Friday, August 7, 2026

Hit By Pitch.

I was batting fifth which is my favorite place to bat. You don’t have the pressure on you that the third batter has, in this case Danilo Garibay, who was in spitting distance of a .300 season, and already, with more than twenty games left, had knocked in over one-hundred runs. You also don’t have the weight of batting clean-up like Salome Rojas had. Salome, Hector said, often shaking his head at another of Salome’s “cool-breeze” strike-outs, had “muscles on top of his muscles and a brain to match.” 

Salome could hit the ball from here to Tenochtitlan but struck out  three times for every long ball, or six. No, I was batting five. High enough up in the order to come to bat with men on—at crucial moments, so I could try to knock them home, but still, where I liked it (and still do) in the shadow of bigger names and louder voices.


It was a steamy hot day in Villahermosa, Tabasco, a nearly below sea-level Cincinnati-sized city within tobacco-juice distance from the turbid bay of Campeche. Villahermosa was surrounded by mosquito wetlands and smelled of thick-sulfer air from the oil refineries that spoiled everything but the wallets of a dozen rich Gringos and the few dark men they allowed around them. 



It was here, against the slow, old and fat Olmecas, that I would be batting fifth, fighting for my dignity against fastballs and sandflies and more often than not that long short season, losing badly.

Batting fifth against a young left-hander named Iturbe or Yturbe or even eTurbe. Every time you saw his name in print it had a different spelling like the birth-years of so many ballplayers whose parents never wrote things down in a world where paperwork meant you were rolling your own cigarettes.

Yturbe was tall and thin and had arrived in Villahermosa not too many weeks ago and was turning the league on its ear with a fastball that couldn’t be seen—but its whiz through the humid air could be heard like an angry cicada grinding its ill-fitting teeth.

Many pitchers are found like this. Long thin boys with long thin arms who, in the parlance of the day could throw a pork chop past a hungry wolf. Many pitchers are found like this. But their managers, thinking more of their success than their pitcher having a long career, would work their young arms into rag-dolls. They wouldn’t care if they threw every three days, 13 innings one game, eleven two days later, and a full nine four days hence. 


Edna St. Vincent Millay wrote a poem about this, First Fig, not about baseball but about living life with the tachometer fully into the redline.

My candle burns at both ends;
   It will not last the night;
But ah, my foes, and oh, my friends—
   It gives a lovely light!

With those lithe limbs, they were out to win ballgames now, not worry about next year and some young pitcher who next year might be somewhere else playing with a different name, or might be burning trash in a field somewhere, planting something because planting anything paid better even than playing ball.

Yturbe was on that twilight. Throwing pills past our boys, myself included. The Olmecas left the lights off in the stadium dimming everything as the night darkened making a hard-to-see Yturbe even harder to see. 

He had taken us down without so much as a scratch through four innings, only one walk to Diablo, but nothing hard by us, not even one that curved foul. The top of the fifth came and the game seemed over already. The Olmecas had scratched three off of one of the Madranos and then the other Madrano replaced the first Madrano and they struck for two more against him.

So we were down five zip and were being no hit and had one out already when I came up in the top of the fifth. Yturbe whizzed one by me. A fastball more a sight-gag than a pitch and I didn’t even have the wherewithal to wave at it.

I heard Hector and Sisto from the bench. 

“He’s no so fast, Jorge. Swat a good one.”

Most of what you hear from the bench when you’re down five zip is a lie and you know it. He was so fast and I wasn’t about to swat a good one. I could hope for a mistake, but Yturbe wasn’t making any.

But.

But I didn’t want to whiff. But I wanted to shake Yturbe. Do something to his composure like a fly does to you when you swallow it at a picnic. I wanted to get under his dark brown skin and chase him back to the tilted dust village he came from.



When his second pitch came in, it was tight and I turned my left elbow right into it, absorbing the horsehide in the thick of my forearm back from the time when my forearms still had muscles tiered like a Manhattan high-rise. The ball was deadened by my wing and landed thud at my spikes. The umpire pointed me to first and I stooped to grab the ball and side-armed it with malice to Yturbe with a medium-curse, something that would show I was pissed—without starting a fight.

The whole thing was an act, really. A calculus. It was my bad—I could have escaped the path of the ball, but I wanted to start something. I wanted to see if my being hit could start the boys hitting.

I didn’t even rub my arm, a “your-best-didn’t-even-sting” gesture. I “you-bastarded” him as I trotted down to first and yelled to our bench, a little too loud, “he is not so fast. There is nothing to be afraid of.” I refused to wince as I’ve refused so often in life.

Bustamante, big strong Bustamante who’s batting average was returning to earth after having been up in the high threes swatted a double, bringing me in, because down five-zero I was running on the pitch. Buentello went to the opposite field, a scorching grounder down the first base line that stopped in short right field because the grass hadn’t been cut. That brought Bustamante in, 5-2. Diablo bunted, a nice crafty one down toward third. Their catcher wanted to get Buentello advancing but bobbled the ball and with one-down Buentello was on third and Diablo on first.

