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The Paris Olympics wanted a fast track and it got one – this is how it was made

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The Paris Olympics wanted a fast track and it got one – this is how it was made

There were two requirements for the Stade de France track for the 2024 Paris Olympics: make it purple and make it fast.

The colour was, in fittingly Parisian fashion, about creating a unique stage for athletes to perform. A lighter hue than the typical red tracks, following in the footsteps of the 2016 Olympics in Rio de Janeiro, where the track was navy blue and not red for the first time.

Making it faster is not as straightforward as a design choice. In fact, a ‘fast track’ has become the most hackneyed of athletics sayings — no host city is going to ask for a slow one, are they?

But Paris was fast: seven Olympic records and three track and field world records were set at the Games. This excludes world-best decathlon performances and field events (hammer throw, shot put), which do not use a runway or the track.

Combined, the number of Olympic/world records has trended upwards at recent Games: five in London (2012); six in Rio; 10 in Tokyo (2020) and the same again in Paris. It is an oversimplification that athletes are getting bigger, faster and stronger. Humans are also getting smarter and technology is getting better.

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T&F Olympic/World records, Paris 2024

Athlete(s) Event Nation Record

Team USA

4x400m mixed relay

USA

World record

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Joshua Cheptegei

10000m

Uganda

Olympic record

Mondo Duplantis

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Pole vault

Sweden

World record

Cole Hocker

1500m

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USA

Olympic record

Winfred Yavi

3000m steeplechase

Bahrain

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Olympic record

Arshad Nadeem

Javelin

Pakistan

Olympic record

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Sydney McLaughlin-Levrone

400m hurdles

USA

World record

Marileidy Paulino

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400m

Dominican Republic

Olympic record

Faith Kipyegon

1500m

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Kenya

Olympic record

USA men

4x400m

USA

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Olympic record

It was not just that records went in Paris, but how. Thirteen men ran quicker than Kenenisa Bekele’s 10,000m Olympic record from 2008 (27:01), with Uganda’s Joshua Cheptegei winning in 26:43.


Thirteen men ran under Kenenisa Bekele’s 10,000m Olympic record (Michael Steele/Getty Images)

Four men broke Jakob Ingebrigtsen’s 1500m Olympic record from Tokyo, including Ingebrigtsen, only for him to not medal. Four women broke Faith Kipyegon’s 1500m Olympic record, also from Tokyo, with Kipyegon winning in 3:51.

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GO DEEPER

How the Ingebrigtsen-Kerr 1500m rivalry was pushed to new heights – even though neither man won

The women’s 400m final was the fastest ever, with all nine athletes going under 50 seconds. The men’s 100m final was the hardest to qualify for in Olympic history. Never before had a sub-10 second semi-final not guaranteed a spot.

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The final itself was the deepest of all time, the only instance of all nine men going sub-10 in a wind-legal race, and the smallest first-to-eighth gap in a global final — 0.12 seconds separated Noah Lyles’ gold and Oblique Seville.

Similarly, the men’s 800m final was the first instance of four men running under 1:42 in the same race and that was a race where the Olympic record wasn’t broken.


The 100m final is the only instance of all nine men going sub-10 in a wind-legal race (Richard Heathcote/Getty Images)

Maurizio Stroppiana is the vice president of Mondo, an Italian company that produces synthetic athletics tracks. Mondo first made an Olympics track for Moscow in 1980, 12 years and three Games after they were first introduced at Mexico City in 1968. Mondo have manufactured every track since Barcelona in 1992.

“Mondo tracks are known to be the fastest in the world, with 300-plus records to date and over 70 per cent of all current records,” says Stroppiana.

If you think numbers like that mean Mondo have cracked the science of making quick tracks, they kind of have, but the science is less perfect than you might expect. Mondo’s tracks are made from “vulcanised rubber”, says Stroppiana.

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When Paris hosted the Olympics in 1924, it was on a cinder track. “It was like dirt,” explains Stroppiana. “So, apart from getting dirty, it was more like running in a field as opposed to running on a 400m (synthetic) track”.

‘Fast tracks’ is something of a misnomer. The athlete is fast (or not), it is about making a track efficient. “We are trying to minimise the energy that is lost. The track compresses (as the foot hits the track) and it will then return that energy in the most efficient way, although a part of it will certainly be lost,” says Stroppiana.


