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This isn't Iowa, but Kate Martin is thriving in the Las Vegas spotlight

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This isn't Iowa, but Kate Martin is thriving in the Las Vegas spotlight

Kate Martin wants to make one thing clear: She is a punctual person.

That bus in Dallas that left her in the parking lot after a Las Vegas Aces team meal? “They set me up,” Martin says of her teammates’ recent viral prank on the rookie. “Come on, now. I would never be late.

“Coach (Becky Hammon) said she had to talk to me, and then I was talking to her — of no substance. I was really confused. I thought it was something important, and then they had been planning it the whole time.”

In fairness, everyone on the Aces acknowledges Martin’s discipline. As Hammon says, “She just doesn’t make mistakes.” It’s one of the many reasons Las Vegas — the players, the coaches, the fans — has come to love Martin, as she keeps living the best feel-good story in the WNBA.

One month into the season, Martin is averaging more than 20 minutes per game for the two-time defending champs and is often Hammon’s first sub off the bench, which makes it easy to forget how noteworthy it is that Martin is in this position. She averaged double-digit scoring once in her five years at Iowa, while playing in the national spotlight cast on Caitlin Clark, and she earned all-Big Ten honors in only that final season. Martin was a complementary player in a draft class filled with star power.

Near the end of her college career, she spoke about relishing the final days at Iowa before becoming a “regular old Joe Schmo.” She didn’t even have an agent during the WNBA Draft. She simply asked her Iowa coaches to speak to some pro coaches and, from that intel, inferred that she would be selected in the third round at best. Martin attended the draft to support Clark and didn’t plan on walking if or when she was picked because she hadn’t been invited by the league and her name would presumably be called late in the night.

But Hammon and the Aces were more interested in Martin than she knew. Whenever Hammon and her staff watched Iowa games, she said they came away thinking, “Damn, we love that Kate Martin kid! Oh, she’s so good, she’s so solid.”

Those crossing signals ended up producing one of the highlights of the draft, as the producers asked Martin — who was seated in the audience — to move to the aisle of her row at the end of the first round. She noticed the cameras start to close in when the Aces selected Syracuse’s Dyaisha Fair with the 16th pick. Two picks later, it was Martin’s turn to shake hands with league commissioner Cathy Engelbert and make her way across the Brooklyn Academy of Music stage.

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Even being drafted didn’t guarantee that Martin’s WNBA career would still be alive and well. Between 2021 and 2023, only 13 of the 36 second-round picks made their team’s opening-night roster, and a few of those players were cut before the end of the regular season. Martin was joining a Las Vegas squad with a crowded training camp roster competing for only a few spots.

The week of the draft, Martin got an assist in the process of making the roster from her future teammate Kelsey Plum, who extended Martin a last-minute invite to her Dawg Class to help her prepare for training camp. “We had an open spot, and I was like, ‘Kate Martin, for sure. Let’s go,’” Plum said.

GO DEEPER

Kelsey Plum wants to develop the next generation of ‘dawgs’

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Once Martin got to Las Vegas, she steadily edged out the competition with her work ethic — what the Aces call the “try hard factor” — and mind. She hopes to coach after her playing career and demonstrated that aptitude with her ability to pick up terminology and schemes. Hammon recalled one instance when she was installing a new, somewhat complex sideline out-of-bounds play. As her teammates set up the play on the court, Martin noticed from the sideline that they were lined up incorrectly and pointed it out.

“To be able to make those adjustments and speak up, this is an ATO she’s just seen, but she understood conceptually what we were trying to do and then she could put the pieces together,” Hammon said. “So that’s a great sign.”

It was also fortuitous for Martin to land in Las Vegas, a place where she will never need to be a star. The Aces need role players to surround their superstar quartet, and Martin was elite at that assignment in college playing next to Clark. She sets good screens, she moves the ball, she cuts hard to the basket, and she makes open jumpers. Las Vegas will never call a play for Martin, but she knows how to impact games regardless.

Martin credits Iowa coach Lisa Bluder for helping her read the game. Bluder always said she didn’t want to coach robots, and that forced Martin to develop her IQ and learn how to make decisions without set plays. Hammon grants the Aces freedom on the court, which is a natural extension of the Hawkeyes offense.

Martin cried when she learned she made the final roster, but it’s the Aces who would have been in a world of hurt without her through the first quarter of the season. In her first WNBA game, Martin blocked 6-foot-7 Li Yueru from behind and hasn’t looked back since. She’s shooting 37 percent on 3-pointers, a mark that’s better than every team in the league except the Minnesota Lynx. Las Vegas is 0.7 points per 100 possessions better with her on the court than off it.

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Hammon has deployed Martin in small-ball lineups as a three or four, then started her at shooting guard against the Los Angeles Sparks, against whom she scored a career-high 13 points and made all three of her 3-pointers.

Her first 3 almost brought the lid off the roof of Crypto.com Arena in Los Angeles, despite the Aces being the road team. Just as she was with the Hawkeyes, Martin is a fan favorite wherever she goes.

“Honestly, I didn’t expect that,” Martin said. “I never expect anything, really. I had no expectations coming to the league, and I think that’s what’s been so fun is that I got an opportunity, and I made the best team in the world, and then it’s just been a lot of fun since.”

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Martin also has a ton of fans within her locker room. In Hammon’s first two seasons as Las Vegas’ coach, she played her four rookies a total of 524 minutes. Martin was already at 183 heading into Thursday’s game, the second most ever afforded among Hammon’s six total rookies. A’ja Wilson loves Martin’s energy and that she is always ready when her name is called; the two-time MVP is continually breathing confidence into Martin, encouraging her to shoot and trying to uplift her whenever possible. Plum calls her “an amazing sponge.” Martin has already drawn comparisons to Alysha Clark as a glue player, and Clark has taken the 2024 draftee under her wing.

The veterans might mess with her — peep the Hello Kitty backpack Martin is required to carry on trips — but she takes it as a sign of love. After all, the day after her teammates tried to ditch her in a restaurant parking lot, it was Martin’s birthday, and arguably the best player in the world got her a cake, ribbon and tiara.

Going into the season, it might not have been evident that Martin would be relied upon to this extent as Las Vegas chases a three-peat. But one thing to know about that Aces rookie — she’s ahead of schedule.

(Photo: Ethan Miller / Getty Images)

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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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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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