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This is where the Warriors are now — 10th place and in March Madness mode

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This is where the Warriors are now — 10th place and in March Madness mode

SAN FRANCISCO — The Golden State Warriors find themselves as the butt of the Western Conference Play-In Tournament, needing two wins to make the actual playoffs. A loss this week pushes them closer to the inevitable end of their era.

That’s the anticlimactic conclusion to 82 games: the No. 10 seed. And their latest spin is they play well with their backs against the wall.

It’s true. The best players on this team have been through epic postseason triumphs, responding to several of the brinks to which they were pushed. Stephen Curry, Draymond Green, Klay Thompson, Chris Paul, Andrew Wiggins, Kevon Looney — they have earned credibility in this situation.

Yet, after 82 games, it’s also clear the must-win boost is but the lone remaining hope to salvage this season. Though it’s built on their history of meeting moments, it’s also the last remaining juice with which to baste this jive turkey of a season.

This is where they are now.

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“It just feels like we need to go win,” Green said Sunday after watching the Warriors beat the Utah Jazz, 123-116, in a black sweatsuit and green cement Jordan 3s. “But it’s exciting. You know, it’s do or die. Probably feels more NCAA Tournament-ish. Kind of give you that feel. … We’ve just got to go win.”

Legacies built in June don’t feel right in March Madness.

It’s hard to find confidence they can pull this off, yet their doing so would make perfect sense. Welcome to the betwixt that is the Warriors. They always give you a reason to believe they can pull it off, tempered by evidence those days are over. They’re still good enough to beat almost any opponent, especially a flawed one. Simultaneously, they aren’t good enough to summon their best at will, and less often can overcome the opponent’s best.

The Warriors could lose to the Sacramento Kings on Tuesday, and it would be an outcome absent of novelty. If they bowed out of this season so unceremoniously, swathed in mediocrity right along with the Chicago Bulls or Atlanta Hawks, it would be unworthy of their resume but certainly befitting of this particular campaign. Of course, they could also boat race the Kings, outclassing their younger bros up north as they did last postseason, all in the name of nostalgia.

You just can’t know with this team.

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But what we do know, what the exhaustive NBA season tends to clarify, is they end this season farther from their goal than when it started. The only way to shift that reality now is to make the playoff run worthy of their conviction.

A year ago, when the then-defending champion Warriors finished as a No. 6 seed and had to go to Sacramento for games 1 and 7, that was considered a down season. And when the Warriors were finally ousted in the second round, it was abnormal to go home in May after six straight NBA Finals trips in years when Curry, Green and Thompson were healthy.

“It’s different, but something you must embrace,” Thompson said. “We’ve got a shot at it. It’s all you can ask for. We put ourselves in position to have success on the road. We’ve been playing very well on the road, especially as of late. It’s different, obviously, than it was in 2022. But whatever. It’s still basketball. We have a lot of experience to lean on.”

The pervasive theme then, echoed in the halls of Crypto.com Arena after their Game 6 loss to the Los Angeles Lakers in last season’s playoffs, was how they’d maximized their roster — a dual message of how close they were, ending among the four best in the West, and how they needed more to get there.

They came into this season feeling like they added what they needed. They traded for Paul; drafted two productive rookies, Brandin Podziemski and Trayce Jackson-Davis; and cleared rotation space for budding star Jonathan Kuminga.

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Plus, Curry played 74 games, his most since 2016-17. Thompson played 77 games, the most since he returned from back-to-back season-ending injuries. Wiggins played 71 games after just 37 last season.

It produced two more wins.

The result is their lowest finish in the Western Conference since the injury-robbed 2019-20 season. This is where they are now.

The story is not complete. They could alter the narrative. They could win back-to-back road games to get into the playoffs — at Sacramento and at the loser of the Lakers and New Orleans Pelicans. They could knock off the inexperienced Oklahoma City Thunder, the top seed in the West and considered the most vulnerable because of their youth. Such an upset would pit the Warriors in a series against the Los Angeles Clippers or Dallas Mavericks. Though the Warriors would be underdogs, it’s not outlandish to envision. Dallas has been one of the best teams since the All-Star break, and the Clippers are loaded at the top of their roster. But both teams have flaws. Winning that series would put the Warriors in the Western Conference finals.

See how easy it is? To conflate what’s possible with what’s likely. To apply past greatness in current paradigms. To rationalize a better existence for these Warriors.

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The experienced Warriors say they play well with their backs against the wall. We’ll soon find out whether that continues into the do-or-die Play-In Tournament. (Ronald Martinez / Getty Images)

As coach Steve Kerr contends, this is a better team than the Warriors cobbled together last season. Still, they lost ground in their pursuit of a fifth championship as the best in the conference made greater strides than Golden State. Nine teams in the West are better than these Warriors. Nine. That’s a jarring conclusion for a team featuring such greatness.

This entire season has been the Warriors expecting, promising, to find their stride. Eventually, history proclaimed, they’d land somewhere among the contenders, where their resumes suggest they belong. But this season was a bender of delayed gratification.

They never solved the close-game struggles that figured to be their wheelhouse. They never conquered their home woes, one of the more puzzling elements of the season. They never found their way up the conference ladder to the sixth seed.

They eventually found a stride, going 25-12 after January. But when they had the chance to lock up the No. 8 seed, the last conquest of the regular season, the Warriors confirmed their woes were unconquered. They lost another close game, at home, with stakes on the line, to a beatable New Orleans squad.

It would suggest an upgrade is needed, a significant one, somewhere. The other option, certainly being presented to owner Joe Lacob by someone fiscally responsible, is that they cut costs and regroup. End the era now instead of chasing its shadow.

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One more run could change that. One more Warriors-esque kick could prove they are a few tweaks away from being back. Of course it’s possible. It’s Curry. It’s Green. It’s Thompson. Odds be damned.

Their backs are against the wall. It’s do or die. Win or go home. They’re built for this March Madness-style setup. Right, Klay?

“Never played in that. Can’t relate to that,” Thompson, the Washington State product, said as he ended the interview by walking off. He got a few steps away before shouting an addendum. “The NIT though. That’s the same format.”

This is where they are now.

You can buy tickets to every NBA game here.

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(Top photo of Klay Thompson during Friday’s game against the Pelicans: Kavin Mistry / 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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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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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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