The 1968 Olympics in Mexico City was the first to use a synthetic track (AFP via Getty Images)

Athletes produce around three times their body weight in vertical force when running. How much of that is translated into horizontal force — them moving forwards — depends on the “braking and propulsive forces”, Stroppiana says.

Mondo implemented “elliptical air cells within the base layer of the track”, which they found to have a double benefit: a 2.6 per cent increase in net horizontal energy return, and a 1.9 per cent improvement in shock absorption.

It is about protecting athletes while trying to maximise performance, though those things are interrelated. “The track has to provide a certain level of comfort and cushion,” says Stroppiana.

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He outlines that the determinants of maximal energy return are the “type of material, the elasticity of the material. We have these aerosols on the bottom of the track. That helps the cushioning effect and how that energy is returning as equally as possible”.

“What we noticed in the previous track (Tokyo) is that, depending on where the athlete stepped (with the foot), you get different results. We modified the shape to provide a more uniform response and to increase the area of depression of the track,” says Stroppiana.

“This makes the track better because they will not feel any difference, the elastic response is exactly the same throughout the track to guarantee that the rhythm of the athlete (will) be maintained.”

If that sounds straightforward and simple, it isn’t. Stroppiana says “it took us about two years to fine-tune this new solution. We developed this mathematical model at the University of Milan”. It lets them run simulations and test new combinations faster. The four-year Olympic cycle gives ideal preparation time.


Washing the Olympic track in Tokyo in 2021 (Antonin Thullier/AFP via Getty Images)

One myth Stroppiana is keen to bust is track hardness. “These narratives started in the 1996 (Atlanta) Olympic Games because they had some great record times,” he says. “They started saying, ‘Yes it’s fast, it’s fast because it’s hard’. And since then we haven’t been able to change that point of view.”

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How hard is the Paris track? “It’s softer than before,” says Stroppiana. “We really came to realise that is not a good solution making the track hard. And also, (it) doesn’t necessarily translate into faster times. In fact, it can actually lead to injury. So we have changed that in the last, six, seven years.”

They use a lower-carbon production method and more sustainable materials now than before, including calcium carbonate from mussel shells.

Unsurprisingly, it isn’t cheap. Stroppiana prices the Paris track at “anywhere from two to three million”, explaining that the top synthetic part “is only 14 millimetres thick. It’s quite thin”. He says that tracks tend to last around 15 years before needing replacement or relaying.


Mondo manufactured Rio’s blue track for the 2016 Games (Patrick Smith/Getty Images)

Decades of academic research detail the impact of altitude (positively for sprints, with the reduced air resistance; negatively for distance running, with the reduced oxygen) and wind.

The 1968 Olympics had the added impact of being the highest-altitude summer Games ever, at over 2,000m (7,000 feet). Sprinting and jumping records were smashed to pieces. Of the 12 sprint events, only the women’s 400m did not see an Olympic or world record, but distance races were slow.

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Sprint performances over 1,000 metres are not considered legal and ‘altitude-assisted’, with a following wind of up to two metres the threshold for wind-legal sprint performances.

It means a good track needs the right location to be optimal for (legal) records. Saint-Denis, where Stade de France is situated in northern Paris, is within 50 metres of sea level. Stroppiana talks about the stadium creating a “microclimate” to “provide more favourable (performance) conditions”.

He explains that “the stadium’s architecture, including its oval shape and partially covered roof, helps to reduce wind interference. The stadium’s seating arrangement and the height of the stands contribute to shielding the track”.

Looking ahead, the 2028 Games in Los Angeles, USA, and the 2032 Games in Brisbane, Australia, are both in coastal cities.


The Stade de France’s ‘microclimate’ provides favourable conditions for fast times (Richard Heathcote/Getty Images)

For Stroppiana, the future of track-making lies in Mondo working with shoe/spike brands, who are notoriously “secretive about their own knowledge. Now there is this movement toward open innovation, which means collaborating within an industry, but not through competing brands”.

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“I think the next evolution of the track surfaces is to make adjustments for these different (field) disciplines — an area of improvement for all the runways,” says Stroppiana.

