Skip to main content

TRANSFER NEWS; VERDY TO ARSENAL???

Jamie Vardy leaving Leicester to join Arsenal "could be catastrophic" for the Premier League champions, says former Foxes defender Gerry Taggart.

Leicester striker Vardy, 29, is deciding over a reported £120,000-a-week offer from Arsenal.

Vardy, who is part of England's Euro 2016 squad in France, only signed a new three-year deal worth a reported£60,000-a-week in February.



The Gunners triggered Vardy's release clause with a £20m bid on Friday.

Leicester are reported to have made an improved counter-offer in a bid to keep Vardy, who scored 24 goals to help Claudio Ranieri's side claim an historic first top-flight title.

Vardy had been expected to make a decision on Monday before flying to France with England, but he arrived at the team's base in Chantilly with no update on his future.

"If Jamie goes then one or two others might want to leave as well," ex-Northern Ireland international Taggart told BBC Radio 5 live. "The whole Leicester ethos over the last couple of seasons has been built around people like Vardy.

"I know the backroom staff at Leicester very well and if it does happen they will try and bring in the best replacement they can for whatever money is available. But for the good of the whole team and the club it is important Vardy stays."

Vardy joined Leicester from Fleetwood for £1m in 2012.

He was named the Football Writers' Association Footballer of the Year for 2015-16 and has scored three times in eight games for England since his debut in 2015.

Comments

Popular posts from this blog

The Sphere

Photograph by Elena Saavedra Buckley. Once when I was about twelve I was walking down the dead-end road in Albuquerque where I grew up, around twilight with a friend. Far beyond the end of the road was a mountain range, and at that time of evening it flattened into a matte indigo wash, like a mural. While kicking down the asphalt we saw a small bright light appear at the top of the peaks, near where we knew radio towers to occasionally emit flashes of red. But this glare, blinding and colorless, grew at an alarming rate. It looked like a single floodlight and then a tight swarm beginning to leak over the edge of the summit. My friend and I became frightened, and as the light poured from the crest, our murmurs turned into screams. We stood there, clutching our heads, screaming. I knew this was the thing that was going to come and get me. It was finally going to show me the horrifying wiring that lay just behind the visible universe and that was inside of me too. And then, a couple se

The Rejection Plot

Print from Trouble , by Bruce Charlesworth, a portfolio which appeared in The Paris Review in the magazine’s Fall 1985 issue. Rejection may be universal, but as plots go, it’s second-rate—all buildup and no closure, an inherent letdown. Stories are usually defined by progress: the development of events toward their conclusions, characters toward their fates, questions toward understanding, themes toward fulfillment. But unlike marriage, murder, and war, rejection offers no obstacles to surmount, milestones to mark, rituals to observe. If a plot point is a shift in a state of affairs—the meeting of a long-lost twin, the fateful red stain on a handkerchief—rejection offers none; what was true before is true after. Nothing happens, no one is materially harmed, and the rejected party loses nothing but the cherished prospect of something they never had to begin with. If the romance plot sets up an enticing question—Will they or won’t they? — the rejection plot spoils everything upfront:

On the Distinctiveness of Writing in China

Yan Lianke at the Salon du Livre, 2010. Photograph by Georges Seguin, via Wikimedia Commons . Licensed under CC BY-SA 3.0 DEED . When I talk to non-Chinese readers like yourselves, I often find that you are interested in hearing about what distinguishes me as an author but also what distinguishes my country—and particularly details that go beyond what you see on the television, read about in newspapers, and hear about from tourists. I know that China’s international reputation is like that of a young upstart from the countryside who has money but lacks culture, education, and knowledge. Of course, in addition to money, this young upstart also has things like despotism and injustice, while lacking democracy and freedom. The result is like a wild man who is loaded with gold bullion but wears shabby clothing, behaves rudely, stinks of bad breath, and never plays by the rules. If an author must write under the oversight of this sort of individual, how should that author evaluate, discu