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The U.S. must believe ‘we can win the World Cup’? Pochettino will need all the help he can get

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The U.S. must believe ‘we can win the World Cup’? Pochettino will need all the help he can get

It is perhaps easy to hear Mauricio Pochettino say his new players must “believe” they can win the World Cup and roll your eyes.

It’s the sort of flashy soundbite in first press conferences that ambitious managers often produce.

What else could he say after all those months of international courting from his new employers, the red wine and steaks, the unprecedented financial package? “We need to look good in the group stages and maybe get to the round of 16”?

No, the Argentine is a winner and he talks like one. He is also aware that he faces two jobs with the United States men’s national team — not just the task of transforming the quality of the side in a relatively short time but also changing its mindset.

Asked about that limited time (just 10 international breaks and no tournament) before the U.S. co-hosts the World Cup in 2026, he said: “Everyone thinks that there is no time to prepare and arrive in the best condition at the World Cup.

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Pochettino talks to the media in New York City on September 13 (Timothy A Clary/AFP via Getty Images)

“I’m on the opposite side. I don’t want to give an excuse. I don’t want to create an excuse for the players to say, ‘Yeah, but don’t have time to buy the new ideas and the new philosophy’. No. We are talking about football and the players are so intelligent and talented and can play differently.

“We have time and we need to really believe in big things. Believe that we can win not only a game, we can win the World Cup. If not, it is going to be very difficult. We want players that show up, day one at the training camp, and think big.

“That is the only way to create this philosophy or this idea to perform and put your talent in the service of the team. That is going to be our massive challenge.”

The crop of players he inherits are, by and large, an intelligent, realistic bunch. They’re also used to questions about what represents progress for this group. Interviews before and during this summer’s Copa America saw the topic arise frequently.

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“Getting past the quarter-final,” said midfielder Tyler Adams when asked in June what a positive outcome would look like. “We need to, in a pressure situation, win in a knockout (game). That’s going to measure a lot of our success.”

It was maybe not what some fans wanted to hear; a temporary lift from a war cry that promised silverware at the competition, widely billed as a dry run for the World Cup.

But if Adams was trying to set reasonable expectations, he was right. As it transpired, winning a knockout game would have been genuine progress for a team thrashed 5-1 by eventual Copa America finalists Colombia in a friendly on June 8.

Instead, the U.S. crashed out in the group stages, victims of an individual error from Tim Weah in the loss to Panama and then of lacking the quality to prevent that from proving fatal. Charged with beating Uruguay to progress, they just did not have enough.


Adams and the USMNT could not progress against Uruguay on July 1 (Robin Alam/ISI Photos/Getty Images)

So the scale of the task ahead should be of little surprise to Pochettino. It may sound nice but speaking, as he did, of emulating the serial success of the U.S. women’s national team seems fanciful too.

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Deep down, he will probably know that as well. So, instead, he is publicly challenging his players from the very beginning to stop hiding. No excuses. No buying into the narrative that there just isn’t time.

It’s a gamble for the 52-year-old because the reality is the narrative is probably true and he will eventually be judged by his words and results. The U.S. has just lost to Canada and then could only draw with a New Zealand team 78 places below them in the world rankings this week.

Confidence is low and Pochettino knows that building some sort of collective belief is a crucial part of climbing off the ropes for this team and arriving at 2026 in the frame of mind to win big games.

It is unlikely he actually believes the USMNT will win the World Cup at MetLife Stadium in New Jersey in a little under two years. But a team often accused of lacking enough fight when it really counts needs to start thinking bigger and that’s the point.

The other part of his job is adjusting quickly to the entirely different demand of managing in international football, when the opportunities to build a team who will run through brick walls for you, as he did at his best at Southampton and Tottenham Hotspur, are limited.

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“Every time we have the facility to be with them, we will be very clinical in giving them the information,” Pochettino added on Friday. “We need to be clever enough in the way we approach training to get the best from them.”

But even as he preferred, understandably, not to alienate some of his new players by listing the squad’s weaknesses in his official unveiling, another reality is that Pochettino must be ruthless.

He needs to find an elite goalkeeper fast. He needs to build a defence with the aggression and smarts that teams from his South American homeland display.

A better balance in midfield must arrive too, for a squad well-stocked with clever holding midfielders but short of consistent creativity. How long, for example, will he spend trying to unlock the puzzle of Gio Reyna?

Then he must unearth the striking solution that will drive a team that fluffed its lines in front of goal all too often at the Copa. Which of the promising group of youngsters that performed well at the Paris Olympics will he fast-track into his setup?

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And he has to do all that while getting enough results along the way to take a partly sceptical U.S. fanbase along on the journey with him.

So don’t roll your eyes when Pochettino talks about believing the USMNT can win the World Cup. Maybe close them, instead, and offer a silent prayer for the divine intervention he might need to meet all his objectives in less than two years.

He will need every bit of help he can get.

(Top photo: Dustin Satloff/USSF/Getty Images for USSF)

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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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