He went on to say that Mondo works with Adidas, Nike, Asics, ON and Puma, among others, and collaborated with the latter for Paris.

“Before Tokyo, we worked with Asics because they gave us some insight. We installed our track at their research laboratory and they were testing different types, different solutions, to see which one (track) would be best.

“They do their own evaluation and they try to make sure that the (track/spike) interaction is as good as possible, concerned about how the spike will grab onto the surface, which is critical.”

Different events require different length spikes. Stroppiana speaks of 400m spikes having “different properties on the right-hand side” to aid bend running (as the outside of the foot hits the track first on landing and athletes run around to the left).

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There is a trade-off to be achieved: Mondo “want to guarantee the proper traction but minimise the friction. So if the spikes were to penetrate too much on the surface, then it slows the athletes down”, says Stroppiana. “This is one of the characteristics of the top wear layer: it has to be spike resistant.”

Exceptions from that are pole vault and javelin because athletes are moving with so much force that the spike needs to penetrate the surface to avoid injury.

“In Paris, if you look closely at the javelin runway, the last portion is slightly different in colour (to the track)” says Stroppiana. “Why? Because that section has been specifically engineered for javelin throwers. We worked with the German team and the Finnish team to test different solutions”. He says they wanted a runway with “more spike resistance and to have a better grip.

“Normally the track has to be the same. You cannot have different properties for different areas. But for javelin, they (World Athletics) accepted these changes.” It worked: Pakistan’s Arshad Nadeem smashed the Olympic record by over 2.5m, throwing 92.97m, to earn Pakistan’s first athletics gold.

Stroppiana is optimistic about a future with more adjustments. “For the long distance, you could create a section where it’s specifically made,” he says, suggesting an inside lane. “In fact, we have done some tracks like this — only for training, not for competition — where you have a differentiated elastic response”.

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There’s no doubt the 2028 LA track will be even more efficient. Mondo have four years to test and re-test new combinations and spike brands to work with. The main question that remains is: what colour will it be?

(Top photo: Nathan Laine/Bloomberg via Getty Images)

Culture

Try This Quiz and See How Much You Know About Jane Austen

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Try This Quiz and See How Much You Know About Jane Austen

“Window seat with garden view / A perfect nook to read a book / I’m lost in my Jane Austen…” sings Kristin Chenoweth in “The Girl in 14G” — what could be more ideal? Well, perhaps showing off your literary knowledge and getting a perfect score on this week’s super-size Book Review Quiz Bowl honoring the life, work and global influence of Jane Austen, who turns 250 today. In the 12 questions below, tap or click your answers to the questions. And no matter how you do, scroll on to the end, where you’ll find links to free e-book versions of her novels — and more.

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Culture

Revisiting Jane Austen’s Cultural Impact for Her 250th Birthday

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Revisiting Jane Austen’s Cultural Impact for Her 250th Birthday

On Dec. 16, 1775, a girl was born in Steventon, England — the seventh of eight children — to a clergyman and his wife. She was an avid reader, never married and died in 1817, at the age of 41. But in just those few decades, Jane Austen changed the world.

Her novels have had an outsize influence in the centuries since her death. Not only are the books themselves beloved — as sharply observed portraits of British society, revolutionary narrative projects and deliciously satisfying romances — but the stories she created have so permeated culture that people around the world care deeply about Elizabeth Bennet and Mr. Darcy, even if they’ve never actually read “Pride and Prejudice.”

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With her 250th birthday this year, the Austen Industrial Complex has kicked into high gear with festivals, parades, museum exhibits, concerts and all manner of merch, ranging from the classily apt to the flamboyantly absurd. The words “Jane mania” have been used; so has “exh-Aust-ion.”

How to capture this brief life, and the blazing impact that has spread across the globe in her wake? Without further ado: a mere sampling of the wealth, wonder and weirdness Austen has brought to our lives. After all, your semiquincentennial doesn’t come around every day.

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By ‘A Lady’

Jane Austen’s House, Chawton, England

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Austen published just four novels in her lifetime: “Sense and Sensibility” (1811), “Pride and Prejudice” (1813), “Mansfield Park” (1814) and “Emma” (1815). All of them were published anonymously, with the author credited simply as “A Lady.” (If you’re in New York, you can see this first edition for yourself at the Grolier Club through Feb. 14.)