Perez-Abreu pinch hit for Madrano, and though usually light-hitting, he lashed a sharp liner to the center-right gap. Buentello in, standing up, Diablo on third, Perez-Abreu on first. Then Cesar, then Adame, then Garibay, singles all. Like a cracked penny- arcade baseball game with a stout metal bat smacking a slow metal ball. We had tied the score at five. 

Rojas, batting for the second time in the inning, tried to clear the bases, but too eager, the ball popped up not out and two were down. My turn at the plate against a rattled Yturbe came inside, angry at me for starting this off. Inside was my power and I turned my hips like a stripper and doubled down the chalk, the ball bouncing in the corner like it was avoiding “it” in a game of tag.


Bustamante popped out after that, leaving me stranded on second, but no matter. We were up 7-5 and after Dr. Jesus Verduzco, our back-up short stop and third-year medical student sprayed my forearm with some instant freeze spray, I was back at third for the remainder of the darkening evening.

We won going away, 8-5.

In the bus that night, driving from one sad stadium in one sad gang-raped Mexican city to the next, through the dust and the dirt and the headache and the lonely and the nostos-algia (literally sickness for home like Odysseus had) Hector grabbed an old Hillerich and Bradsby and bounced an old horseshide off its business end. He bounced a baseball off a bat on a bouncing bus like he had a ping-pong paddle.


I have tried the same and when the earth is still, I can bounce into the mid twenties. Hector routinely gets to one-fifty or one-seventy-five on a bouncing bus, a feat I’ve never seen anyone anywhere duplicate, or even come close.

“I know boys like Yturbe,” Hector reveried. “This season he will earn fourteen wins and lose just six. There will be talk of him being sold to Cleveland or Houston, or some city that is always short a long arm.

"Next year, Yturbe will be stronger and craftier, he will win nineteen and lose only five. The talk of him going North will increase in volume. But those who have seen the movie before, see something. They see that after almost three-hundred soup-kitchen innings, his arm will lose its strength. He will, on guile alone go twelve wins and lose nine. But very few have craft and guile at twenty. 

"Then when he hits twenty-one, he will be through. He will win four and lose fourteen. One more season like that, and at twenty-two, he will be wiping an old terry cloth rag across the polished wood surface of a sticky bar in a still stickier city. And he will hope for a tips and drinks hardly touched.”

“Tonight, we could not hit him,” I murmured.

“We could not hit him, until we could. Until we realized all of us are hit. We get hit early. We get hit late. We get hit in the head. And hit below the waist. We get hit and bruised and bruised and hit. We have, all of us in common, just one thing. A surfeit of hit. So to survive we, in turn, hit too.”

“Yturbe hit me tonight. And bruised me too.”

“You bruised him redder, bluer, darker.” Hector kept richocheting the hard-ball off the bat. 121, 122, 130. “You bruised him redder, bluer, darker. But what bruises the most is the using up. The team, the owners, the managers treating his arm like a seam of wealth in the mountains, used by the Spanish. Something to be mined and stripped naked and rubbed raw. Removed. Ruined. Raped." 140, 146.

I looked at my left forearm, even in the starless night, I could see the bruise growing angrier. I rubbed at it, feeling the heat and enjoying the pain.

Hector through the dark saw me communing with my newest wound.

“A wound you can see is much less hurt than the wounds you can’t. A wound you can see is a reminder.”

He caught the bouncing ball in his free hand.

“A wound you can see is a reminder that the one best at hitting is many times the one least afraid to be hit. The one who is hit so much he is not afraid any more of being hit. That is sometimes how you learn to hit. From wounds you can see.

I looked at the bruise. It was radiating like a storm on a TV weather map.

We drove on through the dark. Gordo our third-string catcher and first-string bus-driver grinding gears like an insomniac’s teeth at night.

We drove on through the dark.

So dark we could no longer see the stars or their pinpricks of light.

Only in the ink of eternity we could see the dark where the light used to be.








Thursday, August 6, 2026

Wow Writing.

I read this last week in The Economist:

If you care about passé things like art, literature, craft, beauty and wit, this would be a hard article to ignore. 

Also if you’re from New York and you love it as so many New Yorkers do. Even if they’ve re-locaterized two-hours north to the Gingham Coast, where an outfit of Lilly Pulitzer is considered resolutely OG.

Then if you make it to the first paragraph, you’ll find yourself practically compelled to download some Whitehead and start reading while you still have a head. (IMHO heads are on the endangered species list.)

I’m old enough so that I’m still impressed by hoary awards like the Pulitzer Prize. They haven’t awarded one to tump yet for pecuniary concerns, so in my mind, it still carries some weight. What’s more “the most fun to read,” is just what I needed on my night-stand, the world what it is and given the lugubrious tenor of my usual reading.


I picked up and, quickly, read the first of Whitehead’s “three-part love letter to New York.” I will soon read parts two and three.

