Culture
World Athletics' new Olympic prize money rule is a chance for NCAA to right a wrong
The latest dent in the NCAA’s bedrock principle of amateurism came from an unlikely place: Monaco.
Track and field gold medalists will become the first athletes to earn international prize money at the Olympics, the sport’s international governing body said Wednesday. Each gold medalist will receive $50,000 for individual wins. World Athletics, which governs track and field from its headquarters in Monaco, also pledged to award prize money to silver and bronze medalists at the Los Angeles Olympics in 2028.
“It is important we start somewhere and make sure some of the revenues generated by our athletes at the Olympic Games are directly returned to those who make the Games the global spectacle that it is,” World Athletics president Sebastian Coe said in a statement.
What is not yet clear is if current college athletes are allowed to receive that prize money. In what feels like a relic of college sports’ antiquated past, the NCAA currently bars athletes from accepting prize money in events such as the U.S. Open in tennis or golf. The NCAA did not immediately respond to a request for comment on the World Athletics announcement.
While the NCAA does allow money to be paid to Olympic athletes in college under its Operation Gold program, that rule clearly states that the money must come from the sport’s governing body for the athlete’s sport in his or her home country. They can accept money paid by their national governing body as well as the U.S. Olympic and Paralympic Committee; the USOPC currently awards $37,500 for each gold medalist, $22,500 for each silver medalist and $15,000 for each bronze medalist.
In that one very specific environment, college athletes can be paid to play their sport — and they can maintain their NCAA eligibility. In essentially any other environment, they can’t.
It’s well past the time for the NCAA to allow its athletes to accept their hard-earned prize money, regardless of which governing body hands it out. That should include World Athletics, which is paying its prize money from the revenue it receives from the International Olympic Committee. That should also include individual professional sport organizations such as the USTA or USGA, which would then allow collegiate tennis players and golfers to earn prize money while maintaining collegiate eligibility.
Such circumstances are the heart of a lawsuit filed by University of North Carolina tennis player Reese Brantmeier, who is arguing that she and other athletes like her deserve to keep the prize money they earn by participating in and winning tournaments. Right now, they can only keep enough to cover their expenses.
Meanwhile … these athletes see Caitlin Clark appearing in national television commercials and quarterbacks hawking headphones through lucrative name, image and likeness (NIL) deals while maintaining their NCAA eligibility.
“I can’t think of another situation where an organization can have a draconian quid pro quo where you are prohibited from accepting money you earned with your own sweat,” UNC associate head tennis coach Tyler Thomson told The Athletic last month when Brantmeier filed her lawsuit. “I just think it’s really wrong, and especially in the age of NIL.”
That point is even more poignant in an age of NIL marked by pseudo-salaries paid by booster-backed collectives. Those NIL deals effectively allow donors to pay athletes to play at a specific school — a nonsensical workaround in a status quo in which schools and conferences cannot directly pay athletes. The argument that a tennis player accepting prize money is too closely tied to pay-for-play holds far less water when you compare it to what is happening in sports such as football and men’s basketball.
UNC tennis player Reese Brantmeier has sued the NCAA for not allowing college athletes to accept prize money and maintain their eligibility. (Preston Mack / NCAA Photos via Getty Images)
The current system may not be what it is for much longer anyway, as a laundry list of lawsuits continue to chip away at the NCAA’s longstanding legal arguments in defense of its version of amateurism. In the meantime, the organization and all college athletes are stuck in a sort of gray area, as rules that may have made sense once upon a time exist unchallenged until the spotlight shines squarely upon them.
That light has found the NCAA’s hypocritical stance on prize money. It is blindingly bright against the backdrop of million-dollar NIL deals and recruiting inducements-that-aren’t-supposed-to-be-inducements. It’s wild to think that college sports’ governing body could be forcing tennis players to go pro instead of allowing them to go to class and compete collegiately while accepting prize money at various events. Or that the NCAA could bar a collegiate sprinter who beats the world’s fastest from accepting money from World Athletics simply because it’s not run through the USOPC.
All that these draconian rules do is push elite athletes to leave campus earlier than they’d like. That’s not what the NCAA should ever be doing, intentionally or not.
So, here’s a chance to right a wrong. Here’s a chance for a common-sense win amid several losses in court. Let college athletes keep their prize money — and their eligibility, too.
(Top photo of Athing Mu, who left Texas A&M to turn pro just before the 2021 U.S. Olympic Track and Field Trials, celebrating her gold medal in the women’s 800-meter at the Tokyo Olympics: Jewel Samad / AFP via Getty Images)
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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