Where the Magic Happened

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Janice Chung for The New York Times

Placed near a window for light, this diminutive walnut table was, according to family lore, where the author did much of her writing. It is now in the possession of the Jane Austen Society.

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An Iconic Accessory

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Jane Austen’s House, Chawton, England

Few of Austen’s personal artifacts remain, contributing to the author’s mystique. One of them is this turquoise ring, which passed to her sister-in-law and then her niece after her death. In 2012, the ring was put up for auction and bought by the “American Idol” champion Kelly Clarkson. This caused quite a stir in England; British officials were loath to let such an important cultural artifact leave the country’s borders. Jane Austen’s House, the museum now based in the writer’s Hampshire home, launched a crowdfunding campaign to Bring the Ring Home and bought the piece from Clarkson. The real ring now lives at the museum; the singer has a replica.

Austen Onscreen

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Since 1940, when Austen had a bit of a moment and Greer Garson and Laurence Olivier starred in MGM’s rather liberally reinterpreted “Pride and Prejudice,” there have been more than 20 international adaptations of Austen’s work made for film and TV (to say nothing of radio). From the sublime (Emma Thompson’s Oscar-winning “Sense and Sensibility”) to the ridiculous (the wholly gratuitous 2022 remake of “Persuasion”), the high waists, flickering firelight and double weddings continue to provide an endless stream of debate fodder — and work for a queen’s regiment of British stars.

Jane Goes X-Rated

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Tony Cenicola/The New York Times

The rumors are true: XXX Austen is a thing. “Jane Austen Kama Sutra,” “Pride and Promiscuity: The Lost Sex Scenes of Jane Austen” and enough slash fic and amateur porn to fill Bath’s Assembly Rooms are just the start. Purists may never recover.

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A Lady Unmasked

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Jane Austen’s House, Chawton, England

Austen’s final two completed novels, “Northanger Abbey” and “Persuasion,” were published after her death. Her brother Henry, who oversaw their publication, took the opportunity to give his sister the recognition he felt she deserved, revealing the true identity of the “Lady” behind “Pride and Prejudice,” “Emma,” etc. in a biographical note. “The following pages are the production of a pen which has already contributed in no small degree to the entertainment of the public,” he wrote, extolling his sister’s imagination, good humor and love of dancing. Still, “no accumulation of fame would have induced her, had she lived, to affix her name to any productions of her pen.”

Wearable Tributes

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Tony Cenicola/The New York Times

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It is a truth universally acknowledged that a Jane Austen fan wants to find other Jane Austen fans, and what better way to advertise your membership in that all-inclusive club than with a bit of merch — from the subtle and classy to the gloriously obscene.

The Austen Literary Universe

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Elizabeth Renstrom for The New York Times

On the page, there is no end to the adventures Austen and her characters have been on. There are Jane Austen mysteries, Jane Austen vampire series, Jane Austen fantasy adventures, Jane Austen Y.A. novels and, of course, Jane Austen romances, which transpose her plots to a remote Maine inn, a Greenwich Village penthouse and the Bay Area Indian American community, to name just a few. You can read about Austen-inspired zombie hunters, time-traveling hockey players, Long Island matchmakers and reality TV stars, or imagine further adventures for some of your favorite characters. (Even the obsequious Mr. Collins gets his day in the sun.)

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A Botanical Homage

Created in 2017 to mark the 200th anniversary of Austen’s death, the “Jane Austen” rose is characterized by its intense orange color and light, sweet perfume. It is bushy, healthy and easy to grow.

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Aunt Jane

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Jane Austen’s House, Chawton, England

Hoping to cement his beloved aunt’s legacy, Austen’s nephew James Edward Austen-Leigh published this biography — a rather rosy portrait based on interviews with family members — five decades after her death. The book is notable not only as the source (biased though it may be) of many of the scant facts we know about her life, but also for the watercolor portrait by James Andrews that serves as its frontispiece. Based on a sketch by Cassandra, this depiction of Jane is softer and far more winsome than the original: Whether that is due to a lack of skill on her sister’s part or overly enthusiastic artistic license on Andrews’s, this is the version of Austen most familiar to people today.

