Culture
Would Paige Bueckers still be No. 1 if all college players were WNBA Draft-eligible?
As Sarah Strong dominated the South Carolina frontcourt during UConn’s national championship victory, gobbling up rebounds, protecting the rim and scoring from everywhere on the court, it was easy to imagine her also doing so at the next level. WNBA executives had to be drooling over the idea of drafting the next Huskies star.
But they’ll have to wait another three years. Under the collective bargaining agreement, which expires at the end of the 2025 season, American-born players are eligible to be drafted after completing four years of college. The one exception is that players can declare after their junior seasons if they turn 22 during the calendar year of the WNBA Draft. Since Strong has a February birthday, that won’t be an option.
As women’s basketball booms, players have more choices in shaping their careers, whether that’s in college via the transfer portal or professionally with new leagues. However, this is one decision that remains out of their control.
“I definitely think we should have the option,” USC star JuJu Watkins said on the “Good Game with Sarah Spain” podcast. “There’s just been such a growth in college basketball, where it’s like, why would you want to leave? Because you’re able to have that experience and build your brand here in college as well. I would say we should definitely have the option, but I think college is a way to prepare us for the pros as well. … It’s a touchy subject, but I’m for it.”
Although a change to allow players to declare early is unlikely, enough underclassmen are tempting pro prospects right now, headlined by Strong. Watkins, who has two remaining years of eligibility, would be a no-brainer lottery pick, even with a torn ACL that would keep her sidelined for this upcoming WNBA season. Madison Booker of Texas has a WNBA body and pull-up game, and her fellow SEC players Ashlyn Watkins (South Carolina) and Talaysia Cooper (Tennessee) also could be pro-ready.
There’s a world where JuJu Watkins decides to sit out the upcoming season, using both of her final years of eligibility, and enters the 2028 WNBA Draft that features Sarah Strong.
If you were a GM with the No. 1 overall pick, who would you choose? pic.twitter.com/AUixhKz3oc
— I talk hoops 🏀 (@trendyhoopstars) April 11, 2025
The idea of the age limit has historically benefited most parties, even if it diminished individual player agency. The WNBA is already the hardest league in the world to make and earn a second contract in, and it doesn’t behoove the current player pool to add more competitors for the limited roster spots.
Until recently, player experience was better in college than in the WNBA. It often didn’t make sense for athletes to sacrifice the ability to earn a college degree to pre-emptively join a league that didn’t pay that well. Certain players nevertheless took advantage of the opportunity to go pro after three seasons, including No. 1 picks Jewell Loyd and Jackie Young. Satou Sabally, the No. 2 pick in 2020, cited finances as the reason she left Oregon early, as she was in college before athletes could make money.
Foreign-born athletes don’t have to deal with the same age-related constraints as their American counterparts. Players born outside the U.S. can declare for the draft the year they turn 20, provided they don’t attend college in the NCAA system, presumably as a way to incentivize talent around the world to play in the WNBA. Those concessions have never been made for American players, who already grow up dreaming of playing in the league.
Now the WNBA has better accommodations, more lucrative salaries and a higher profile, but college sports also offer money from collectives and the ability to profit from NIL deals. Athletes are no longer missing out on their earning potential by being denied early entry into the professional ranks.
The league benefits from the age limit as well. In addition to rookies being more physically suited for the pro game, the NCAA is a fantastic marketing tool for the WNBA. Players come into the league with four years of national exposure and oodles of name recognition. Though casual NBA fans struggle to identify one-and-dones, most WNBA fans are intimately familiar with the likes of Paige Bueckers, Aneesah Morrow and Hailey Van Lith before they even play their first professional game.
As a result, even though a new CBA is being negotiated, don’t expect the age limit to be a point of contention.
“It has been mentioned; I don’t think it’s a high priority,” Seattle Storm guard Lexie Brown said on “The Ringer WNBA Show” last month. “Going out into the world at 18, 19 years old as a young woman with no degree to go play a sport with nonguaranteed contracts, it’s kind of a recipe for disaster.”
There is a reasonable discussion to be had about whether Bueckers would be the No. 1 pick if every player in college this season were draft-eligible. Strong’s overall game, combined with her youth, in a league that still runs through the post, makes her a tantalizing selection. Watkins’ prodigious skill and star power put her in that hypothetical conversation as well.
For now, this exercise remains theoretical. College basketball is still a more popular product, and the WNBA can afford to remain exclusive and close its doors to younger players with all of the talent that already exists within its ranks. The subset of players who could realistically make the jump early is limited — too small to rewrite an entire set of rules for.
(Photos of Madison Booker and Sarah Strong: Alex Slitz / Getty Images, Joe Buglewicz / 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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