rewrites

With his quiet brilliance, incredible goal-scoring ability and sly smile, Norway’s Erling Haaland has etched his name in history yet again.

“It is one of the most insane days in Norwegian history,” Haaland, arguably the country’s greatest footballer, said moments after leading Norway into the quarterfinals of the FIFA World Cup.

The 25-year-old’s late brace dumped record five-time champions Brazil out of the tournament and sent his team into the last eight for the first time in history.

It is widely believed that on his towering frame, broad shoulders and inherent knack for scoring goals, Haaland knows how to carry Norway when it matters most.

After being a non-factor for much of the afternoon and having limited touches on the ball, Haaland spoke at the second-half hydration break with coach Stale Solbakken, who told him to drain his energy and go for it.

Solbakken’s wish was Haaland’s command as he headed in the first goal of the match in the 79th minute and scored again before the end of regulation time.

He sits comfortably at the top of the goal-scorers’ list for his country with 62 to his name in 54 appearances, at an impressive rate of 1.15 goals per game. The long-haired forward is often called “the smiling assassin” in a nod to the pairing of his skilful finishing and cool demeanour.

Haaland’s scoring streak for Norway has now reached 27 goals in 14 games, and despite being crowned man of the match, a humble Haaland relegated the team’s heroics to goalkeeper Orjan Nyland.

“For me, he’s my man of the match, even though I scored the goals. He prevented so many goals that would have probably sent us back home,” Haaland told reporters after the win.

“He’s the reason why we’re going to be playing the quarterfinal for the first time in our history – much respect to him.”

In the shadows of Messi, Mbappe and Ronaldo

The Manchester City striker has gone level with Kylian Mbappe and Lionel Messi for the Golden Boot with seven goals apiece so far, but came from behind to join the footballing giants in lifting his country at the biggest stage.

Pre-tournament headlines were dominated by what Messi could do, what Cristiano Ronaldo might do, and what Mbappe was expected to do.

Haaland’s biggest triumph was leading Norway back to the World Cup after nearly three decades, and the Viking hero has stormed through the tournament with sheer force and masterful skill to write his own storyline.

The 195cm (6ft 5-inch) tall striker’s rise to the upper echelons of the sport has been marked by humility, self-belief and single-mindedness.

“I have peaked a few times during this tournament, but every time, there is a new peak,” Haaland said after the victory against Brazil.

“If I receive one or two chances, they usually end up in a goal. I don’t really know what I do; this is just the way I am. It’s all about staying focused, and when the chance comes, I know exactly what to do.”

‘This night will be remembered forever’

The gravity of the moment was not lost on Haaland after his side shocked Brazil and sent Neymar into international retirement.

“Scoring twice against Brazil is something I will treasure forever, but those goals don’t belong to me alone,” Haaland said in a post-match interview.

“They belong to every teammate who sacrificed everything, every coach who believed in us, every supporter who stood by us through the difficult years, and every child in Norway who now believes that anything is possible.

“This is a night that will be remembered forever in every Norwegian home. We didn’t just beat Brazil, we gave our nation a memory that will live on for generations,” Haaland said after admitting that the win brought tears to his eyes.

“No matter what happens next, nobody can ever take this feeling, these tears, or this piece of history away from us.”

While his counterparts entered the World Cup as global household names, Haaland was a social media sensation, known for his witty Snapchat stories and Instagram content, which made him a more relatable, playful, almost goofy icon that broke away from the traditional path to stardom.

In true Haaland fashion – and, as the memes rightfully predicted – the Norwegian star posted a cheeky photo straight from the locker room with his jersey scrunched around his neck that racked up millions of likes within hours.

‘Defenders hate playing against him’

When asked if Haaland’s strength and speed make him a dangerous player, Brazil coach Carlo Ancelotti argued that it is actually his timing.

“He doesn’t waste energy chasing every ball or wrestling defenders for 90 minutes. He studies them, he waits, he understands exactly when a defender loses concentration.

“Then, in one second, he’s gone,” Ancelotti said in a post-match interview. “You can defend perfectly against him for 89 minutes, but football is decided by moments, and [Haaland] is probably the best in the world at recognising those moments.