Cultural Currency

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Steve Parsons/Associated Press

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In 2017, the Bank of England released a new 10-pound note featuring Andrews’s portrait of Austen, as well as a line from “Pride and Prejudice”: “I declare after all there is no enjoyment like reading!” Austen is the third woman — other than the queen — to be featured on British currency, and the only one currently in circulation.

In the Trenches

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During World War I and World War II, British soldiers were given copies of Austen’s works. In his 1924 story “The Janeites,” Rudyard Kipling invoked the grotesque contrasts — and the strange comfort — to be found in escaping to Austen’s well-ordered world amid the horrors of trench warfare. As one character observes, “There’s no one to touch Jane when you’re in a tight place.”

Baby Janes

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Tony Cenicola/The New York Times

You’re never too young to learn to love Austen — or that one’s good opinion, once lost, may be lost forever.

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The Austen Industrial Complex

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Elizabeth Renstrom for The New York Times

Maybe you’ve not so much as seen a Jane Austen meme, let alone read one of her novels. No matter! Need a Jane Austen finger puppet? Lego? Magnetic poetry set? Lingerie? Nameplate necklace? Plush book pillow? License plate frame? Bath bomb? Socks? Dog sweater? Whiskey glass? Tarot deck? Of course you do! And you’re in luck: What a time to be alive.

Around the Globe

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Goucher College Special Collections & Archives, Alberta H. and Henry G. Burke Collection; via The Morgan Library & Museum

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Austen’s novels have been translated into more than 40 languages, including Polish, Finnish, Chinese and Farsi. There are active chapters of the Jane Austen Society, her 21st-century fan club, throughout the world.

Playable Persuasions

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Tony Cenicola/The New York Times

In Austen’s era, no afternoon tea was complete without a rousing round of whist, a trick-taking card game played in two teams of two. But should you not be up on your Regency amusements, you can find plenty of contemporary puzzles and games with which to fill a few pleasant hours, whether you’re piecing together her most beloved characters or using your cunning and wiles to land your very own Mr. Darcy.

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#SoJaneAusten

The wild power of the internet means that many Austen moments have taken on lives of their own, from Colin Firth’s sopping wet shirt and Matthew Macfadyen’s flexing hand to Mr. Collins’s ode to superlative spuds and Mr. Knightley’s dramatic floor flop. The memes are fun, yes, but they also speak to the universality of Austen’s writing: More than two centuries after her books were published, the characters and stories she created are as relatable as ever.

Bonnets Fit for a Bennett

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Peter Flude for The New York Times

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For this summer’s Grand Regency Costumed Promenade in Bath, England — as well as the myriad picnics, balls, house parties, dinners, luncheons, teas and fetes that marked the anniversary — seamstresses, milliners, mantua makers and costume warehouses did a brisk business, attiring the faithful in authentic Regency finery. And that’s a commitment: A bespoke, historically accurate bonnet can easily run to hundreds of dollars.

Most Ardently, Jane

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The Morgan Library & Museum

Austen was prolific correspondent, believed to have written thousands of letters in her lifetime, many to her sister, Cassandra. But in an act that has frustrated biographers for centuries, upon Jane’s death, Cassandra protected her sister’s privacy — and reputation? — by burning almost all of them, leaving only about 160 intact, many heavily redacted. But what survives is filled with pithy one-liners. To wit: “I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal.”

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Stage and Sensibility

Austen’s works have been adapted numerous times for the stage. Some plays (and musicals) hew closely to the original text, while others — such as Emily Breeze’s comedic riff on “Pride and Prejudice,” “Are the Bennet Girls OK?”, which is running at New York City’s West End Theater through Dec. 21 — use creative license to explore ideas of gender, romance and rage through a contemporary lens.

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Austen 101

Tony Cenicola/The New York Times

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Austen remains a reliable fount of academic scholarship; recent conference papers have focused on the author’s enduring global reach, the work’s relationship to modern intersectionality, digital humanities and “Jane Austen on the Cheap.” And as one professor told our colleague Sarah Lyall of the Austen amateur scholarship hive, “Woe betide the academic who doesn’t take them seriously.”

W.W.J.D.

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Tony Cenicola/The New York Times

When facing problems — of etiquette, romance, domestic or professional turmoil — sometimes the only thing to do is ask: What would Jane do?

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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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