Culture
USWNT won Olympic gold without Alex Morgan, but her impact extends beyond on-field wins
Editor’s note: This is an updated version of an article to reflect Alex Morgan’s retirement announcement on Sept. 5, 2024. The story was first published on Aug. 1, 2024.
Alex Morgan was inescapable this summer, but not because she went to the Olympics. Whether it’s Coca-Cola commercials or Reese’s Instagram ads, she was on every screen and every device. Sponsors made these deals expecting Morgan to be on the U.S. women’s national team roster for the Paris Games. But when head coach Emma Hayes announced her team in June, the unthinkable happened: no Morgan.
It was a surprise and yet it wasn’t.
Morgan has played for the United States in every major tournament they’ve participated in since 2011. She has won the World Cup twice, worn Olympic gold and bronze medals, and with 123 goals, is eighth on the women’s all-time international goals scored list. She is also on the downslope of her career, having long ago left behind the “baby horse” moniker fondly bestowed on her by senior teammates and becoming the senior teammate herself.
“Putting a squad together, you’re always going to disappoint someone,” said Hayes during a podcast taping for “The Women’s Game” with Sam Mewis. “I think when it comes to Alex, first of all, there’s no easy way to give someone crap news…. The human piece for me is around the delivery of that (news). But also accepting that no matter the situation, there’s always gonna be somebody who doesn’t like the decision.”
Emotionally, it’s always jarring to see a great generational player sunsetted by a coach. The name “Alex Morgan” has been synonymous with the USWNT for over a decade. But logistically and tactically, there was certainly an argument for leaving the 35-year-old Morgan and taking a newer generation of scoring talent, one that is still bolstered by veteran presence from Crystal Dunn, Lindsey Horan, Lynn Williams and Rose Lavelle.
As the USWNT captured gold against Brazil, there was no question of needing another veteran. Hayes’ preferred starting front three of Sophia Smith, Mallory Swanson, and Trinity Rodman dazzled, with rookie Croix Bethune waiting in the wings.
The end of Morgan’s time with the U.S. was writing on the wall when Hayes first left her off the W Gold Cup roster in February. Morgan was only called in after Chelsea forward Mia Fishel tore her ACL in training. It’s hard not to assign symbolism to the image of Morgan in a differently-numbered jersey, sporting a No 7 in place of her iconic No 13 due to CONCACAF rules about wearing the same number as the player you replace. After 14 years in the No 13 jersey, the number is almost as much a part of her brand as her actual play on the field.
Morgan scored two goals in that tournament, one of them a penalty. It was her first goal in 10 international games, covering more than a year. On Thursday, she announced she was retiring from the sport and expecting her second child. Her final game will take place on Sunday against North Carolina Courage in the NWSL.
Her on-field role has increasingly become as much about the damage she can absorb as she pulls attention away from other players as it is about scoring. That defensive attention is a hallmark of the respect she has still accorded, the danger she still presents in front of goal. But it’s no longer consistent, varied or efficient enough to justify a spot on the toughest international roster to make, at least not in Hayes’ mind.
Still, in the face of declining stats, there was always the argument for Morgan’s presence as a veteran and a leader. She was, until recently, co-captain with Lindsey Horan, someone whose voice carried authority with both teammates and fans. When midfielder Korbin Albert’s anti-LGBTQ social media posts began circulating widely, Morgan was out in front of the cameras with Horan at her side, reading a prepared team statement about maintaining a respectful space and speaking internally to Albert. It was unquestionably a captain’s job, intercepting scrutiny on behalf of the team, the kind of thankless task that comes with the armband.
Horan has taken leadership lessons from Morgan, too, while she’s still learning on the job as the new, and only, team captain.
“Experiencing a World Cup with Alex was crucial for that experience,” Horan said in New York before leaving for France.
Horan credits Morgan for helping her take on the role of captain (Brad Smith, Getty Images)
Before Horan, Morgan and Megan Rapinoe were co-captains. The two arranged team dinners before camps so the players could bond and have a night out.
“There are things that exist (that) leaders and veterans on this team have been doing for many years and it’s kind of been passed down,” said defender Naomi Girma, who said that in this iteration of the USWNT, Emily Sonnett and Lavelle arranged the latest team dinner in New York. “Everyone is so special in their own way, so there’s never going to be another one of an Alex or Pinoe.”
Sonnet, who was on the 2019 and 2023 World Cup teams with Morgan and Rapinoe, said the players often do things they think the two former leaders would have done.
“Alex is an incredible leader and she’s been on this team for so many years,” said Sonnett. “Leaders like Lindsey, Mal (Swanson), Rose, they’re definitely remembering things that Alex, Pinoe, who aren’t on this roster, what they would be doing because we’ve just been around them for so many years.”
Alongside her teammates, Morgan was part of historic collective bargaining agreement negotiations that helped pave the way for the USWNT as it exists today, with not just better money and working conditions, but also benefits like parental leave and short-term disability.