“That’s why defenders hate playing against him. You think you’ve controlled him all game, and suddenly, he’s celebrating another goal.”

What’s next for the Vikings?

Haaland and co are up against Harry Kane’s side after England snuck past cohosts Mexico into the quarterfinals with a 3-2 win at Estadio Azteca.

As Norway take on England on Saturday, Haaland will have yet another chance to shine for his country and rewrite history.

But for now, the moment is his.

“Everyone just needs to enjoy themselves,” he told his countrymen across the Atlantic as he literally helmed the now-famous Viking row boat on the pitch in celebration.

“This is just an insane day. Like I said, it’s one of the most insane days in Norwegian history. Just enjoy it. Embrace it and enjoy the moment.”

About six months after Toni Morrison died in the summer of 2019, Literary Cleveland began hosting annual community tribute parties on the Nobel Prize-winning author’s birthday, Feb. 18. Lorain, Ohio — a suburb of Cleveland — is where Morrison was born and raised, and where she set several of her novels. During these gatherings, participants were prompted to read aloud from their favorite Morrison works, and share why they savored those particular lines.

Over time, these meetings began to feel increasingly intimate, even “sacred,” according to Literary Cleveland’s Executive Director Matt Weinkam, which prompted him, in tandem with Ohio Humanities head Rebecca Asmo, to brainstorm how to take their program state-wide. “This is Toni Morrison, one of our greatest writers,” Weinkam recalls thinking. “We needed to do something bigger.”

At the time, Weinkam and Osmo were also trying to figure out how to commemorate America’s semiquincentennial. Weinkam was listening to Morrison’s entire oeuvre on audio and realized that when you organize the 11 novels in a certain order, “they tell the history of America.” So how, he thought, “could you use the literature of Toni Morrison to view our country through a different lens — through her lens?” He says they knew honoring Morrison as a consequential figure not just in literature but also in the context of American history would be central to Ohio’s celebration of the semiquincentennial.

“[But] only as the project was coming together did we strike on the fact that her novels trace American history from ‘A Mercy,’ set in 1690, through ‘God Help the Child,’ in the 2010s. Not only does her work re-center African Americans in the story of our country, it also tackles major events from our founding, through slavery, to the impact of Jim Crow, to the great migration and beyond.”

In the months leading up to the 250th anniversary, they decided to bring the Morrison salons they were curating in Cleveland to all 88 Ohio counties. For assistance they connected with Britt Lovett, a strategist, community leader and fellow Morrison acolyte.

“People say that reading Toni Morrison is challenging,” says Lovett. “[But] reading Toni Morrison is like my grandmother speaking to me.”

In February, on what would have been Morrison’s 95th birthday, they officially launched “Beloved: Ohio Celebrates Toni Morrison,” a yearlong homage including readings, workshops, lectures and a monthly book club that meets on Sunday evenings. They intentionally programmed the book club so that it would take readers through our U.S. history utilizing Morrison’s vision: Weinkam proposed reading Morrison’s novels in the order in which they are set rather than the order in which they were published. “That simple shift,” says Lovett, “changed everything.”

They began with “A Mercy,” one of Morrison’s later novels, published in 2008 — which is set in the late 17th century, before slavery took hold and the country became “racialized.” Next came “Beloved,” then “Sula” and “Jazz.” “Experiencing the novels this way reveals how Morrison traced generations of Black American life across centuries of our nation’s history,” Lovett says. “What may appear to be individual stories become part of a larger narrative about memory, freedom, family, belonging and the ongoing project of America itself.”

For Morrison, writing fiction was a form of “literary archaeology,” excavating history, and how the past hovers over the present. Her quest was what she termed “rememory.”

Eddie S. Glaude Jr. is a Princeton professor and author of “America, U.S.A.: How Race Shadows the Nation’s Anniversaries” who has studied Morrison. “She understood the ongoing national effort to disremember — this startling combination of dismembering and remembering — to protect the innocence of America,” Glaude says. “Instead, her novels relentlessly expose the horror and the magisterial efforts on the part of ordinary people to overcome them. In doing so, she takes us to the beating heart of this fragile experiment — something we desperately need to remember in this 250th year of the country.”

