meant for your ears only. You are also in the presence of an assertive, self-possessed voice.

Where there is power, there’s also risk. To give voice to desire — to whisper or cry “I want you” — is to issue a challenge and admit vulnerability. It’s a declaration of conquest and a promise of surrender.

What happens next? That’s up to you.

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Culture

Can You Identify Where the Winter Scenes in These Novels Took Place?

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Can You Identify Where the Winter Scenes in These Novels Took Place?

Cold weather can serve as a plot point or emphasize the mood of a scene, and this week’s literary geography quiz highlights the locations of recent novels that work winter conditions right into the story. Even if you aren’t familiar with the book, the questions offer an additional hint about the setting. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the books if you’d like to do further reading.

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Culture

From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel

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From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel

Inge Morath/Magnum Photos

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When a writer is praised for having a sense of place, it usually means one specific place — a postage stamp of familiar ground rendered in loving, knowing detail. But Kiran Desai, in her latest novel, “The Loneliness of Sonia and Sunny,” has a sense of places.

This 670-page book, about the star-crossed lovers of the title and several dozen of their friends, relatives, exes and servants (there’s a chart in the front to help you keep track), does anything but stay put. If “The Loneliness of Sonia and Sunny” were an old-fashioned steamer trunk, it would be papered with shipping labels: from Allahabad (now known as Prayagraj), Goa and Delhi; from Queens, Kansas and Vermont; from Mexico City and, perhaps most delightfully, from Venice.

There, in Marco Polo’s hometown, the titular travelers alight for two chapters, enduring one of several crises in their passionate, complicated, on-again, off-again relationship. One of Venice’s nicknames is La Serenissima — “the most serene” — but in Desai’s hands it’s the opposite: a gloriously hectic backdrop for Sonia and Sunny’s romantic confusion.

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Their first impressions fill a nearly page-long paragraph. Here’s how it begins.

Sonia is a (struggling) fiction writer. Sunny is a (struggling) journalist. It’s notable that, of the two of them, it is she who is better able to perceive the immediate reality of things, while he tends to read facts through screens of theory and ideology, finding sociological meaning in everyday occurrences. He isn’t exactly wrong, and Desai is hardly oblivious to the larger narratives that shape the fates of Sunny, Sonia and their families — including the economic and political changes affecting young Indians of their generation.

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But “The Loneliness of Sonia and Sunny” is about more than that. It’s a defense of the very idea of more, and thus a rebuke to the austerity that defines so much recent literary fiction. Many of Desai’s peers favor careful, restricted third-person narration, or else a measured, low-affect “I.” The bookstores are full of skinny novels about the emotional and psychological thinness of contemporary life. This book is an antidote: thick, sloppy, fleshy, all over the place.

It also takes exception to the postmodern dogma that we only know reality through representations of it, through pre-existing concepts of the kind to which intellectuals like Sunny are attached. The point of fiction is to assert that the world is true, and to remind us that it is vast, strange and astonishing.

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See the full list of the 10 Best Books of 2025 here.

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