She’s spoken up about LGBTQ+ rights, including supporting trans children in sports, and followed Rapinoe in 2020 in kneeling during the national anthem to protest anti-Black police brutality and racism. When she was on loan at Tottenham Hotspur in 2020, she saw the women’s senior team training at an inferior facility and convinced the club to allow the women to use the same new training facility as the men. When Sara Björk Gunnarsdóttir sued her own club Lyon for withholding her salary when she got pregnant, Morgan again advocated for the standards clubs should provide for parents.
Through Sara’s story, I feel compelled to express how at the very least a team can support their player that’s a mom. 1. Providing their own hotel room on away trips(yes we usually have roommates 2. Providing a hotel room for nanny/caregiver 3. Providing seats on the…
— Alex Morgan (@alexmorgan13) January 19, 2023
And she feels compelled to speak up as one of, if not the most visible, players wherever she goes, publicly stating she was disappointed to hear about allegations of harassment against Wave president Jill Ellis, writing on X: “It’s important to me that we are creating that environment for both players AND staff throughout the entire organization.”
Morgan’s advocacy for various causes could have backfired in terms of her marketability. But it hasn’t. She is as potent a brand as ever, landing on Forbes’ highest-paid female athletes list in 2023 with endorsements estimated around $7million. In 2021, she founded TOGETHXR, a media and commerce company, alongside Chloe Kim, Simone Manuel and Sue Bird. Her hustle is admirable to the point of pathos. During one scene in Netflix’s “Under Pressure” documentary, she comforts daughter Charlie while Charlie cries for attention in the midst of Morgan opening a soccer store — a reminder of Morgan, the mother.
But the reality of being a woman in professional soccer is that no one, not even Morgan, is going to make enough money to retire without careful, calculated investment and branding. Similarly high-profile men’s players can set themselves up nearly off pure performance. Any man knocking in the kinds of numbers that Morgan has produced in her career will make millions from his salary alone, let alone endorsements.
Morgan has advocated for parental rights at club and national level (Brad Smith, Getty Images)
But Morgan has had to cash in on her clutch, once-in-a-lifetime talent while also leveraging her privileges: she is white, straight and femme-presenting. That makes her a more palatable brand to both businesses and audiences in a country that has a well-documented history of racism, misogyny, and transphobia towards athletes outside of a stereotypical presentation of femininity, athletes like Rapinoe, Serena Williams, Katie Ledecky, Brittney Griner, Simone Biles, and Sha’Carri Richardson. The space Morgan is afforded to speak out and speak up is accordingly bigger compared to Dunn or even Rapinoe, whose outspokenness has incurred criticism that she has weathered through her own unique levels of “not giving a f***.”
Morgan has admirably walked the line between performance and brand, outspokenness and marketability. She’s presented herself as player, mom and advocate while also guarding her private self.
With someone as famous as Morgan, who partially built her reputation on being a role model, and partially was assigned the responsibility through social expectation of women in sports, there is a natural desire to want to know that authentic, private self. One aspect of her smart marketing has been to give enough of a glimpse into that private life — like the aforementioned scene with Charlie — while maintaining a fairly strict boundary between herself and the public.
Her social media posts about her family are warm and personable but don’t give away any more than Morgan wants to give away. She’s funny and charming on camera and doesn’t mind speaking candidly on social justice topics, but these moments are curated, usually with time to plan ahead. You won’t see the minutiae of her day, the gossip she shares with friends or disagreements with family. Like any athlete, Morgan has a right to privacy and to decide how and when she wants to dole out any piece of herself. And her ability to pick the right how and when has served her well.
Who’s next?
Walking down the street and asking someone to name a women’s soccer player, you might get a mix of Morgan, Mia Hamm, Marta, perhaps Wambach.
In this next era of women’s soccer, is it even harder to climb to generational megastar who carries “only name I know” status? While the women’s game is growing ever more popular, it’s also becoming more competitive and therefore more difficult to separate yourself from the pack. Racking up Morgan-level stats feels harder to reach, although certainly not impossible.
There are a few American contenders for the crown, based on the performance-personality axes of measurement that Morgan has played so well: that front three of Rodman, Smith, and Swanson.
Swanson, Smith and Rodman have emerged as a scoring trio at the Paris Games. (Photo by Brad Smith, Getty Images).
The trio has already built a strong fanbase, both individually and as a group, over the past few years and will only gain more leverage should they find the ultimate success at the Olympics this summer. American audiences love gold medals, sometimes to the point of extreme valorization, and U.S. Soccer has already scheduled its first post-Olympic friendlies in October against Iceland, no doubt hoping to parade a team of winners.
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While Morgan’s time on the field is coming to an end, her impact off it is not. She’s still here. Still speaking up. Still feeling responsibility in situations that call for a voice of leadership. The example she sets is the standard many players follow for success.
There is an Alex-Morgan-shaped hole in the USWNT, but it’s also being filled by all types of players in all kinds of ways. Morgan, who fought so hard for the USWNT to be treated with respect, to be set up to win in any circumstances, is in some ways the architect of her own absence. This is a team that can exist without Morgan and that’s ultimately for the good.
(Top photo: Brad Smith/Getty Images; design: Dan Goldfarb)
Culture
I Think This Poem Is Kind of Into You
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.
“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.
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.
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.
“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.
Culture
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.
Culture
From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel
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.
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.
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.
See the full list of the 10 Best Books of 2025 here.
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