Most men, and it is usually men, put Raymond Chandler on the highest echelon of the noir-pantheon. While Hammett is a better writer, Chandler can turn a phrase like no one I ever read, including Billy Shakespeare and everything that’s ever been said, Billy said first and best.

Here are just five from Chandler, maybe not his best. But still pretty good shells from the oyster tower of life:
“The French have a phrase for it. The bastards have a phrase for everything and they are always right. To say goodbye is to die a little.”
“I needed a drink, I needed a lot of life insurance, I needed a vacation, I needed a home in the country. What I had was a coat, a hat and a gun. I put them on and went out of the room.”  
“I'm an occasional drinker, the kind of guy who goes out for a beer and wakes up in Singapore with a full beard.”  
“If I had a razor, I'd cut your throat - just to see what ran out of it."
"There was a desert wind blowing that night. It was one of those hot dry Santa Anas that come down through the mountain passes and curl your hair and make your nerves jump and your skin itch. On nights like that every booze party ends in a fight. Meek little wives feel the edge of the carving knife and study their husbands' necks. Anything can happen. You can even get a full glass of beer at a cocktail lounge."  
I opened Harlem Shuffle two Tuesdays ago and read this—a quotation alone on the page even before its first chapter.


OK, I said. I’m somewhere special. 
That feeling increased as I read on:

















(See Hammett’s line from The Maltese Falcon:
“The cheaper the crook, the gaudier the patter.”)




















Before long—certainly before the end of the year—I’ll read books two and three. Until then, I’ll leave you with this photographic archive from a recent Times’ article.
2.

3.


A black-and-white photo of a man wearing glasses and a pinstriped vest and pants, drawing on an easel next to a woman with short hair, posing seated. Several people stand nearby in the background, and in the foreground there’s a white poster that reads “I’LL DRAW YOUR PORTRAIT FOR ONLY $2.50.”

In 1974, a local portrait artist sells his talents from the sidewalk of 125th between Seventh and Eighth, close to where the protagonist Ray Carney owns a furniture store in Colson Whitehead’s novel “Crook Manifesto.”Credit...Don Hogan Charles/The New York Times

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Account

The Setting of Colson Whitehead’s ‘Crook Manifesto,’ in Archives

A selection of photos from The New York Times of Harlem in the 1970s.

By Erica Ackerberg

July 21, 2023

ImageA black-and-white photo of the first three floors of three residential buildings, taken from across the street. There are fire escapes on the facades of all three. The heads of two men appear in the foreground.

Two men across the street from rehabilitated five-story tenement buildings on 114th Street between Seventh and Eighth Avenues, not far from the Canaan Baptist Church, where a movie scene is filmed in the novel.Credit...Tyrone Dukes/The New York Times

Image

A black-and-white photo of men wearings jackets and hats standing on a sidewalk in front of a store whose awning is falling apart. A sign above the store reads “7UP CANDY SHOE SHINE SODA.” A trash can and a leaking fire hydrant are in the foreground.

A rainy day on 118th Street and Lenox Avenue, 1974. In Whitehead’s novel, an arsonist sets a fateful fire a few blocks west, at 118th Street and Morningside Avenue.Credit...Neal Boenzi/The New York Times

Image

A black-and-white photo of two men standing in front of the back of a truck with the door open. Inside are hanging sausages, aluminum cans and other packaged food items. Buckets of sweet potatoes are by their feet.

A soul food truck on Amsterdam and 125th Street, 1971.Credit...Librado Romero/The New York Times

Image

Perusing the shelves at the National Memorial African Bookstore on Seventh Avenue near 125th Street in 1970. (The store closed in 1974.)Credit...Carl T. Gossett/The New York Times

Image

A black-and-white photo of a sidewalk stand bearing wigs for sale, on mannequin heads. People sit and stand outside a store called “Chock full o’ Nuts” to the left of the frame.

Vendors along 125th Street near Lenox Avenue, a few blocks east from where Whitehead’s Ray Carney owns a furniture store, 1972.Credit...Librado Romero/The New York Times

Image

A black-and-white photo of a city street taken from several stories up, so you can see vertical signs that say “APOLLO” and “LOEW’S” at eye level. Cars drive in the street below, and the sidewalk is filled with people.

The Apollo Theater on 125th Street, 1978.Credit...John Sotomayor/The New York Times

Image

A black-and-white photo of four men seated around a table on a sidewalk, playing cards and smoking. Two other men stand nearby.

A group of men play cards near the corner of Morningside Avenue and 126th Street, a block from Carney’s store.Credit...Tyrone Dukes/The New York Times

Image

A black-and-white photo of several men standing around in a packed store selling shoes and clothes. A ladder leans against one wall, covered in shoeboxes.

A busy store on 125th Street, 1975.Credit...Meyer Liebowitz/The New York Times

Image

A black-and-white photo of a uniformed police officer holding a pad of paper and standing in front of a sedan parked next to a larger truck.

A police officer writing a ticket for a car double-parked on 125th between Seventh and Eighth, 1974.Credit...Don Hogan Charles/The New York Times

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