In 1973, as an editor at Random House, Morrison published and collaborated with collectors in compiling “The Black Book,” a seminal volume that tells the story of the African American experience in America in the form of an encyclopedic scrapbook that spans from 1619 through the 1940s. There is no narrator, and this is intentional. The visuals — newspaper clippings, slave auction notices, patent applications by Black inventors, photographs, sheet music, relate their own powerful story “Black life as lived” — great joy juxtaposed with the tragedy and legacy of slavery. From her work on that groundbreaking assemblage emerged the idea for “Beloved,” which won the 1988 Pulitzer Prize for fiction.

Nearly seven years after Morrison’s death at 88, we are living in a golden age of Morrisonia. Three extraordinary new books, published this year, shed light on the brilliance and complexity of Morrison’s life and work, and place her as an American eminence, a visionary who saw fiction as a means through which to recast her country’s story. “On Morrison” by Namwali Serpell; “Toni at Random: The Iconic Writer’s Legendary Editorship” by Dana Williams; and a posthumously published collection of Morrison essays entitled “Language as Liberation: Reflections on the American Canon.” Serpell writes that “Morrison has shaped the way we think about everything.” Morrison herself said that she wrote to “think the unthinkable,” to write novels that were “relentlessly black,” giving no deference to the “white gaze.” Her refusal to sugarcoat the interior and exterior lives of her characters, whether enslaved or traumatized by the past — by events in American history — was purposeful.

“You’re confronted with horrific acts of violence,” Serpell says. “Not to present it in spectacular fashion, nor to feed any kind of voyeuristic or prurient interest on the part of the audience, but to use quiet language — beautiful language — in order to actually get us to step back and think about why this violence is happening and where it’s coming from.”

In that way, Morrison’s work was always a radical experiment — and is perhaps why, according to the American Library Assn., “The Bluest Eye” her 1970 debut — continues to be one of the most frequently “challenged” books in the U.S. “Beloved” runs a close second. But this also is among the reasons her books are considered must-reads in the classroom, and contemporary classics.

John Freeman is an executive editor at Knopf who oversees Morrison’s publishing program. “Her books persist today because they beckon us doubly: they invite us to look clearly at what America is, to come to grips with the fantasies and shadows developed to avoid this awful knowledge,” Freeman says. “They also tell us one phenomenal love story after another.”

Through her book club, cultural icon Oprah Winfrey introduced millions of readers to Morrison by featuring four of the author’s novels. “From ‘The Bluest Eye’ through ‘Beloved,’ ‘Jazz,’ ‘Home,’ ‘A Mercy’ and ‘Love,’ Morrison’s words have helped me become more of myself,” Winfrey says. “She understands the lives of Black women like no one else I’ve ever read. Reading her, I’ve often felt seen in places I didn’t know how to name.”

(HarperCollins; Penguin Random House)

In Morrison’s essays, lectures and other public comments — including as a professor at Princeton for nearly two decades — she occupied the role of public intellectual, always teaching us how to view America’s evolution as a country, and how it became “racialized.”

In a Granta interview conducted late in her life, she challenged the interviewer to consider that the concept of “whiteness” is peculiarly American: “Think about it, “ she prompted. “If you come to this country from Germany or Russia, or anywhere you got off the boat, got on the land, in order to become an American, you have to be white. That’s the quality that brings the country, its people together — having a non-white population. My concept is that if you were from Sweden, you were Swedish. You didn’t have to say, ‘I’m a white Swede.’ You know what I’m saying?”

As we prepare to celebrate America’s 250th, it’s useful to reflect on how Morrison viewed the intersection of fiction, history and memory, how the mission of her fiction was to uncover truths omitted by the standard historical records and history’s “sages.” In her 1987 essay, “The Site of Memory,” she utilized a river as a metaphor to discuss how imagination excavates forgotten histories and people. “All water,” she wrote, “has a perfect memory and is forever trying to get back to where it was. Writers are like that: remembering where we were.”

Haber is a writer, editor and publishing strategist, and co-founder of the Ink Book Club on Substack. She was director of Oprah’s Book Club and books editor for O, the Oprah Magazine.